title: Burak Yılmaz

texts:
 since Tuncay Şanlı. At Champions League group stage, he scored once again, this time against Manchester United in which Galatasaray won 1–0.Yılmaz finished group stage of the as top scorer with 6 goals in total 501 minutes played, ahead of Cristiano Ronaldo, who scored the same number of goals in 540 minutes. In the Champions League round of 16, he scored in both legs against Schalke 04, before his team was eliminated by Real Madrid in the quarter-finals. On 23 November 2013, <mask> scored his 100th Süper Lig goal against Sivasspor in a 2–1 home win. Beijing Guoan
On 5 February 2016, Galatasaray announced the transfer of <mask> to Chinese Super League club Beijing Guoan for €8 million transfer fee. Trabzonspor was to receive €2 million from Galatasaray, following the transaction agreement. Return to Trabzonspor
On 2 August 2017, <mask> returned to Trabzonspor, for family reasons. He managed to score 23 goals in 25 matches at 2017–18 season.Return to Beşiktaş
Yılmaz scored 25 goals in 40 official games during his second period at Beşiktaş. Lille
Lille announced the arrival of <mask> on 1 August 2020. The parties agreed upon a two-season-long contract. Substituted with Jonathan David in 64th minute, <mask> made his Ligue 1 debut against Rennes at first week encounter of 2020–21 season, ended 1–1, held at Stade Pierre-Mauroy, on 22 August 2020. On week 6, <mask> scored his first league goal against Strasbourg as Lille beat their opponents with 3–0 being the final score, on 4 October 2020. On 25 April 2021, he scored a brace in a 3–2 comeback away win over fellow title challengers Lyon. On 23 May 2021, he scored a penalty in a 2–1 away win over Angers, to secure the 4th Ligue 1 title for Lille in their history.He became the first player to score at least 15 goals in his first Ligue 1 season with Lille since Moussa Sow hit 25 in their title-winning campaign a decade prior. International career
On 12 April 2006, <mask> made his international debut for Turkey

masks: Burak Yılmaz Yılmaz Yılmaz Yılmaz Yılmaz Yılmaz


title: Burak Yılmaz

type: original

texts:
 under coach Fatih Terim in a 1–1 away draw with Azerbaijan in a friendly match. On 3 June 2011, he scored his first goal in a 1–1 away draw with Belgium during the UEFA Euro 2012 qualifying. Later on, he was part of Turkey squad in the UEFA Euro 2016 and UEFA Euro 2020. On 24 March 2021, he scored his first international hat-trick in a 4–2 win over the Netherlands in the 2022 FIFA World Cup qualification. Personal life
<mask> is the son of former professional footballer and current manager Fikret <mask>. <mask> has two daughters from his marriage to İstem Atilla, which lasted for four years between 2014 and 2018.In 2020, the couple decided to get together again and remarried. Career statistics

Club

International

Scores and results list Turkey's goal tally first, score column indicates score after each Yılmaz goal. Honours

Club
Beşiktaş
 Turkish Cup: 2006–07
 Turkish Super Cup: 2006

Trabzonspor
 Turkish Cup: 2009–10
 Turkish Super Cup: 2010

Galatasaray
 Süper Lig: 2012–13, 2014–15
 Turkish Cup: 2013–14, 2014–15, 2015-16
 Turkish Super Cup: 2013, 2015, 2016

Lille
Ligue 1: 2020–21
Trophée des Champions: 2021

Individual
 Gol Kralı: 2011–12, 2012–13
 UNFP Player of the Month: April 2021
Ligue 1 Goal of the Year: 2020–21
Lille Player of the Season: 2020–21

References

External links

1985 births
Antalyaspor footballers
Association football forwards
Beijing Guoan F.C. players
Beşiktaş J.K. footballers
Chinese Super League players
Eskişehirspor footballers
Expatriate footballers in China
Expatriate footballers in France
Fenerbahçe S.K. footballers
Galatasaray S.K. footballers
Ligue 1 players
Lille OSC players
Living people
Manisaspor footballers
Sportspeople from Antalya
Süper Lig players
Trabzonspor footballers
Turkey B international footballers
Turkey international footballers
Turkey under-21 international footballers
Turkey youth international footballers
Turkish expatriate footballers
Turkish footballers
UEFA Euro 2016 players
UEFA Euro

masks: Yılmaz Yılmaz Yılmaz


title: Jacqui Mulville

texts:
<mask> is a British bioarchaeologist and Professor of Archaeology at Cardiff University. Mulville is a field archaeologist whose research focuses on osteoarchaeology, human and animal identities, and island archaeologies concentrated on Britain. Education and career
Archaeology was not the initial career choice of Mulville, who undertook a BSc in Biology at Imperial College London. Volunteer work however marked the start of her career in archaeology, and she worked as a field archaeologist for English Heritage on sites including Beeston Castle, and as a Research Assistant for English Heritage at the University of Cambridge examining evidence from Roman and later periods from Chelmsford (Caesaromagus) and Colchester (Camulodonum). She undertook a PhD at the University of Sheffield, under the supervision of Paul Halstead, being awarded a doctorate in 1995 for her thesis 'Milking, Herd Structure, and Bone Chemistry: An Evaluation of Archaeozoological Methods for the Recognition of Dairying'. This analysed the identification of milking, using domestic dairy cattle and St Kilda Soay Sheep as study populations. Mulville then worked for the West Yorkshire Archaeology Service, recording material from West Heslerton, and as a commercial archaeologist at the University of Sheffield, before returning to English Heritage at Birmingham University to analyse a medieval assemblage from Castle Mall Norwich.At Southampton University she was a Research Assistant for English Heritage, examining Saxon and Neolithic sites. Mulville excavated at South Uist in the Outer Hebrides, and was a co-director of excavations at Cladh Hallan. This investigated the only two bodies


title: Jacqui Mulville

texts:
 known to have been mummified among the early tribes of Europe, although Mulville suggested the practice may have been more common than we know, and said that the finds at Cladh Hallan raised more questions than they answered. Mulville became a senior research fellow at the University of Oxford, working sites including Glaston and Fiskerton. After this she taught briefly at University College Winchester before moving in 2002 to Cardiff University where she replaced Professor John Evans on his retirement. She founded Guerilla Archaeology, a Cardiff-based outreach organisation of archaeologists, scientists and artists. Awards
Mulville is a Fellow of the Society of Antiquaries of Scotland, where she gave one of the 2015 Rhind Lectures, on "Storytelling".Bibliography

Books

 The Zooarchaeology of Fats, Oils, Milk and Dairying, International Council for Archaeozoology, ed. by J<mask> and A. K. Outram (Oxford: Oxbow, 2005)
 A Study of the Historic Coastal and Marine Environment of the Isles of Scilly. Cornwall Archaeological Unit, Cornwall Council, ed. by D. Charman et al. (Cornwall: Cornwall Archaeological Unit, Cornwall Council, 2015)
 Norwich Castle: Excavations and Historical Surveys 1987-98, Part III: a Zooarchaeological Study, ed. by U. Albarella et al., East Anglian Archaeology Occasional Paper, Vol. 22.(Oxford: East Anglian Archaeology, 2009)

Articles

 With J. Jones, 'Norse animal husbandry in liminal environments: stable isotope evidence from the Scottish North Atlantic Islands'. Environmental Archaeology (2018)
 With S. Walden, 'An analysis of systematic elemental changes in decomposing bone'. Journal of Forensic Sciences 63 (1) 2018, pp.


title: Gilles de Rais

texts: <mask> (date of birth unknown, not earlier than 1405 – 26 October 1440), Baron <mask>s (), was a knight and lord from Brittany, Anjou and Poitou, a leader in the French army, and a companion-in-arms of Joan of Arc. He is best known for his reputation and later conviction as a confessed serial killer of children. A member of the House of Montmorency-Laval, <mask> grew up under the tutelage of his maternal grandfather and increased his fortune by marriage. He earned the favour of the Duke of Brittany and was admitted to the French court. From 1427 to 1435, Rais served as a commander in the French army, and fought alongside Joan of Arc against the English and their Burgundian allies during the Hundred Years' War, for which he was appointed Marshal of France. In 1434 or 1435, he retired from military life, depleted his wealth by staging an extravagant theatrical spectacle of his own composition, and was accused of dabbling in the occult. After 1432, Rais was accused of engaging in a series of child murders, with victims possibly numbering in the hundreds.The killings came to an end in 1440, when a violent dispute with a clergyman led to an ecclesiastical investigation that brought the crimes to light, and attributed them to Rais. At his trial, the parents of missing children in the surrounding area and Rais's own confederates in crime testified against him. He was condemned to death and hanged at Nantes on 26 October 1440. Rais is believed to be the inspiration for

masks:
Gilles de Rais
de Rai
Gilles de Rais


title: Gilles de Rais

texts:
 the French folktale "Bluebeard" ("Barbe bleue"), which is earliest recorded in 1697. Early life
<mask> <mask> was born on an unknown date, perhaps in late 1405 to Guy II <mask>-Laval and <mask> Craon in the family castle at Champtocé-sur-Loire. Following the deaths of his father and mother in 1415, <mask> and his younger brother <mask> La Suze were placed under the tutelage of <mask> Craon, their maternal grandfather. Craon was a schemer who attempted to arrange the marriage of 12-year-old <mask> to four-year-old Jeanne Paynel, one of the richest heiresses in Normandy; when the plan failed, he attempted unsuccessfully to unite the boy with Béatrice <mask>, the niece to the Duke of Brittany.On 30 November 1420, Craon did substantially increase his grandson's fortune by marrying him to <mask> Thouars of Brittany, heiress of La Vendée and Poitou. Their only child, Marie, was born in 1433 or 1434. Military career

