title: Leo Brewer

texts:
 Bromley, Paul Gilles and Norman Lofgren, assigned with the threefold task of predicting the possible high-temperature properties of the newly discovered element plutonium, then available only in trace amounts; developing refractory materials capable of containing molten plutonium without excessive contamination, even if the worst predictions should be true; and developing a micro-analytical procedure for the determination of oxygen. The first of these tasks led to a fundamental examination of the behavior of all elements at high temperature, and resulted in a series of papers describing the high-temperature behavior of metals, oxides, halides, and many other compounds. The second task led to the development of the refractory sulfides of cerium (Ce), thorium (Th), and uranium (U). The third task led to development of a micro method of analysis of electropositive metals using a molten platinum bath. The immediate result of the research was the creation of the new material cerium sulfide (CeS), from which they made several hundred crucibles for use at Los Alamos National Laboratory. <mask>'s crucibles were ready when the plutonium became available.Academic career

In 1946, following his service as a member of the Manhattan Project, <mask> was appointed an assistant professor in the Department of Chemistry at the University of California. He rose steadily through the ranks, achieving the rank of full professor in 1955. <mask> served as a faculty member of the Department of Chemistry for over sixty years, during which time he directed 41 Ph.D. candidates, and nearly two-dozen post-doctoral research associates. In addition to his academic appointment, <mask> was associated with the Lawrence Berkeley National Laboratory (formerly the Lawrence Radiation Laboratory) from 1943–1994, and served as Director of the Inorganic Materials Research Division of LBNL from its inception in 1961 until 1975. <mask>'s dual appointment afforded him the opportunity to take an active role in all levels of academic instruction, both inside and outside of the laboratory. Besides providing classroom

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title: Leo Brewer

type: original

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 instruction in solid-state chemistry, heterogeneous equilibria, and inorganic chemistry, <mask> also delivered lectures and supervised laboratory work for laboratory courses in freshman chemistry, advanced quantitative analysis, instrumental analysis, inorganic synthesis, inorganic reactions, and organic chemistry, as well as courses in chemical thermodynamics from the sophomore to graduate student level. In order to ensure a high standard of instruction at even the most basic levels, <mask> initiated a course for freshman-chemistry teaching assistants that reviewed principles and certified their ability to adequately fulfill their responsibilities.<mask> was a caring and gifted teacher who was greatly admired by students and colleagues alike. In 1966 he was selected by the Academic Senate at UC Berkeley to deliver the annual Faculty Research Lecture. The title of his lecture was, "A Broad University Education Leads to Astrochemistry." In 1988, in recognition of his achievements as an educator, he received the Henry B. Linford Award for Distinguished Teaching from the Electrochemical Society. Upon his official retirement from the University of California, Berkeley in 1989, he was presented with the Berkeley Citation, and an academic symposium was held in his honor. Professional service

<mask> was instrumental in founding the National Academy of Sciences' National Research Council Committee on High-Temperature Chemistry, as well as organizing the first Gordon Research Conference on High-Temperature Chemistry in 1960. At the request of the Atomic Energy Commission and its successors, the Energy Research and Development Administration, and the Department of Energy, <mask> worked on numerous committees, including the DOE Council for Materials Sciences and the DOE Selection Committee for the Fermi Award.He also maintained close ties with organizations that represented the international scientific community, including the International Union of Pure and Applied Chemistry (IUPAC), and the International Atomic Energy Agency. <mask> sat on the editorial advisory boards of many respected

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title: Leo Brewer

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 scholarly journals and academic monograph series, including the Journal of Physical Chemistry Solids (1956–1992), Progress in Organic Chemistry (1958–1969), the Journal of Chemistry Physics (associate editor, 1959–1963), Progress in Inorganic Chemistry (1967–2005), Progress in Solid State Chemistry (1967–1996), High Temperature Science (founder, 1968–2005), the Journal of Chemistry Thermodynamics (1969–1978), the Journal of Solid State Chemistry (1969–1984), the Journal of the Electrochemical Society (divisional editor, 1976–1984), the Journal of Chemical & Engineering Data, the Journal of Physical Chemistry Ref. Data (1978–1981, 1989–1992), the Metals Handbook (co-editor, 1983), the Princeton Series in the Physico-Chemical Sciences for Technology (co-editor, 1983–2005), and the Handbook of Chemistry and Physics (1991). In addition, <mask> single-handedly compiled and maintained Part II of the Bibliography on the High-Temperature Chemistry and Physics of Materials. Besides his distinguished career as a chemist and educator, <mask> was also an avid gardener who held a keen interest in native California plant life. In 1965, he became one of the founding members of the California Native Plant Society. A species of manzanita was named after him to honor his contribution to the study and preservation of California's native flora: Arctostaphylos uva-ursi leo-breweri, also referred to as "<mask>'s Manzanita."Writings

Outside of his editorial work, <mask> authored nearly 200 articles on a variety of advanced topics in the field of thermodynamics. In addition, in 1961, he and Kenneth Pitzer revised Gilbert N. Lewis and Merle Randall's classic 1923 text, Thermodynamics and the Free Energy of Chemical Substances. Research focus

Although <mask>'s research covered an unusually wide range of subjects and employed a multitude of techniques from theory to spectroscopy, his primary focus was on high-temperature thermodynamics, materials science (including refractory containment materials), studies of metallic phases, and the development of metallic bonding theory, incorporating the concepts of

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title: Leo Brewer

texts: electron promotion and generalized acid-base theory. He was also involved at different points in his career with astrophysics and ceramics. <mask>'s early high-temperature work also showed that the equilibrium vapor above CuCl was mainly Cu3Cl3 molecules at normal pressures. This simple observation led to what became known as <mask>'s Rule. He showed that when vapor and condensed phases are in equilibrium, the vapor species become more complex as the temperature is raised.This includes the formation of polymers and unusual oxidation states. His rule became the foundation of the field of high-temperature chemistry. Much of his research focused on resolving discrepancies between reported experimental values and values predicted by chemical bonding models. In many instances, the reported data were shown to be in error, and the reliability of the model was confirmed. Examples are the demonstrations that the enthalpies of formation of C(g) and N(g) were much larger than the widely accepted values. <mask>'s compilation of the thermodynamic properties and phase diagrams of 101 binary systems of molybdenum provides many examples of use of predictive models when no reliable experimental data are available. In some instances, the experimental results were confirmed and it was necessary to improve the models.An example would be the neglect of gaseous polymer species at high temperatures. The war-time study uncovered evidence of polymerization in high-temperature vapors. This led to a general theory which predicted that saturated high-temperature vapors would be complex mixtures of species and that the complexity would increase with increasing temperature. These predictions have been confirmed by high-temperature workers for many systems. The refractory studies initiated with the sulfides were extended to studies of silicides and borides and other refractory phases. The experience on the Manhattan Project on the use of platinum to reduce the volatility of lanthanides and actinides were extended to a wide range of transition metal intermetallic compounds through use of the Engel correlation

masks: Brewer Brewer Brewer


title: Leo Brewer

texts: of electronic and crystal structures that has led to the prediction of the structures and compositions of the phases of most of the two billion multi-component phase diagrams of the transition metals. <mask> devoted major effort to the characterization of the thermodynamic properties at high temperatures, and the critical evaluations of the thermodynamic properties from the Manhattan Project were updated periodically.One of <mask>'s compilations covered the thermodynamic properties of the solid, liquid and gaseous phases of the elements and their oxides between room temperature and temperature to above 3000 K. The thermodynamic applications of these data were well-illustrated by the 2nd edition of Lewis and Randall's Thermodynamics, which <mask> and Kenneth Pitzer revised in 1961. <mask>'s global interest in all of the elements is illustrated by a paper in 1951 on the equilibrium distribution of the elements in the Earth's gravitational field. <mask> conducted a wide range of spectroscopic studies both at high temperatures and in matrices to fix the thermodynamic properties of high-temperature vapors. From 1950 to 1970, <mask> published many papers on the analysis of the spectra produced by high-temperature gaseous molecules. Several of these papers described a molecular beam method for determining their ground electronic states. When low temperature matrix isolation was developed by George Pimentel at UC Berkeley, <mask> produced many papers on the spectra of his high-temperature molecules in a frozen inert matrix. <mask> also had a long-term interest in the electronic states of I2, and he had several papers on its remarkable complexities.Much of <mask>'s later research was aimed at characterizing the extremely strong generalized Lewis acid-base interactions between lanthanides, actinides and left-hand transition metals with the platinum group metals. A combination of high-temperature solid electrolyte cells, equilibration with oxides, carbides and nitrides, and vapor pressure measurements were used. These intermetallics were shown to be among the most stable of all types of