In the decades following the Breton War of Succession (1341–64), the defeated faction led by <mask> Blois, Count of Penthièvre, continued to plot against the Dukes of the House of Montfort. The Blois faction, which refused to relinquish its claim to rule over the Duchy of Brittany, had taken Duke John VI prisoner in violation of the Treaty of Guérande (1365). <mask> Craon took the side of the House of Montfort. After the Duke's release, <mask> Craon and his grandson <mask> Rais were rewarded for their "good and notable services" with generous land grants

masks:
Gilles de
Rais
de Montncy
Marie de
Gilles
René de
Jean de
Gilles
de Rohan
Catherine de
Olivier de
Jean de
Jean de
Gilles de


title: Gilles de Rais

texts: that were converted to monetary gifts. In 1425, Rais appeared  in the entourage of king Charles VII at Saumur, but he might have been introduced to the royal court before this date.At the battle for the Château du Lude, he killed or took prisoner the English captain Blackburn. From 1427 to 1435, Rais served as a commander in the Royal Army, distinguishing himself for bravery on the battlefield during the renewal of the Hundred Years' War. In 1429, he fought alongside Joan of Arc in some of the campaigns waged against the English and their Burgundian allies. He was present with Joan when the English Siege of Orléans was lifted. On 17 July 1429, Rais was one of four lords chosen for the honour of bringing the Holy Ampulla from the Abbey of Saint-Remy to Notre-Dame de Reims for the consecration of Charles VII as King of France. On the same day, he was officially created a Marshal of France. Following the Siege of Orléans, Rais was granted the right to add a border of the royal arms, the fleur-de-lys on an azure ground, to his own.The letters patent authorizing the display cited his "high and commendable services", the "great perils and dangers" he had confronted, and "many other brave feats". In May 1431, Joan of Arc was burned at the stake in Rouen. <mask> Craon, Rais' grandfather, died on November 1432, and, in a public gesture to mark his displeasure with Rais' reckless spending of a carefully amassed fortune, left his sword and his breastplate to Rais' younger


title: Gilles de Rais

texts:
 brother <mask> La Suze. Private life
In either 1434 or 1435, Rais gradually withdrew from military and public life to pursue his own interests: the construction of a splendid Chapel of the Holy Innocents (where he officiated in robes of his own design), and the production of a theatrical spectacle, Le Mystère du Siège d'Orléans. The play consisted of more than 20,000 lines of verse, requiring 140 speaking parts and 500 extras. Rais was almost bankrupt at the time of the production and began selling property as early as 1432 to support his extravagant lifestyle. By March 1433, he had sold all his estates in Poitou (except his wife's) and all his property in Maine.Only two castles in Anjou, Champtocé-sur-Loire and Ingrandes, remained in his possession. Half the total sales and mortgages was spent on the production of his play. It was first performed in Orléans on 8 May 1435. Six hundred costumes were constructed, worn once, discarded, and constructed afresh for subsequent performances. Unlimited supplies of food and drink were made available to spectators at Rais' expense. In June 1435, family members gathered to put a curb on Rais. They appealed to Pope Eugene IV to disavow the Chapel of the Holy Innocents (he refused) and carried their concerns to the king.On 2 July 1435, a royal edict was proclaimed in Orléans, Tours, Angers, Pouzauges and Champtocé-sur-Loire denouncing Rais as a spendthrift and forbidding him to sell any more property. No subject of Charles


title: Gilles de Rais

texts:
 confession, Rais said he committed his first assaults on children between spring 1432 and spring 1433.The first murders occurred at Champtocé-sur-Loire, but no account of them survived. Shortly after, Rais moved to Machecoul, where, according to his confession, he killed, or ordered to be killed, a large but uncertain number of children after he sodomized them. The first documented case of child-snatching and murder concerns a boy of 12 called Jeudon (first name unknown), an apprentice to the furrier Guillaume Hilairet. Rais' cousins <mask> Sillé and <mask> Briqueville asked the furrier to lend them the boy to take a message to Machecoul, and, when Jeudon did not return, the two noblemen told the inquiring furrier that they were ignorant of the boy's whereabouts and suggested he had been carried off by thieves at Tiffauges to be made into a page. At Rais' trial, the events were attested to by Hilairet and his wife, the boy's father Jean Jeudon, and five others from Machecoul. In his 1971 biography of Rais, <mask> tells how the children who fell into Rais' hands were put to death:

Rais' bodyguard Étienne Corrillaut, known as Poitou, was an accomplice in many of the crimes and testified that his master stripped the child naked and hung him with ropes from a hook to prevent him from crying out, then masturbated upon the child's belly or thighs. If the victim was a boy he would touch his genitals (particularly testicles) and buttocks.Taking the victim down, Rais

masks:
Gilles de
Roger de
Jean Benedetti


title: Gilles de Rais

texts: comforted the child and assured him he only wanted to play with him. Rais then either killed the child himself or had the child killed by his cousin <mask> Sillé, Poitou or another bodyguard called Henriet. The victims were killed by decapitation, cutting of their throats, dismemberment, or breaking of their necks with a stick. A short, thick, double-edged sword called a braquemard was kept at hand for the murders. Poitou further testified that Rais sometimes abused the victims (whether boys or girls) before wounding them and at other times after the victim had been slashed in the throat or decapitated. According to Poitou, Rais disdained the victims' sexual organs, and took "infinitely more pleasure in debauching himself in this manner ... than in using their natural orifice, in the normal manner." In his own confession, <mask> testified that “when the said children were dead, he kissed them and those who had the most handsome limbs and heads he held up to admire them, and had their bodies cruelly cut open and took delight at the sight of their inner organs; and very often when the children were dying he sat on their stomachs and took pleasure in seeing them die and laughed”.Poitou testified that he and Henriet burned the bodies in the fireplace in Rais' room. The clothes of the victim were placed into the fire piece by piece so they burned slowly and the smell was minimized. The ashes were then thrown into the cesspit, the moat, or other hiding places. The last

masks:
Gilles de
Gilles


title: Gilles de Rais

texts:
 recorded murder was of the son of Éonnet <mask>nche and his wife Macée. Poitou paid 20 sous to have a page's doublet made for the victim, who was then assaulted, murdered and incinerated in August 1440. Trial and execution

On 15 May 1440, Rais kidnapped a cleric during a dispute at the Church of Saint-Étienne-de-Mer-Morte. The act prompted an investigation by the Bishop of Nantes, during which evidence of Rais' crimes was uncovered.On 29 July, the Bishop released his findings, and he subsequently obtained the prosecutorial cooperation of Rais' former protector, John VI, Duke of Brittany. Rais and his bodyguards Poitou and Henriet were arrested on 15 September 1440, following a secular investigation that corroborated the Bishop's. Rais' prosecution was likewise conducted by both secular and ecclesiastical courts, on charges that included murder, sodomy and heresy. The extensive witness testimony convinced the judges that there were adequate grounds to establish the guilt of the accused. After Rais admitted to the charges on 21 October, the court canceled a plan to torture him into confessing. Peasants of neighboring villages had earlier begun to make accusations that their children had entered Rais' castle begging for food and were never seen again. The transcript, which included testimony by the parents of many of these children as well as graphic descriptions of the murders provided by Rais' accomplices, was said to be so lurid that the judges ordered the


title: Gilles de Rais

texts:
 with the Catholic Church and family, now Huguenots, leaving France). Question of guilt
Although <mask> <mask> was convicted of murdering many children by his confessions and the detailed eyewitness accounts of his own confederates and victims' parents, doubts have long persisted about the verdict. Counterarguments are based on the theory that Rais was himself a victim of an ecclesiastic plot or act of revenge by the Catholic Church or French State.Those who object note that the Duke of Brittany, who was given the authority to prosecute, received all the titles to Rais' former lands after his conviction, and then divided the land among his own nobles. Writers such as secret societies specialist Jean-Pierre Bayard contend he was a victim of the Inquisition.] In 1992, a mock re-trial of Rais was held as a media event in France, sans official involvement of public authorities and the judiciary. The lawyer Jean-Yves Goëau-Brissonnière made a long plea at the UNESCO amphitheatre in May 1992. Then in November 1992, he again organized such an ad hoc "court", at the Luxembourg Palace, to re-examine the source material and evidence available at the medieval trial. A team consisting of lawyers, writers, former French ministers, parliament members, a biologist and a medical doctor led by the writer Gilbert Prouteau and presided over by Judge Henri Juramy found <mask> <mask> not guilty. But, as contemporary French news and academic commentators reported, none of the

masks:
Gilles de
Rais
Gilles de
Rais


title: Gilles de Rais

texts:
 participants sought professional advice from qualified medievalists.The proceedings were, in part, turned into a fictionalized biography called <mask> Rais ou la Gueule du loup [<mask> Rais; or, the Mouth of the Wolf], narrated by the writer Gilbert Prouteau. "The case for <mask> Rais's innocence is very strong", Prouteau said, as reported by The Guardian, noting that "[n]o child's corpse was ever found at his castle at Tiffauges" and that, in Prouteau's view, <mask> "appears to have confessed to escape excommunication". He concludes that the accusations appeared to have been "false charges made up by powerful rival lords to benefit from the confiscation of his lands." The journalist Gilbert Philippe of the newspaper Ouest-France subsequently declared Prouteau "facetious and provocative", claiming further that Prouteau himself thought the retrial was "an absolute joke". Occultist interpretations
In the early 20th century, anthropologist Margaret Murray and occultist Aleister Crowley questioned the involvement of the ecclesiastic and secular authorities in the case. Crowley described Rais as "in almost every respect...the male equivalent of Joan of Arc", whose main crime was "the pursuit of knowledge". Murray, who propagated the witch-cult hypothesis, speculated in her book The Witch-Cult in Western Europe that Rais was really a witch and an adherent of a fertility cult centred on the pagan goddess Diana.Most historians reject Murray's theory. Norman Cohn argues

masks:
Gilles de
Gilles de
Gilles de
de Rais


title: Gilles de Rais

texts:
 that it is inconsistent with what is known of Rais' crimes and trial. Historians do not regard Rais as a martyr to a pre-Christian religion; other scholars tend to view him as a lapsed Catholic who descended into crime and depravity, and whose real crimes caused the land forfeitures. See also
 List of serial killers before 1900

References

Notes

Footnotes

Bibliography

Historical studies and literary scholarship
 .
 .

 .

 .
  Matei Cazacu, Barbablù. La vera storia di <mask> Rais, Mondadori, 2008, . Ernesto Ferrero, Barbablú : <mask> <mask> e il tramonto del Medioevo, Torino: Einaudi, 2004, XVIII-290 pp. (1st ed.1998). .

 .
 .