masks: Brewer Brewer Brewer Brewer Brewer Brewer Brewer Brewer Brewer


title: Leo Brewer

texts:
 compounds, as predicted by the Engel theory. Engel had suggested a correlation between the number of conduction electrons and the crystal structure of the metals. <mask> extended this concept to include the nature of d and f electrons, and the concept of acid-base interactions. Starting investigations with undergraduate students, he tested these ideas by heating ZrC with the noble metal platinum, and found that the formation of ZrPt3 released a great deal of energy despite the great stability of ZrC. Over several years <mask> developed the <mask>gel theory for such bonds, and he published many papers about its application.Awards received
<mask>'s professional achievements were recognized with many awards and honors, including the L.H. Baekeland Award of the American Chemical Society (1953), the E. O. Lawrence Award of the Atomic Energy Commission (1961), the Olin Palladium Award of the Electrochemical Society (1971), and the William Hume-Rothery Award of the Metallurgical Society of the American Institute of Mining (1983). <mask> also served as a Guggenheim Fellow (1950) and as an elected member of the National Academy of Sciences (1959), the American Academy of Arts and Sciences (1979), and the American Society for Metals. In 1984, a special festschrift in his honor was prepared by his former students and colleagues, published under the title Modern High Temperature Science. Partially adapted from an autobiographical essay written by <mask>, as well as biographical essays prepared by his colleagues and students, including Paul Gilles, Karen Kruschwitz, Rollie Myers, Gerd Rosenblatt, Herbert L. Strauss, Richard M<mask>, and Jane Scheiber. References

External links
 <mask> In Memoriam
 <mask> In Memoriam
 <mask>'s papers at The Bancroft Library

1919 births
2005 deaths
20th-century American physicists
20th-century American chemists
Manhattan Project people
California Institute of Technology alumni
University of California, Berkeley alumni
UC Berkeley College of Chemistry faculty
Members of the United States National Academy of Sciences
Chemists from Missouri
Fellows of the

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title: Page McConnell

texts: <mask> (born May 17, 1963 in Philadelphia, Pennsylvania) is an American multi-instrumentalist most noted for his work as the keyboardist and a songwriter for the band Phish. In addition to having been a member of Phish since 1985, <mask> has been part of a number of other side projects, including leading the electronic jazz fusion band Vida Blue and acting as a session musician for the comedy rock duo Tenacious D. He released his debut solo album, <mask>, in 2007. <mask> was born in Philadelphia, Pennsylvania in 1963. By age four, he began to learn to play the piano, and in 1969 his family relocated to Basking Ridge, New Jersey. He continued his musical studies, eventually playing in bands with friends by seventh grade. His father, Dr. Jack B<mask>, worked at McNeil Laboratories and helped to develop Tylenol and the MRI. The elder <mask> then started a free health clinic, Volunteers in Medicine, that is staffed by retired health workers in Hilton Head, South Carolina.<mask> died in February 2018. <mask> spent a year at Gill St. Bernard's School, in Gladstone, New Jersey before moving. <mask> spent his senior year of high school at Lawrence Academy, a boarding school in Groton, Massachusetts, and then attended Southern Methodist University from Fall 1982 to Spring 1984, where he joined Kappa Alpha Order and took a course called Imagination, Awareness, and Ideas taught by Donald Pasquella (based on Pasquella's 1974 paper called Imagination, Awareness, and Ideas: Helping The Student Become More Creative), which <mask> later credited in his Goddard College senior study as "the most

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title: Page McConnell

texts:
 important course I have ever taken." <mask> transferred to Goddard College in the fall of 1984 where he met his mentor, saxophonist Karl Boyle, and wrote his senior study, The Art of Improvisation under Boyle's guidance. In his senior study, <mask> credited music teacher, Doug Freuler, for introducing him to jazz improvisation, and pianist Lar Duggan as “single most important person in helping me develop my improvisation”. <mask> graduated from Goddard in December 1987. <mask> joined Phish in 1985 and played with the band for the first time on May 3 of that year.<mask> has written a number of Phish originals including "Cars Trucks Buses," "Magilla," "Army of One," "I Been Around," "Windy City," "Halfway to the Moon," "If I Told You." and "Things People Do." He has also coauthored numerous other songs with the band. Other musical projects
In 1997, <mask> played keyboards on the title track of Scottish band Travis' debut album Good Feeling. The album was produced by Steve Lillywhite, who had produced Phish's Billy Breathes album in 1996. In early 2001, <mask> recorded with Tenacious D on their debut album, later joining the band onstage that September for a show at the Higher Ground nightclub in Winooski, Vermont. That same year, with Oteil Burbridge and Russell Batiste, <mask> was a founding member of Vida Blue which performed from 2001 to 2004, and reformed to record an album in 2018.After a two-year hiatus from the music industry during Phish's hiatus, <mask> returned as a solo artist, recording an album of all new material in 2006. This eponymous album was released April 17, 2007

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title: Page McConnell

texts:
 through Sony/BMG's Legacy Recordings. On signing with Legacy, <mask> has stated, "I know a lot of people on the internet, and that's certainly an option – especially these days and especially if you're catering to the Phish fans who already know who I am. But I wanted a little bit more than that... I was proud of the record, and I wanted as many people as possible to hear it when I was done with it." <mask> headlined the High Sierra Music Festival in July 2007, which was held in Quincy, California. His touring band features multi-instrumentalist Jared Slomoff, guitarist Adam Zimmon, bassist Rob O'Dea, and drummer Gabe Jarrett.Said <mask>, "I have a really good feeling about this group. It feels like a band, although it's in its infancy right now. It really does feel like there is a collective consciousness." From 2012 to 2015, <mask> toured on occasion with members of The Meters as The Meter Men. Instruments
<mask>'s current rig on Phish includes:
 a Hohner D6 Clavinet (running through a Whirlwind Orange Box phaser pedal and then to a Vox 847A wah-wah pedal and finally into a Fender Deluxe Reverb amp)
 a 1991 Yamaha C7 concert grand (7'6") piano (since 2.3.93) mic'ed with a Helpinstill model 280 piano pickup and Neuman KM184 microphones
 a Hammond B3 organ with a Leslie 122 speaker (modified with individual percussion and chorus output knobs for a more tuned effect)
 a 2019 Moog One 16 voice tri-timbral polyphonic synthesizer. The Moog One is the first polyphonic analog synthesizer from Moog in more than three decades
 a Wurlitzer model 200 electric piano with a custom blue sparkle

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title: Herbert Freudenberger

texts:
<mask><mask> (1926–1999) was a  German-born American psychologist. Though Freudenberger had many jobs during his life, including practitioner, editor, theoretician, and author, his most significant contribution is in the understanding and treatment of stress, chronic fatigue and substance abuse. Freudenberger was one of the first to describe the symptoms of exhaustion professionally and perform a comprehensive study of "burnout". In 1980, he published a book dealing with chronic fatigue, which became a standard reference for the phenomenon. Freudenberger was awarded the American Psychological Foundation Gold Medal Award for Life Achievement in the Practice of Psychology in 1999. Early life
Freudenberger was born on November 26, 1926 in Frankfurt, Germany, to a middle-class Jewish-German family. His father was a cattle dealer, while his mother had three jobs: bookkeeper, housekeeper, and business partner.During 1933, Hitler acquired power in Germany. Freudenberger's family was threatened with persecution by the Nazis. After the beating of Freudenberger's grandmother and the death of his grandfather, he fled to the United States, with his parents' approval and a false passport. Traveling alone through multiple cities and countries, Freudenberger arrived in New York, where he cared for himself until a relative gave him shelter. Once he had settled in New York, Freudenberger quickly learned English, and graduated from a junior high school with honors. When his parents finally came to the U.S.A., Freudenberger began work as a tool and die maker's apprentice to assist them, instead of beginning high school. Education
Without a high school diploma and working at the manufacturing plant, Freudenberger began attending night classes at Brooklyn College.In a psychology class, he made the acquaintance of Abraham Maslow, who influenced Freudenberger to earn a degree in psychology and was his model and mentor. During 1951, Freudenberger received his bachelor's degree in psychology from Brooklyn College. He entered New York

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title: Sally Mann

texts:
<mask> HonFRPS (born <mask>; May 1, 1951) is an American photographer who has made large format black and white photographs—at first of her young children, then later of landscapes suggesting decay and death. Early life and education
Born in Lexington, Virginia, <mask> was the third of three children. Her father, Robert S. Munger, was a general practitioner, and her mother, Elizabeth Evans Munger, ran the bookstore at Washington and Lee University in Lexington. <mask> was raised by an atheist and compassionate father who allowed <mask> to be "benignly neglected". <mask> was introduced to photography by her father, who encouraged her interest in photography; his 5x7 camera became the basis of her use of large format cameras today. <mask> began to photograph when she was sixteen. Most of her photographs and writings are tied to Lexington, Virginia.<mask> graduated from The Putney School in 1969, and attended Bennington College and Friends World College. She earned a BA, summa cum laude, from Hollins College (now Hollins University) in 1974 and a MA in creative writing in 1975. She took up photography at Putney where, she claims, her motive was to be alone in the darkroom with her boyfriend. She made her photographic debut at Putney with an image of a nude classmate. <mask> has never had any formal training in photography and  she "never read[s] about photography". Early career
After graduation from Hollins College, <mask> worked as a photographer at Washington and Lee University. In the mid-1970s she photographed the construction of its new law school building, the Lewis Hall (now the Sydney Lewis Hall), leading to her first solo