 . Literature

 (in Dutch) Dick Berents, Slachtbank. De kindermoorden van Maarschalk <mask> Rais. Soesterberg: Aspekt, 2013
 Georges Bordonove, <mask> Rais, Pygmalion, . Juan Antonio Cebrián, El Mariscal de las Tinieblas. La Verdadera Historia de Barba Azul, Temas <mask> Hoy, .Joris-Karl Huysmans, Down There or The Damned (Là-Bas), Dover, . Reginald Hyatte, Laughter for the Devil: The Trials of <mask> Rais, Companion-In-Arms of Joan of Arc (1440), Fairleigh Dickinson Univ Press, . Hubert Lampo, De duivel en de maagd, 207 p., Amsterdam, Meulenhoff, 1988 (11e druk), . (1e druk: ’s-Gravenhage, Stols, 1955). Le Diable et la Pucelle. 163 p., Presses universitaires du Septentrion, 2002, . Robert Nye, The Life and Death of My Lord, <mask> Rais.Time Warner Books. .
 Edward Lucie-Smith, The Dark Pageant. GMP Publishers, 1977, .

masks:
Gilles de
Gilles de
Rais
Gilles de
Gilles de
de
Gilles De
Gilles de


title: David M. Smith (virologist)

texts:
<mask> "Davey" M<mask> (born October 16, 1971), is an American translational research virologist, Chief of the Division of Infectious Diseases and Global Public Health at the University of California San Diego (UC San Diego), Co-Director of the San Diego Center for AIDS Research (SD CFAR), and Vice Chair of Research in the Department of Medicine at UC San Diego. His research interests include transmission, prevention, and treatment of both HIV and SARS-CoV2 (COVID-19). Since joining the UC San Diego faculty in 2003, <mask> has been awarded more than $37 million in federal funding as a Principal Investigator. His research interests include transmission, prevention, and treatment of both HIV and COVID-19. Career

Early career

<mask> earned his BS in Biology (summa cum laude) in 1992 from the University of Tennessee, Chattanooga, and his MD from East Tennessee State University College of Medicine in Johnson City in 1996. He then moved to the University of California San Diego (UC San Diego), where he completed his internship and residency (1999), Chief Residency (2000), a Fellowship in Infectious Diseases (2003), and earned his MAS in Clinical Research (2005). <mask> is board certified in infectious diseases, and a Fellow of both the American College of Physicians and the Infectious Diseases Society of America.In 2015, he was elected to the American Society for Clinical Investigation. In 2003, <mask> was appointed Assistant Adjunct Professor of Medicine at UC San Diego. He was promoted to Associate Professor of Medicine in Residence in 2009, and named Co-Director of the San Diego Center for AIDS Research (SD CFAR) in 2014. He was promoted to Professor in 2013 and then Vice Chair of Faculty in 2016. In 2017, <mask> began his service as Chief of the

masks:
David
. Smith
Smith
Smith
Smith
Smith
Smith


title: David M. Smith (virologist)

texts:
 Division of Infectious Diseases and Global Public Health, where he oversees more than 100 faculty. In addition to his academic and administrative appointments at UC San Diego, <mask> helped found in 2001 and continues to serve as Medical Director of The Night Clinic of Family Health Centers of San Diego. The Night Clinic provides culturally competent medical care to gay men and transgender individuals.He has also served the VA San Diego Healthcare System since 2005 as a staff physician and Director of the HIV/HCV and HIV/HPV Co-infections Clinics. HIV research
<mask> is a translational research virologist. He applies laboratory research to inform clinical studies and vice versa in the U.S. and internationally. He studies HIV transmission, including HIV superinfection, molecular epidemiology, and the characteristics of HIV found in the genital tract. One of <mask>'s most innovative projects to date is the NIH-funded Last Gift Study, designed to identify hidden reservoirs of HIV through rapid autopsies of individuals who lived with HIV and were diagnosed with an unrelated terminal illness, such as cancer, neurological conditions, or end-stage organ failure. In summary, <mask>'s research represents an effort to understand the drivers of HIV transmission and find new ways to interrupt them. SARS-CoV-2 Research
In late 2019, when reports of a novel coronavirus began circulating, <mask> immediately began investigating causes, preventatives, and potential cures with colleagues in the Division of Infectious Diseases and Global Public Health at UC San Diego.He currently leads or contributes to a number of COVID-19 studies at UC San Diego and across the United States. <mask> was also instrumental in coordinating a $1 million donation from the John and Mary Tu

masks: Smith Smith Smith Smith Smith Smith


title: David M. Smith (virologist)

texts:
 Foundation to support his COVID-19 clinical research activities. Additionally, in March 2020, in his role as Co-Director of the San Diego Center for AIDS Research (SD CFAR), <mask> encouraged collaborative partnerships across the 17 NIH-funded Centers for AIDS Research (CFARs) to pool laboratory equipment, methods, and knowledge applicable to HIV and easily transferable to studies of COVID-19

Awards and Honors
<mask> has earned numerous accolades for his academic success. In 2002, he received the Associate Investigator Award from the VA San Diego Healthcare System. In 2005, he was elected to the National Center for Leadership in Academic Medicine at UC San Diego. Also in 2005, Discover Magazine acknowledged one of <mask>'s papers on HIV superinfection as #41 of the top 100 stories of 2004. In 2008, <mask> earned San Diego Metropolitan magazine's 40 Under 40 award, which annually recognizes local young leaders.In 2010, <mask> received the HIV Medical Association Research Award, presented by the Infectious Diseases Society of America. In 2012, the National Institute of Drug Abuse (NIDA) named <mask> a recipient of a $2.5 million Avant Garde Award in HIV Prevention for his proposal on “Molecular Epidemiology for HIV Prevention for Drug Users and Other Risk Groups”. And in both 2012 and 2014, <mask> received Internal Medicine Residency Teaching Awards presented by UC San Diego's Chief Medical Residents. <mask> also has received recognition for his community involvement, beginning in 2001, when he earned the Men's Volunteer Award from the San Diego Lesbian, Gay, Bisexual, and Transgender Community Center (LGBT Center). In 2005, he received the Transgender Community Coalition Community Service Award, as well as the Outstanding Volunteer of the Year Award

masks: Smith Smith Smith Smith Smith Smith Smith Smith


title: David M. Smith (virologist)

texts:
 (Medical) from AIDS Walk San Diego. In 2009, he received the prestigious A. Brad Truax Award for outstanding HIV/AIDS service, presented by the County of San Diego Health and Human Services Agency. Professional Failures
<mask> believes in highlighting professional challenges and failures.He thinks it is important to acknowledge that being a physician scientist requires resilience, and that it helps others who are trying to be physician scientists to openly share such "failures”. Personal
In addition to academic and clinical research, <mask> has developed equal passions for creative writing, travel, and adventurous dining. His friend and colleague, Sanjay R<mask>, MD, Assistant Professor of Medicine at UC San Diego, said in 2013, “If this HIV stuff gets boring for [<mask>], he'll do great as the next host of ‘Bizarre Foods,' as he's willing to test his palate all over the world.” <mask> has published poems in JAMA and Annals of Internal Medicine, and still finds time to write. He is currently writing a book on becoming a virologist physician scientist in the time of viral pandemics. In 2015, <mask> married his long-time partner, Asherlev Santos, Assistant Professor in the Public Health graduate program at California State University San Marcos. References

External links
 Family Health Centers of San Diego https://www.fhcsd.org/
 The Night Clinic at Family Health Centers of San Diego https://www.fhcsd.org/tnc-evening-hours/
 San Diego Center for Aids Research (CFAR)
 Complete list of <mask>. <mask>'s publications on Pub Med https://www.ncbi.nlm.nih.gov/myncbi/david.smith.1/bibliography/public/

American virologists
HIV/AIDS researchers
COVID-19 researchers
LGBT scientists from the United States
LGBT academics
1971 births
Living people
21st-century

masks:
Smith
Smith
. Mehta
Smith
Smith
Smith
David M
Smith


title: Craig Cardiff

texts:
<mask> (born 9 July 1976) is a Canadian folk singer from Waterloo, Ontario who lives in Arnprior, Ontario. He has released sixteen albums, both live and studio-based since 1997. He has toured North America and Europe. In 2012, <mask> was nominated for a Juno Award for Roots and Traditional Album of the Year: Solo and for a Canadian Folk Music Award as Contemporary Singer of the Year. Biography

Early life

<mask> was born July, 1976 to Judy and <mask>. He grew up with his younger sisters Catherine, Susan and Elizabeth in Waterloo, Ontario, where both his parents were school teachers. Music was important during his upbringing and he was motivated by his parents to play an instrument.His parents bought him his first guitar, a Gibson J-30, when he was 15, while one of his high school teachers, taught him the guitar during his lunch hour. <mask> began to perform at coffeehouses and with some bands in high school. While studying at the University of Waterloo, he performed at local pubs, open mic events, and coffeehouses. He also worked as a booking agent, organizing shows at Fed Hall, including the Guess Who. <mask> moved to the Ottawa area from Waterloo when he was in his twenties. He lived in Wakefield for a few years before buying an old farmhouse in Arnprior, which now also serves as a home recording studio. 1997-2010s
In September 1997, <mask> debuted with the album Judy Garland (You're Never Home) which included Deanna Knight, Tom Murray, Danny Michel, Joel Stouffer, Paul Mathew and <mask>.It was re-released in August 2006. <mask> released his album Goodnight (Go Home) in 2007. In 2007, View Magazine stated that

masks:
Craig Cardiff
Cardiff
Craig Cardiff
Charles Cardiff
Cardiff
Cardiff
Cardiff
Catherine Cardiff
Cardiff


title: Craig Cardiff

texts:
 while <mask> "...maintains a dedicated fan base", he "...is more a secret than a household name, despite his songs revealing the craft of one of the best in the business". View Magazine stated in 2007 that he was "playing bigger rooms, touring more and receiving more critical acclaim" after his 11th release, Good Night (Go Home)." The magazine called Goodnight (Go Home) "arguably <mask>'s most accomplished release to date." He released Floods & Fires in November 2011. The album earned a Juno Award nomination as Roots and Traditional Album of the Year: Solo, as well as a Canadian Folk Music Awards nomination as Contemporary Singer of the Year.The album was in the SoundScan Top 10 for a week, and Exclaim! magazine called it "a major breakthrough." When <mask> released his latest album, Love Is Louder (Than All This Noise) Part 1 & 2, in November 2013, Exclaim! magazine stated: "With a catalogue now well into double digits and a national fan base that is surely the envy of his singer-songwriter peers, Ottawa's <mask> has been the model of how to be a successful independent Canadian musician. However, with his new double album, Love Is Louder (Than All This Noise) Parts 1 & 2, he seems better poised than ever to break into the mainstream, having recorded with a full band for the first time." When Love Is Louder (Than All This Noise) Part 1 & 2 was released, it reached as high as No. 8 on the iTunes singer-songwriter charts and for a time was the only independent Canadian album in the Top 20.Recording
Cardiff has offered at least one new release almost every year, and his catalogue includes live albums, studio albums,

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 collaborations with other artists and tributes to songwriters he admires. Over the years, he has experimented with various recording styles and distribution platforms for his albums – one release, Mistletoe (Kissing Songs), was recorded entirely on an iPod Touch. Upstream Fishing All The Words, He Is: Birthday Cards For Bob Dylan
On 24 May 2018, <mask> released his first tribute cover album. The project included five Bob Dylan cover songs, selected for their influence on Cardiff's own music style. Reflecting on Bob Dylan's influence, <mask> says "I had the same relationship with Bob Dylan's songs that I think everyone does with a favourite artist – I tried to crack the code about what he was writing about, while sitting in the middle of their tangle and ache and joy. All his words were perfect, and he had all of them. AND it bothered my parents – "He Can't Sing!"they said, dismissively, the same way they did when they saw me spending money on Cokes, the Dickie Dee ice cream trucks, Mad Magazines, or heaven forbid, Cracked. Wasted money!" Cardiff's goal for the project was to inject his own musical style into some of the songs that influenced him the most, keeping the production and arrangement of each song simple with limited instrumentation. The cover album's single, "Don't Think Twice, It's All Right", reached over a half million streams on Spotify within the first month of the album's release. The album was recorded in his home recording studio in Arnprior, ON in collaboration with Jeff Watkins, Jesse Harding, and Thom Rados. Love Is Louder (Than All This Noise) Part 1 & 2
On 19 November 2013, <mask> released

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texts: his first double album, Love Is Louder (Than All This Noise) Part 1 & 2. It includes boisterous group "sing-alongs", and gentle lullabies, and full live band recordings, as well as more subdued, acoustic settings.<mask> stated that in his first work with producers Ben Leggett and Andre Wahl, they encouraged him to not repeat his previous work and to make use of his producers to push him creatively. While <mask> was nervous, he worked with the pair to explore full live band settings, "loud or... hard" arrangements, and exploring the "acoustic" of his songs, with cello, clarinet and violin arrangements used for different songs. While making the album, Leggett and Wahl challenged <mask> to step outside his "comfort zone" and record with a full band for the first time. Love Is Louder (Than All This Noise) has 21 tracks, with some songs getting both loud and gentle treatments to give the song "two faces," explains <mask>. Cardiff, Leggett and Wahl approached the two sides of the album in two very different ways. For Part 1, they recorded at Chalet Studios, which has previously hosted acts such as Rush and Barenaked Ladies, and Leggett and Wahl coached Cardiff through the process of recording with a backing band, very different from his solo singer-songwriter experience. Cardiff called the live band recordings "very uncomfortable" yet very exciting", particularly noting his work with members of Lindi Ortega's band and piano player and singer-songwriter Mike Evin for Part 1.In Part 2, Cardiff, Leggett and Wahl revisited many of the same songs as Part 1 with strings and wind instrument arrangements. For "There's a song"

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 and "Boy Inside the Boat", Wahl suggested an R&B approach; while Cardiff initially did not like this treatment, in the end Cardiff called these two songs the "...most beautiful standout songs". Cardiff took on new roles for Love Is Louder (Than All This Noise) Part 1 & 2, such as arranging cello parts and, for the first time, helping with the album's production. Floods & Fires

While critics called Love Is Louder (Than All This Noise) Part 1 & 2 different than anything Cardiff has released before, the team behind it is familiar. Ben Leggett (Faraway Neighbours, Ben Hermann) and Andre Wahl (Hawksley Workman, Luke Doucet) also produced Floods & Fires, the album that earned Cardiff a nomination for a 2012 Juno Award for Roots and Traditional Album of the Year: Solo and a Canadian Folk Music Award nomination as 2012 Contemporary Singer of the Year. He called the recordings a "phenomenal experience", and says he gave himself "...permission to explore songs" with "anything from beat boxing to full horn sections." For Floods & Fires, Cardiff and Leggett spent 18 months working in Cardiff's home studio in Arnprior.This was the longest period of time <mask> spent on any of his releases, which are often recorded live or "off the floor" in the studio. For this album, Leggett re-jigged Cardiff's home studio, co-wrote some of the material and even moved into Cardiff's house to get the job done. "I warned him there would be a lot of scope creep with this album because I had an idea how big I wanted it to be, and I wanted to spend a lot of time," says <mask>. "I didn't want to set parameters ... I wanted to feel confident that

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 the songs are fully realized." Floods & Fires represents a new approach to recording for Cardiff. "A lot of my albums have been done off the cuff," <mask> explains.For this album, he took the time and made accepting challenges part of the process and made sure he would not have any regrets after the process. Floods & Fires is considered an ambitious album, as it features a horn section, bowed strings, electronic instrument programming and guest performers, including a high school choir. <mask> has explained that the title (Floods & Fires) alludes to Biblical plagues which bring both destruction and opportunity. The album's 14 tracks examine "love and love's leaving, celebrate parenthood and... explore the balance between heartbreak and joy." <mask> says the songs were "...crafted during a difficult period of my life," says <mask>. "When hard things happened, I kept reminding myself to choose joy instead of choosing to be afraid and closing up. That's what I kept coming back to – fear rents the cheapest room in the house.I didn't want to live like that anymore." Goodnight (Go Home)
When <mask> released his album Goodnight (Go Home) in 2007, media took notice of the fact that he wasn't selling plastic-wrapped, jewel-cased editions of the album during his tour. Instead, he asked fans to bring along USB keys to buy a digital download of the album, although he did sell "old-fashioned CDs" and jewel cases for an additional fee. "The green focus for us is just in reducing the amount of plastic we were using in CDs," says <mask>, who offered album inserts and art to fans who purchased digital music for their USB so they

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texts: would still have a physical connection to the album. The Ottawa Citizen stated that the song "When People Go" had, "unwittingly, become <mask>'s Closing Time." <mask> wrote the "jaunty song about death" with a chorus that states "goodnight, go home, there is nothing more to see here," for his daughter, who was 17 months old at the time, to explain to her what happens to people when they die. After hearing the song, DJs at campus bars in British Columbia and Ontario asked to use it as their last song of the night."I explained that I actually wrote it for my daughter for when she starts asking questions about death and funerals" says <mask>. The Brant Advocate pointed out the connection between Brantford, Ontario, and the song "Dance Me Outside". The song was inspired by Cardiff's mother telling him about growing up in Brantford and about First Nations woman outside of town. "She was trying to hitchhike, to catch a ride back in, and couldn't," explains Cardiff. "She ended up passing from exposure. The worst part is that it's all over … Each community has a story like that; it's difficult. So there was that story that existed, and then there was the Bruce McDonald film Dance Me Outside.I hadn't seen the film, but it just had this idea that even in hard things, still having dignity, still standing up tall, even to a very bitter, sad end. That was the idea." "Smallest Wingless", which the Western Gazette has called one of Cardiff's most popular songs, was inspired by a photographer friend who worked closely with Now I Lay Me Down To Sleep, a non-profit organization that provides families of babies who are stillborn or


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 Quebec, and released in 2010. Easter Eggs, released in 2007, is a collection of live recordings from various performances.Featuring songs by Cardiff and by Toronto's Les Cooper, Bombshelter Livingroom was recorded live at the University of Waterloo Bombshelter Pub and was released in 2005. Gingers on Barrington Street, which was released in 2003, is a shared album featuring songs by Cardiff and by Rose Cousins. It was recorded at Ginger's Tavern above the Granite Brewery in downtown Halifax. Collaborations and covers
Cardiff often pays tribute to his favourite songwriters in his performances and on his albums. In 2010, Cardiff released the album Mothers & Daughters, featuring 11 covers of songs written by some of his favourite female songwriters. These include Ani Difranco, Cyndi Lauper, Joni Mitchell, Gillian Welch, Patty Griffin, Sinéad O'Connor, Björk, Indigo Girls and Suzanne Vega. Cardiff's album Fistful of Flowers, released in 2005, features his version of songs written by Peter Gabriel, Elvis Costello, Suzanne Vega, Martin Sexton and others.In 2018, <mask> released a five-song album of exclusively Bob Dylan covers. "I'm a huge fan of other songwriters, and this album is a way to reinterpret what they've done and lend my signature," <mask> told the Queen's Journal. "I've had a lot of requests from listeners who've attended shows over the past few years to put out an album like this, and all of the pieces of the project just fell together." "I'm very proud of how it ended up feeling like a cohesive show," he adds. "And it features musicians I love playing with—Paul Mathew on double bass, Les Cooper on Rhodes


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 piano and guitar, Joel Stouffer on drums. It feels like a hug." Cardiff has built a community of musicians, songwriters, producers and engineers with whom he works closely.Many of them have worked with him on several albums over the years. <mask> has said that he likes collaborating with people who "are challenging and not comfortable with just saying yes to things." He recorded with a band for the first time for his latest album, Love Is Louder (Than All This Noise) Part 1 & 2. Recording live off the floor with musicians James Robertson, Paul Mathew, Sly Juhas, Mike Evin and Robbie Grunwald, <mask> found himself far outside his comfort zone, intimidated and amazed. "It was funny to be intimidated while making this album, to come into the sessions and think, these guys are amazing players, I'd better remember my capo position," he says. "If there's anything I want to get better at, it's to push myself musically by creating those situations with other artists." Ben Leggett and Andre Wahl
<mask> has worked closely with producer/engineer Ben Leggett of North Bay, Ontario, for a number of years, and Leggett has become more involved in the albums.Leggett produced Cardiff's albums Song for Lucy and Mothers and Daughters and provided mixing on the albums Happy, Live at the Boehmer Box Company, Easter Eggs, Bombshelter Livingroom, Fistful of Flowers and Gingers on Barrington Street. Leggett played a much bigger part in the Juno-nominated album Floods & Fires than any previous release, which he and Cardiff recorded over a span of a year and a half. "We really went the extra mile to get the most possible out of the songs.

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 There is everything on this album: Piano, horns, electric guitar, drums, bass, clarinet, saxophone...," says Leggett. "I love the album ... I am very proud of it." With Floods & Fires, Cardiff and Leggett also worked with mixer/producer/engineer Andre Wahl, who provided additional production and mixing.The trio joined forces once again for Cardiff's project 'Love Is Louder (Than All This Noise) Part 1 & 2. Together, Wahl and Leggett pushed Cardiff to make an album that didn't sound like anything he had recorded before. Leggett and Cardiff also worked together to compose the soundtrack for the independent Canadian film In Return by Chris Dymond, which was released in 2012. Les Cooper
When you read the liner notes for many of Cardiff's albums, you will see the name Les Cooper. Besides producing, mixing and arranging on many albums, Cooper has also provided background vocals and played a variety of instruments on Cardiff's releases, including piano, guitar, banjo, organ, and percussion. Whether playing, mixing or producing, Cooper has been involved in the albums Goodnight (Go Home), Auberge Blacksheep, Fistful of Flowers, Gingers on Barrington Street, Soda and Bombshelter Living Room – a shared album featuring original songs written by both Cardiff and Cooper that was recorded live at the University of Waterloo's Bombshelter Pub. Rose Cousins
<mask> has collaborated with Halifax-based singer-songwriter Rose Cousins.She has sung on a number of his albums, and they have released a live album together. Cousins met <mask> while she was a student at Dalhousie University in Halifax. "I fell in love with his music," she


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 recalls. "He became a huge influence, he taught me a lot. In addition to being a terrific songwriter and performer, he's a great entrepreneur." In 2003, <mask> and Cousins released Gingers on Barrington Street, a joint live album they recorded in Halifax. Performing/touring

Cardiff, who has played in camps, backyards, prisons, churches, basements, festivals, kitchens and hundreds of living rooms, is known as an "advocate of alternate venue touring."What takes Cardiff into unique performance venues and into so many living rooms is a willingness to go where his fans want to see him. In 2007, while booking a Canadian tour, he turned to his fans to help him. Through his website, Cardiff asked fans to suggest where he should play and then booked shows through MySpace and Facebook. Many of those venues were small and intimate, and on that tour, Cardiff booked three house concerts. Because he is going where his fans suggest he play, Cardiff asks them to help spread the word about his shows. "It's not unmediated. It's just more fan-directed, and that's exciting," he says of what the Globe and Mail called "tour economics on a good-neighbour level," adding: "I think I'll manage to avoid hotels for most of the tour because of fans and friends who are able to offer spare rooms and couches."While headlining the Hay Days festival in Hay River, Northwest Territories in June 2013, Cardiff told The Hub newspaper that after touring in major centres in the United States and Canada, he now prefers going "off the beaten track" to perform. His friendships with local people keeps Cardiff coming back to "alternate" locations that are


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 more difficult to reach, he explains. "Does it make sense financially? Not always. But it's about the connections you form with different people, the friends of friends who help you out." For Cardiff, no crowd is too small and no venue too obscure. "When music happens in places where people don't expect it to, it's more interesting and makes it more important," he says.Cardiff can turn any setting into an intimate affair. And while he's touring, he makes a point of keeping the relationship with his fans personal, as he invites and accepts any opportunity to make his audience as much a part of the performance as he is. "The shows that I enjoy the most happen in places where it's most intimate," <mask> told The Ontarion. "I just like places where people make music or want to have music made for them. I've always felt pretty lucky to [be a part of] that." Cardiff has played with and opened for Glen Phillips, Lucy Kaplansky, Dan Bern, Natalia Zukerman, Andy Stochansky, Sarah Harmer, Kathleen Edwards, Blue Rodeo, Gordon Downie, Hawksley Workman, Sarah Slean, Skydiggers, 54-40 and more. House concerts

Cardiff includes many house concerts on his tours, frequently preceding a larger public show with an intimate performance in a fan's living room."There are people connecting, people introducing themselves to each other", "all these different groups of friends." <mask> has been bringing his music into his fans' homes since the early 2000s. <mask> told Carleton University's Capital Arts Online that he was inspired when, as a teenager in Waterloo, he began volunteering with a woman who organized performances in churches.


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 Trying to expand on that theme, he began playing music and telling stories in an intimate environment by performing in his fans' living rooms. Fans regularly reach invite him to perform in their homes. Lisanna Sullivan, an artist living outside of Whitehorse, Yukon, hosted a house concert in June 2013 and called it "one of the best nights of her life." "It is an element" he is comfortable in, she says of having Cardiff perform in her home.She calls it "one of the best ways to listen to a musician because it is so intimate." Festivals
<mask> has performed at The Tim Hortons Ottawa Dragon Boat Festival, POP Montreal, the Shelter Valley Folk Festival, Hay Days, Hillside Festival, Ottawa Bluesfest and Waterloo Sounds Of Summer. Art and activism
Whether he's performing to a smaller house concert crowd or at a large public gathering, <mask> isn't afraid to mix music with a bit of community activism. <mask> played a last-minute concert in the living room of PhD students in Victoria to help them raise funds for their AIDS outreach exchange to Africa. He has also performed at the University of Western Ontario's mob vote, alongside Rick Mercer. In March 2012, <mask> performed at Phog Lounge in Windsor, Ontario, to support MedOutreach, a program by University of Windsor and University of Western Ontario medical, dental and nursing students that took them to Tanzania to help treat patients at clinics and orphanages. <mask> told the Windsor Star that it's not so much the causes, but the people behind the causes that interest him."Those are the people who are wonderfully dangerous," he says. "They've been bitten." In March

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 2013, <mask> performed a benefit concert in Thunder Bay, Ontario, to raise money for Collateral Damage Project, which is based in Thunder Bay and was founded by Scott Chisholm. The goal of Collateral Damage Project is preventing suicide by stopping stigma, creating proactive dialogue and pushing for gatekeeper training. It was a good fit because <mask> has been a supporter of social causes and an advocate for mental health. He encourages people to be open and share things about themselves, both good and bad. "We all have issues and when we start talking about it … that's the key of making everybody relax a little bit and just be open to everyone," he says.Throughout his career, <mask> has volunteered his time to support organizations such as Extend-A-Family Waterloo Region, Canuck Place, the Ottawa Regional Cancer Foundation's Maplesoft Centre for Cancer Survivorship Care, Elephant Thoughts Educational Outreach, the Oxford People Against the Landfill Alliance and many others. In 2010, he performed at the first-ever Canada Without Poverty Dig'n'it(y) Busking Event in Brantford, Ontario. Workshops
For the past 12 years, <mask> has made a point of taking the time to offer workshops at schools, camps, festivals and churches throughout North America. In the fall of 2012, he did one day-long workshop with students at Churchill Alternative School in Ottawa that impacted the entire school community. Inspired by <mask>'s song Safe Here, teachers Dana Campbell and Natalie Shorkey wanted to incorporate the messages they heard in the song about safety, community and contribution into their classrooms, and they invited Cardiff


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texts: to come to their school. Leading up to Cardiff's visit, they brought their Grade 2/3 and Grade 4/5 classes together to talk about what the song meant to them and brainstorm ideas for a song of their own that would reflect many of the same ideas. Cardiff spent a day at Churchill Alternative School, and the entire school community had a chance to learn about "Music as Magic" with him and to contribute ideas to a song they wrote together that day called Love Turns I Into We."I think what we saw in the students and in ourselves as well was inspiration," says Campbell. "A few teachers came up to me and said they had never seen some of their students so engaged ... It really transformed the kids in a positive way, especially those kids that don't engage as much in what's going on." Multi-aged class groups with primary and junior students came together and participated in 50-minute sessions throughout the day. "Each class had the opportunity to pool their ideas and add their own verses to the song, which resulted in a song that reflected the entire school's ideas of what love is," explains Campbell. "<mask> listened to and wrote down the children's ideas and helped solidify them to create Love Turns I Into We." Cardiff often hosts songwriting workshops with university students, bringing people together to share their ideas.He splits workshop participants into smaller groups to create "a smaller, more comfortable space for sharing their own pieces," giving individuals feedback in a "positive and enriching environment". Cardiff has been facilitating workshops for many years, and he sees them as another way to connect with


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 people who love music. "Workshops provide the opportunity to connect with songwriters who are on campus or in the community," he says. "It's something I've been doing to try and connect that way." As Cardiff sees it, a workshop is not a one-way dialogue, but a conversation. "You end up performing and you kind of do your thing, but the opportunity to encourage people feels like a different piece of work," he says. "I'm excited to meet some of these people 10, 15 years from now and see what they create."In June 2011, <mask> participated in TEDxUWO at the University of Western Ontario in London, Ontario. The theme of this inaugural conference was 'Own Your Passion', and <mask> gave a presentation called Fear is the Cheapest Room in the House in which he spoke about being open and passionate and choosing not to be afraid and also shared some of his songs that relate to those ideas. "The whole concept was talking about success and innovation," <mask> told the Nanaimo News Bulletin. "I would meet so many people during shows and tours who would confide in what they really wanted to be doing. 'I would much rather be doing this' or 'I gave up music because my parents told me it wasn't a good idea' or what have you and then they would have all these explanations as to why it wouldn't work. I just connected those ideas of understanding the importance of trying something and not making decisions that are fear-based." Awards
<mask> was nominated for a 2012 Juno Award for Roots and Traditional Album of the Year: Solo for Floods and Fires in a category with eventual winner Bruce Cockburn, David Francey, Dave Gunning and Lindi


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 Ortega.Floods & Fires also garnered a nomination for <mask> as Contemporary Singer of the Year at the 2012 Canadian Folk Music Awards. Rose Cousins won the award, while Keri Latimer, Geraldine Hollett for The Once, and Catherine MacLellan were also nominated. Cardiff won the Canadian Organization of Campus Activities (COCA) Campus Entertainment Award as best singer-songwriter in both 2014 and 2013. COCA also recognized <mask> in 2007, awarding him the Contemporary Music (Independent) Award. 2012 Juno Awards
In the lead-up to the 2012 Juno Awards ceremony in Ottawa, <mask> had the opportunity to perform his song Safe Here (from his 2011 album Foods & Fires) with former Canadian governor general Michaëlle Jean and pianist Nick Roy at the University of Ottawa. On 26 March 2012, the trio kicked off the Juno Pianos project – which encouraged Juno nominees and members of the public to celebrate Juno Week by playing pianos that had been placed in public spaces all around Ottawa - with this performance. Jean translated the chorus of Safe Here into French, and, after singing, she told the audience that this is a song she can relate to, as she would ask herself on several occasions "am I safe here?"when she arrived in Canada in 1968 after leaving her native country of Haiti. "I ended up recording little bits of the song for her as YouTube links and then we just shared them back and forth and then when we got together she had translated them," says <mask>. "It was pretty sweet. She's a very lovely person and I feel lucky that that happened." Book of Truths
<mask> often passes around a notebook at his shows called a "Book of


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texts: Truths". Audience members are then asked to contribute to this notebook by writing something inside, "... a story, a confession, a hope, a secret. "Gray, Mackenzie "<mask> to host workshop and perform at Tabaret"  The Fulcrum 24 February 2013 "The nature of performing is very egotistical," he has said in the past."There is one microphone and generally I get to have it for most of the time … the book just came from a place of wanting to give people an outlet to write down some of these stories." The Book of Truths was born when Cardiff gave one of his notebooks to a couple and asked them to write down the story they told him about their connection with his music so that he wouldn't forget it. Over the years, a number of Cardiff's songs have been inspired by entries in his Book of Truths. The bittersweet themes running throughout his latest album, Love Is Louder (Than All This Noise) Part 1 & 2 largely stem from those stories, written anonymously by fans. "I feel a lot of these songs all started with getting one particular note from an audience member," says Cardiff. "This person had written about having a terrible year and wanting to take their own life. Just hard stuff.At the end of the night, I wrote a note back to them and later posted it online. A bunch of other people responded to it, and I feel like that idea carried over – as hard as it is to stay one more day, just don't make any big decisions tonight. Wait until tomorrow morning. That kept coming up [in my writing], being so inside of your head that it's all thinking and no feeling." One song, Memo, was written as a response to a heartbreaking entry shared


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 in the book by one woman. "I wanted to find the person and make sure they were okay … that they knew this was all just noise and everything would be okay..." says <mask>. In 2011, <mask> printed his first edition of the Book of Truths, which he sells through his website and at shows.Musical style and influences

<mask> has described his style as "folk with a dash of sing-along and storytelling." Cardiff's music blends many songwriter genres, including folk, country, rock and traditional, always with an emphasis on strong lyrics that relate a story. He is known for engaging fans during performances, his wide vocal range and his ability to improvise, as well as for creating cohesive, emotional performances through his on-stage humour and storytelling. "A big part of what I do at my shows is improv, in terms of crowd sing-along or the book of truth project – that's been woven into everything – in terms of crowd readings and collecting these different pieces from the audience members," <mask> told the Rocky Mountain Outlook. "The songs are constantly being re-examined and re-presented in different ways." "Whatever magic happens when people are opened up a bit and just being with each other is a pretty special thing, and that requires the person performing to invite that from the audience, rather than simply pushing noise to them," he adds. After an intimate show at Vinyl in Guelph, Ontario, Josh Doyle remarked in The Ontarion that <mask>'s "call and response style of involving the audience made it less of a concert and more of a large group of friends and strangers getting together … Cardiff involved his audience to


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 the point that they stopped being an audience … His between song antics and personable approach made it also a comedy show, as Cardiff pulled enough material out of the air to have everyone in Vinyl laughing hysterically."Lynn Saxberg of the Ottawa Citizen has said that "his folky melodies and soft vocals are as warm and soothing as a cup of hot chocolate. Like Paul Simon, Van Morrison and John Mayer, he finds a balance between heartache and joy." Cardiff's singing style has been compared to that of Nick Drake. Cardiff integrates live looping, beatboxing and other non-traditional performance techniques into his live performances. "A storyteller at heart, Cardiff is renowned for his acoustic guitar-playing and soft voice, as well as the ingenious use of a digital looping pedal he performs with, which he uses to layer guitar and vocal effects over top of each other," Nick Roy noted in the Queen's Journal. Cardiff has a wide variety of influences, and he has listed B.B. King, Ani DiFranco and Scott Merritt among them.Elvis Costello and Paul Simon are also among his favourite musicians. "I tend to like somebody whose lyrics will stand up on their own without the melody," says <mask>. Film soundtracks
In 2010, <mask> and Leggett re-recorded Cardiff's song Barney and Miriam, a tribute to the Mordecai Richler novel Barney's Version that had previously been released on Ginger's on Barrington Street with Rose Cousins in 2003, during sessions for the album Floods and Fires. The song was featured on the soundtrack for the Canadian comedy-drama Barney's Version. Cardiff's work was featured in the soundtrack for an independent


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texts: Canadian film that was named Audience Choice Best Feature at the Cinéfest Sudbury International Film Festival in September 2012. <mask> teamed up with Leggett once again to compose the soundtrack for In Return, a dark romantic comedy written and directed by Chris Dymond. The film features original compositions by <mask> and Leggett, Cardiff's songs from Floods & Fires, and songs by Ontario bands The Famly and Faraway


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<mask> (February 20, 1902 – April 22, 1984) was an American landscape photographer and environmentalist known for his black-and-white images of the American West. He helped found Group f/64, an association of photographers advocating "pure" photography which favored sharp focus and the use of the full tonal range of a photograph. He and Fred Archer developed an exacting system of image-making called the Zone System, a method of achieving a desired final print through a deeply technical understanding of how tonal range is recorded and developed during exposure, negative development, and printing. The resulting clarity and depth of such images characterized his photography. <mask> was a life-long advocate for environmental conservation, and his photographic practice was deeply entwined with this advocacy. At age 12, he was given his first camera during his first visit to Yosemite National Park. He developed his early photographic work as a member of the Sierra Club.He was later contracted with the United States Department of the Interior to make photographs of national parks. For his work and his persistent advocacy, which helped expand the National Park system, he was awarded the Presidential Medal of Freedom in 1980. <mask> was a key advisor in establishing the photography department at the Museum of Modern Art in New York, an important landmark in securing photography's institutional legitimacy. He helped to stage that department's first photography exhibition, helped found the photography magazine Aperture, and co-founded the Center for Creative Photography at the University of Arizona. Early life

Birth
<mask> was born in the Fillmore District of San Francisco, the only child of Charles Hitchcock <mask> and Olive

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 Bray. He was named after his uncle, <mask> Easton. His mother's family came from Baltimore, where his maternal grandfather had a successful freight-hauling business but lost his wealth investing in failed mining and real estate ventures in Nevada.The <mask> family came from New England, having migrated from the north of Ireland during the early 18th century. His paternal grandfather founded a prosperous lumber business which his father later managed. Later in life, <mask> condemned the industry his grandfather worked in for cutting down many of the great redwood forests. Early childhood
One of <mask>'s earliest memories was watching the smoke from the fires caused by the 1906 San Francisco earthquake. Then four years old, <mask> was uninjured in the initial shaking but was tossed face-first into a garden wall during an aftershock three hours later, breaking and scarring his nose. A doctor recommended that his nose be reset once he reached maturity, but it remained crooked and necessitated mouth breathing for the rest of his life. In 1907, his family moved  west to a new home near the Seacliff neighborhood of San Francisco, just south of the Presidio Army Base.The home had a "splendid view" of the Golden Gate and the Marin Headlands. <mask> was a hyperactive child and prone to frequent sickness and hypochondria. He had few friends, but his family home and surroundings on the heights facing the Golden Gate provided ample childhood activities. He had little patience for games or sports; but he enjoyed the beauty of nature from an early age, collecting bugs and exploring Lobos Creek all the way to Baker Beach and the sea cliffs leading to Lands End, "San Francisco's wildest and rockiest coast, a place strewn with

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 shipwrecks and rife with landslides." Early education
<mask>'s father had a three-inch telescope; and they enthusiastically shared the hobby of astronomy, visiting the Lick Observatory on Mount Hamilton together. His father later served as the paid secretary-treasurer of the Astronomical Society of the Pacific, from 1925 to 1950. <mask>'s business suffered large financial losses after the death of his father in the aftermath of the Panic of 1907.Some of the loss was due to his uncle <mask> Easton and Cedric Wright's father George secretly having sold their shares of the company, "knowingly providing the controlling interest", to the Hawaiian Sugar Trust for a large amount of money. By 1912, the family's standard of living had dropped sharply. <mask> was dismissed from several private schools for being restless and inattentive, so when he was 12, his father decided to remove him from school. For the next two years he was educated by private tutors, his aunt Mary, and his father. Mary was a devotee of Robert G. Ingersoll, a 19th-century agnostic and women's suffrage advocate, so Ingersoll's teachings were important to his upbringing. During the Panama–Pacific International Exposition in 1915, his father insisted that he spend part of each day studying the exhibits as part of his education. He eventually resumed, and completed, his formal education by attending the Mrs. Kate M. Wilkins Private School, graduating from the eighth grade on June 8, 1917.During his later years, he displayed his diploma in the guest bathroom of his home. His father raised him to follow the ideas of Ralph Waldo Emerson: to live a modest, moral life guided by a social responsibility to man and nature. <mask> had a loving relationship with his

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 father, but he had a distant relationship with his mother, who did not approve of his interest in photography. The day after her death in 1950, <mask> had a dispute with the undertaker when choosing the casket in which to bury her. He chose the cheapest in the room, a $260 coffin that seemed the least he could purchase without doing the job himself. The undertaker remarked, "Have you no respect for the dead?" <mask> replied, "One more crack like that and I will take Mama elsewhere."Youth

<mask> became interested in playing the piano at age 12 after hearing his 16-year-old neighbor Henry Cowell play on the <mask>es' piano, and he taught himself to play and read music. Cowell, who later became a well-known avant-garde composer, gave <mask> some lessons. Over the next decade, three music teachers pushed him to develop technique and discipline, and he became determined to pursue a career as a classical pianist. <mask> first visited Yosemite National Park in 1916 with his family. He wrote of his first view of the valley: "the splendor of Yosemite burst upon us and it was glorious…. One wonder after another descended upon us…. There was light everywhere….A new era began for me." His father gave him his first camera during that stay, an Eastman Kodak Brownie box camera, and he took his first photographs with his "usual hyperactive enthusiasm". He returned to Yosemite on his own the next year with better cameras and a tripod. During the winters of 1917 and 1918, he learned basic darkroom technique while working part-time for a San Francisco photograph finisher. <mask> contracted the Spanish Flu during the 1918 flu pandemic, from which he needed several weeks to recuperate. He read a book about lepers and became obsessed

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 with cleanliness; he was afraid to touch anything without immediately washing his hands afterwards. Over the objections of his doctor, he prevailed on his parents to take him back to Yosemite, and the visit cured him of his disease and compulsions.<mask> avidly read photography magazines, attended camera club meetings, and went to photography and art exhibits. He explored the High Sierra during summer and winter with retired geologist and amateur ornithologist Francis Holman, whom he called "Uncle Frank". Holman taught him camping and climbing; however, their shared ignorance of safe climbing techniques such as belaying almost led to disaster on more than one occasion. While in Yosemite, <mask> had need of a piano to practice on. A ranger introduced him to landscape painter Harry Best, who kept a studio home in Yosemite and lived there during the summers. Best allowed <mask> to practice on his old square piano. <mask> grew interested in Best's daughter Virginia and later married her.On her father's death in 1936, Virginia inherited the studio and continued to operate it until 1971. The studio is now known as the Ansel <mask> Gallery and remains owned by the <mask> family. Sierra Club and piano work
At age 17, <mask> joined the Sierra Club, a group dedicated to protecting the wild places of the earth, and he was hired as the summer caretaker of the Sierra Club visitor facility in Yosemite Valley, the LeConte Memorial Lodge, from 1920 to 1923. He remained a member throughout his lifetime and served as a director, as did his wife. He was first elected to the Sierra Club's board of directors in 1934 and served on the board for 37 years. <mask> participated in the club's annual High Trips, later becoming assistant manager

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 and official photographer for the trips. He is credited with several first ascents in the Sierra Nevada.During his twenties, most of his friends had musical associations, particularly violinist and amateur photographer Cedric Wright, who became his best friend as well as his philosophical and cultural mentor. Their shared philosophy was from Edward Carpenter's Towards Democracy, a literary work which endorsed the pursuit of beauty in life and art. For several years, <mask> carried a pocket edition with him while at Yosemite; and it became his personal philosophy as well. He later stated, "I believe in beauty. I believe in stones and water, air and soil, people and their future and their fate." During summer, <mask> would enjoy a life of hiking, camping, and photographing; and the rest of the year he worked to improve his piano playing, perfecting his piano technique and musical expression. He also gave piano lessons for extra income that allowed him to purchase a grand piano suitable to his musical ambitions.<mask> was still planning a career in music. He felt that his small hands limited his repertoire, but qualified judges considered him a gifted pianist. However, when he formed the Milanvi Trio with a violinist and a dancer, he proved a poor accompanist. It took seven more years for him to conclude that, at best, he might become only a concert pianist of limited range, an accompanist, or a piano teacher. Photographic career

1920s

Pictorialism

<mask>'s first photographs were published in 1921, and Best's Studio began selling his Yosemite prints the next year. His early photos already showed careful composition and sensitivity to tonal balance. In letters and cards to family, he wrote of having dared to climb to

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 the best viewpoints and to brave the worst elements.During the mid-1920s, the fashion in photography was pictorialism, which strove to imitate paintings with soft focus, diffused light, and other techniques. <mask> experimented with such techniques, as well as the bromoil process, which involved brushing an oily ink onto the paper. An example is Lodgepole Pines, Lyell Fork of the Merced River, Yosemite National Park (originally named Tamarack Pine), taken in 1921. <mask> used a soft-focus lens, "capturing a glowing luminosity that captured the mood of a magical summer afternoon". For a short time <mask> used hand-coloring, but declared in 1923 that he would do this no longer. By 1925 he had rejected pictorialism altogether for a more realistic approach that relied on sharp focus, heightened contrast, precise exposure, and darkroom craftsmanship. Monolith

In 1927, <mask> began working with Albert M. Bender, a San Francisco insurance magnate and arts patron.Bender helped <mask> produce his first portfolio in his new style, Parmelian Prints of the High Sierras, which included his famous image Monolith, the Face of Half Dome, which was taken with his Korona view camera, using glass plates and a dark red filter (to heighten the tonal contrasts). On that excursion, he had only one plate left, and he "visualized" the effect of the blackened sky before risking the last image. He later said, "I had been able to realize a desired image: not the way the subject appeared in reality but how it felt to me and how it must appear in the finished print." One biographer calls Monolith <mask>'s most significant photograph because the "extreme manipulation of tonal values" was a departure from all previous photography. <mask>'s concept

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 of visualization, which he first defined in print in 1934, became a core principle in his photography. <mask>'s first portfolio was a success, earning nearly $3,900 with the sponsorship and promotion of Bender. Soon he received commercial assignments to photograph the wealthy patrons who bought his portfolio.He also began to understand how important it was that his carefully crafted photos were reproduced to best effect. At Bender's invitation, he joined the Roxburghe Club, an association devoted to fine printing and high standards in book arts. He learned much about printing techniques, inks, design, and layout, which he later applied to other projects. <mask> married Virginia Best in 1928, after a pause from 1925 to 1926 during which he had brief relationships with various women. The newlyweds moved in with his parents to save expenses. The following year, they had a home built next door and connected it to the older house by a hallway. 1930s

Pure photography

Between 1929 and 1942, <mask>'s work matured, and he became more established.The 1930s were a particularly experimental and productive time for him. He expanded the technical range of his works, emphasizing detailed close-ups as well as large forms, from mountains to factories. Bender took <mask> on visits to Taos, New Mexico, where <mask> met and made friends with the poet Robinson Jeffers, artists John Marin and Georgia O'Keeffe, and photographer Paul Strand. His talkative, high-spirited nature combined with his excellent piano playing made him popular among his artist friends. His first book, Taos Pueblo, was published in 1930 with text by writer Mary Hunter Austin. Strand proved especially influential. <mask> was impressed by the simplicity and detail of

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texts: Strand's negatives, which showed a style that ran counter to the soft-focus, impressionistic pictorialism still popular at the time.Strand shared secrets of his technique with <mask> and convinced him to pursue photography fully. One of Strand's suggestions that <mask> adopted was to use glossy paper to intensify tonal values. <mask> put on his first solo museum exhibition, Pictorial Photographs of the Sierra Nevada Mountains by <mask> <mask>, at the Smithsonian Institution in 1931; it featured 60 prints taken in the High Sierra and the Canadian Rockies. He received a favorable review from the Washington Post: "His photographs are like portraits of the giant peaks, which seem to be inhabited by mythical gods." Despite his success, <mask> felt that he was not yet up to the standards of Strand. He decided to broaden his subject matter to include still life and close-up photos and to achieve higher quality by "visualizing" each image before taking it. He emphasized the use of small apertures and long exposures in natural light, which created sharp details with a wide range of distances in focus, as demonstrated in Rose and Driftwood (1933), one of his finest still-life photographs.In 1932, <mask> had a group show at the M. H. de Young Museum with Imogen Cunningham and Edward Weston, and they soon formed Group f/64 which espoused "pure or straight photography" over pictorialism ( being a very small aperture setting that gives great depth of field). The group's manifesto stated: "Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form." Imitating the example of photographer Alfred Stieglitz, <mask> opened his own art and photography gallery in San Francisco

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 in 1933. He also began to publish essays in photography magazines and wrote his first instructional book, Making a Photograph, in 1935. Sierra Nevada
During the summers, <mask> often participated in Sierra Club High Trips outings, as a paid photographer for the group; and the rest of the year a core group of Club members socialized regularly in San Francisco and Berkeley. In 1933, his first child Michael was born, followed by Anne two years later. During the 1930s, <mask> began to deploy his photographs in the cause of wilderness preservation.He was inspired partly by the increasing incursion into Yosemite Valley of commercial development, including a pool hall, bowling alley, golf course, shops, and automobile traffic. He created the limited-edition book Sierra Nevada: The John Muir Trail in 1938, as part of the Sierra Club's efforts to secure the designation of Kings Canyon as a national park. This book and his testimony before Congress played a vital role in the success of that effort, and Congress designated Kings Canyon as a national park in 1940. In 1935, <mask> created many new photographs of the Sierra Nevada; and one of his most famous, Clearing Winter Storm, depicted the entire Yosemite Valley, just as a winter storm abated, leaving a fresh coat of snow. He gathered his recent work and had a solo show at Stieglitz's "An American Place" gallery in New York in 1936. The exhibition proved successful with both the critics and the buying public, and earned <mask> strong praise from the revered Stieglitz. The following year, the negative for Clearing Winter Storm was almost destroyed when the darkroom in Yosemite caught fire.With the help of Edward Weston and Charis Wilson (Weston's future wife), <mask> put out

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 the fire, but thousands of negatives, including hundreds that had never been printed, were lost. Desert Southwest
In 1937, <mask>, O'Keeffe, and friends organized a month-long camping trip in Arizona, with Orville Cox, the head wrangler at Ghost Ranch, as their guide. Both artists created new work during this trip. <mask> made a candid portrait of O'Keeffe with Cox on the rim of Canyon de Chelly. <mask> once remarked, "Some of my best photographs have been made in and on the rim of [that] canyon." Their works set in the desert Southwest are often published and exhibited together. During the rest of the 1930s, <mask> took on many commercial assignments to supplement the income from the struggling Best's Studio.He depended on such assignments financially until the 1970s. Some of his clients included Kodak, Fortune magazine, Pacific Gas and Electric Company, AT&T, and the American Trust Company. He photographed Timothy L. Pflueger's new Patent Leather Bar for the St. Francis Hotel in 1939. The same year, he was named an editor of U.S. Camera & Travel, the most popular photography magazine at that time. 1940s

In 1940, <mask> created A Pageant of Photography, the largest and most important photography show in the West to date, attended by millions of visitors. With his wife, <mask> completed a children's book and the very successful Illustrated Guide to Yosemite Valley during 1940 and 1941.He also taught photography by giving workshops in Detroit. <mask> also began his first serious stint of teaching, which included the training of military photographers, in 1941 at the Art Center School of Los Angeles, now known as the Art Center College of Design. Mural Project
In 1941, <mask> contracted with the National Park


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 Service to make photographs of National Parks, Indian reservations, and other locations managed by the department, for use as mural-sized prints to decorate the department's new building. The contract was for 180 days. <mask> set off on a road trip with his friend Cedric and his son Michael, intending to combine work on the "Mural Project" with commissions for the U.S. Potash Company and Standard Oil, with some days reserved for personal work. Moonrise
While in New Mexico for the project, <mask> photographed a scene of the Moon rising above a modest village with snow-covered mountains in the background, under a dominating black sky. The photograph is one of his most famous and is named Moonrise, Hernandez, New Mexico.<mask>'s description in his later books of how it was made probably enhanced the photograph's fame: the light on the crosses in the foreground was rapidly fading, and he could not find his exposure meter; however, he remembered the luminance of the Moon and used it to calculate the proper exposure. <mask>'s earlier account was less dramatic, stating simply that the photograph was made after sunset, with exposure determined using his Weston Master meter. However the exposure was actually determined, the foreground was underexposed, the highlights in the clouds were quite dense, and the negative proved difficult to print. The initial publication of Moonrise was in U.S. Camera 1943 annual, after being selected by the "photo judge" for U.S. Camera, Edward Steichen. This gave Moonrise an audience before its first formal exhibition at the Museum of Modern Art in 1944.Over nearly 40 years, <mask> re-interpreted the image, his most popular by far, using the latest darkroom equipment at his disposal, making over


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 1,369 unique prints, mostly in 16" by 20" format. Many of the prints were made during the 1970s, with their sale finally giving <mask> financial independence from commercial projects. The total value of these original prints exceeds $25,000,000; the highest price paid for a single print of Moonrise reached $609,600 at a 2006 Sotheby's auction in New York. The Mural Project ended on June 30, 1942; and because of the World War, the murals were never created. <mask> sent a total of 225 small prints to the DOI, but held on to the 229 negatives. These include many famous images such as The Tetons and the Snake River. Although they were legally the property of the U.S. Government, he knew that the National Archives did not take proper care of photographic material, and used various subterfuges to evade queries.The ownership of one image in particular has attracted interest: Moonrise. Although <mask> kept meticulous records of his travel and expenses, he was less disciplined about recording the dates of his images, and he neglected to note the date of Moonrise. But the position of the Moon allowed the image to be eventually dated from astronomical calculations, and in 1991 Dennis di Cicco of Sky & Telescope determined that Moonrise was made on November 1, 1941. Since this was a day for which he had not billed the department, the image belonged to <mask>. World War II

When Edward Steichen formed his Naval Aviation Photographic Unit in early 1942, he wanted <mask> to be a member, to build and direct a state-of-the-art darkroom and laboratory in Washington, D.C. Around February 1942, Steichen asked <mask> to join him in the navy. <mask> agreed, but with two conditions: He wanted to be commissioned as an officer, and he would


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texts: not be available until July 1. Steichen, who wanted the team assembled as quickly as possible, passed on <mask> and had his other photographers ready by early April.<mask> was distressed by the Japanese American internment that occurred after the Pearl Harbor attack. He requested permission to visit the Manzanar War Relocation Center in the Owens Valley, at the base of Mount Williamson. The resulting photo-essay first appeared in a Museum of Modern Art exhibit, and later was published as Born Free and Equal: The Story of Loyal Japanese-Americans. Upon its release, "[the book] was met with some distressing resistance and was rejected by many as disloyal." This work was a significant departure, stylistically and philosophically, from the work for which <mask> is generally known. He also contributed to the war effort by doing many photographic assignments for the military, including making prints of secret Japanese installations in the Aleutians. In 1943, <mask> had a camera platform mounted on his station wagon, to afford him a better vantage point over the immediate foreground and a better angle for expansive backgrounds.Most of his landscapes from that time forward were made from the roof of his car rather than from summits reached by rugged hiking, as in his earlier days. <mask> was the recipient of three Guggenheim Fellowships during his career, the first being awarded in 1946 to photograph every national park. At that time, there were 28 national parks, and <mask> photographed 27 of them, missing only Everglades National Park in Florida. This series of photographs produced memorable images of Old Faithful Geyser, Grand Teton, and Mount McKinley. In 1945, <mask> was asked to form the first fine art photography


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 department at the California School of Fine Arts. <mask> invited Dorothea Lange, Imogen Cunningham, and Edward Weston to be guest lecturers, and Minor White to be the principal instructor. The photography department produced numerous notable photographers, including Philip Hyde, Benjamen Chinn, and Bill Heick.1950s
In 1952 <mask> was one of the founders of the magazine Aperture, which was intended as a serious journal of photography, displaying its best practitioners and newest innovations. He was also a contributor to Arizona Highways, a photo-rich travel magazine. His article on Mission San Xavier del Bac, with text by longtime friend Nancy Newhall, was enlarged into a book published in 1954. This was the first of many collaborations with her. In June 1955, <mask> began his annual workshops at Yosemite. They continued to 1981, attracting thousands of students. He continued with commercial assignments for another twenty years, and became a consultant, with a monthly retainer, for Polaroid Corporation, which was founded by good friend Edwin Land.He made thousands of photographs with Polaroid products, El Capitan, Winter, Sunrise (1968) being the one he considered most memorable. During the final twenty years of his life, the 6x6 cm medium format Hasselblad was his camera of choice, with Moon and Half Dome (1960) being his favorite photograph made with that brand of camera. <mask> published his fourth portfolio, What Majestic Word, in 1963, and dedicated it to the memory of his Sierra Club friend Russell Varian, who was a co-inventor of the klystron and who had died in 1959. The title was taken from the poem "Sand Dunes", by John Varian, Russell's father, and the fifteen photographs were accompanied by the writings of


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 both John and Russell Varian. Russell's widow, Dorothy, wrote the preface, and explained that the photographs were selected to serve as interpretations of the character of Russell Varian. Later career

By the 1960s, <mask> was suffering from gout and arthritis, and hoped that moving to a new home would make him feel better. He and his wife considered Santa Fe, but they both had commitments in California (Virginia was managing the Yosemite studio of her father).A friend offered to sell them a home in Carmel Highlands, on the Big Sur coastline. With architect Eldridge Spencer, they began planning the new home in 1961 and moved there in 1965. <mask> began to devote much of his time to printing the backlog of negatives that had accumulated over forty years. In the 1960s, a few mainstream art galleries that had considered photos unworthy of exhibit alongside fine paintings, decided to show <mask>'s images, particularly the former Kenmore Gallery in Philadelphia. In March 1963, <mask> <mask> and Nancy Newhall accepted a commission from Clark Kerr, the president of the University of California, to produce a series of photographs of the university's campuses to commemorate its centennial celebration. The collection, titled Fiat Lux after the university's motto, was published in 1967 and now resides in the Museum of Photography at the University of California, Riverside. During the 1970s, <mask> reprinted negatives from his vault, in part to satisfy the demand of art museums that had recently established departments of photography.In 1972, <mask> contributed images to help publicize Proposition 20, which authorized the state to regulate development along portions of the California coast. In 1974, he exhibited at the

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 Rencontres d'Arles (formerly known as the Rencontres Internationales de la Photographie d'Arles), an annual summer photography festival in France. He also had a major retrospective exhibition at the Metropolitan Museum of Art. In 1975, he cofounded the Center for Creative Photography at the University of Arizona, which handles some of his estate matters. In 1979, President Jimmy Carter commissioned <mask> to make the first official photographic portrait of a U.S. president. Death and legacy
<mask> died from cardiovascular disease on April 22, 1984, in the intensive-care unit at the Community Hospital of the Monterey Peninsula in Monterey, California, at age 82. He was surrounded by his wife, children Michael and Anne, and five grandchildren.His body was cremated and his ashes were scattered on the Half Dome at Yosemite National Park. Publishing rights for most of <mask>'s photographs are handled by the trustees of The Ansel Adams Publishing Rights Trust. An archive of <mask>'s work is located at the Center for Creative Photography at the University of Arizona in Tucson. Numerous works by the artist have been sold at auction, including a mural-sized print of Clearing Winter Storm, Yosemite National Park, which sold at Sotheby's New York in 2010 for $722,500, the highest price ever paid for an original <mask> <mask> photograph. John Szarkowski states in the introduction to <mask> <mask>: Classic Images (1985, p. 5), "The love that Americans poured out for the work and person of <mask> <mask> during his old age, and that they have continued to express with undiminished enthusiasm since his death, is an extraordinary phenomenon, perhaps even unparalleled in our country's response to a visual artist." Contributions and

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 influence

Landscapes of the American West

Romantic landscape artists Albert Bierstadt and Thomas Moran portrayed the Grand Canyon and Yosemite during the 19th century, followed by photographers Carleton Watkins, Eadweard Muybridge, and George Fiske. <mask>'s work is distinguished from theirs by his interest in the transient and ephemeral.He photographed at varying times of the day and of the year, capturing the landscape's changing light and atmosphere. Art critic John Szarkowski wrote, "<mask> <mask> attuned himself more precisely than any photographer before him to a visual understanding of the specific quality of the light that fell on a specific place at a specific moment. For <mask> the natural landscape is not a fixed and solid sculpture but an insubstantial image, as transient as the light that continually redefines it. This sensibility to the specificity of light was the motive that forced <mask> to develop his legendary photographic technique." The creation of <mask>'s grand, highly detailed images was driven by his interest in the natural environment. With increasing environmental degradation in the West during the 20th century, his photos show a commitment to conservation. His black-and-white photographs were not just documentation, but reflected a sublime experience of nature as a spiritual place.In 1955, Edward Steichen selected <mask>'s Mount Williamson for the world-touring Museum of Modern Art exhibition The Family of Man, which was seen by nine million visitors. At , his was the largest print in the exhibition, presented floor-to-ceiling in a prominent position as the backdrop to the section "Relationships", as a reminder of the essential reliance of humanity on the soil. However, despite its

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 striking and prominent display, <mask> expressed displeasure at the "gross" enlargement and "poor" quality of the print. Group f/64

In 1932, <mask> helped form the anti‐pictorialist Group f/64, a loose and relatively short-lived association of like-minded "straight" or "pure" photographers on the West Coast whose members included Edward Weston and Imogen Cunningham. The modernist group favored sharp focus—f/64 being a very small aperture setting that gives great depth of field on large-format view cameras—contact printing, precisely exposed images of natural forms and found objects, and the use of the entire tonal range of a photograph. <mask> wrote the group's manifesto for their exhibition at the De Young Museum:
Group 64 limits its members and invitational names to those workers who are striving to define photography as an art-form by a simple and direct presentation through purely photographic methods. The Group will show no work at any time that does not conform to its standards of pure photography.Pure photography is defined as possessing no qualities of [technique], composition or ideas, derivative of any other art-form. The production of the "Pictorialist," on the other hand, indicates a devotion to principles of art, which are directly related to painting and the graphic arts. The members of Group 64 believe that Photography, as an art-form, must develop along lines defined by the actualities and limitations of the photographic medium, and must always remain independent of ideological conventions of art and aesthetics that are reminiscent of a period of culture antedating the growth of the medium itself. The f/64 school met with opposition from the pictorialists, particularly William Mortensen, who called

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