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title: Sally Mann

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 exhibition in late 1977 at the Corcoran Gallery of Art in Washington, DC The Corcoran Gallery of Art published a catalogue of <mask>'s images titled "The Lewis Law Portfolio".Some of those surrealistic images were also included as part of her first book, Second Sight, published in 1984. While <mask> explored a variety of genres as she was maturing in the 1970s, she truly found her trade with her book, At Twelve: Portraits of Young Women (Aperture, 1988). In 1995, she was featured in an issue of "Aperture". On Location with: Henri Cartier-Bresson, Graciela Iturbide, Barbara Kruger, <mask>, Andres Serrano, Clarissa Sligh" which was illustrated with photographs. At Twelve: Portraits of Young Women

Her second collection, At Twelve: Portraits of Young Women, published in 1988, stimulated minor controversy. The images "captured the confusing emotions and developing identities of adolescent girls [and the] expressive printing style lent a dramatic and brooding mood to all of her images". In the preface to the book, Ann Beattie says "when a girl is twelve years old, she often wants – or says she wants – less involvement with adults.[…] [it is] a time in which the girls yearn for freedom and adults feel their own grip on things becoming a little tenuous, as they realize that they have to let their children go." Beattie says that <mask>'s photographs don't "glamorize the world, but they don't make it into something more unpleasant than it is, either". The girls photographed in this series are shown "vulnerable in their youthfulness" but <mask> instead focuses on the strength that the girls possess. In one image from the book (shown to

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 the right), <mask> says that the young girl was extremely reluctant to stand closer to her mother's boyfriend. <mask> said that she thought it was strange because "it was their peculiar familiarity that had provoked this photograph in the first place". <mask> didn't want to crop out the girl's elbow but the girl refused to move in closer. According to <mask>, the girl's mother shot her boyfriend in the face with a .22 several months later.In court the mother "testified that while she worked nights at a local truck stop he was ‘at home partying and harassing my daughter.'" <mask> said "the child put it to me somewhat more directly". <mask> says that she now looks at this photograph with "a jaggy chill of realization". Immediate Family and controversy

<mask>n Houk Gallery in Chicago and published as a monograph in 1992. The New York Times Magazine used a picture of her three children on the cover of its September 27, 1992 issue with a feature article on her "disturbing work". In it Richard B. Woodward wrote that "Probably no photographer in history has enjoyed such a burst of success in the art world". Immediate Family consists of 65 black and white photographs of her three children, all under the age of 10.Many of the pictures were taken at the family's remote summer cabin along the river, where the children played and swam in the nude. Many explore typical childhood themes (skinny dipping, reading the funnies, dressing up, vamping, napping, playing board games) but others touch on darker themes such as insecurity, loneliness, injury, sexuality and death. Sarah Parsons reflects on the challenges in categorising <mask>'s work,

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title: Sally Mann

texts: arguing it is neither "portraiture, nor documentary, or snapshot". Instead, Parsons argues the power of <mask>'s work is in the tension between private family life and the showing of that private life in the public sphere. She argues when these private moments are placed in the public eye, they are interpreted through societal codes such as, motherhood; allowing the viewer to interpret the narrative of the work through their subjective views. Additionally, Ann Beattie argues "...a pose is only a pose..." reinforcing the opinion that the controversy stems from adult's subjective interpretation of the narrative that pose creates. The controversy on its release was intense, including accusations of child pornography (both in America and abroad) and of contrived fiction with constructed tableaux.Immediate family entered the field around the late 1980s and early 90's, during which time politicians were cracking down on even the suspicion of child pornography to appeal to their constituents. Negative accountability forced suspected artist to justify their work, leading many such as <mask> to self-censor or have their work removed from public spaces. Jeff Ferrell described this as “cultural criminalisation”, as the media manipulated public conceptions of cultural works, delegitimising artist, like <mask>, despite no Charges or legal action being brought against her. This political movement impacted photography as an artform because of its links with law and evidence, Dillard S. Gardner argues the public saw photos as “the very highest type of evidence”. In her work ‘Models of Integrity: Art and Law in Post-Sixties America’ Joan Kee

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 argues artist, such as <mask> and Jacqueline Livingston, were under heighted scrutiny. The passing of child pornography regulations meant film developers could withhold material they deemed immoral; with feminist such as, Andrea Dworkin and Catherine Mackinnon arguing for the censorship of pornography. However, academics such as Connie Samaras criticise complaints from feminist groups, like women against pornography (WAP), about <mask>'s work arguing “nakedness, even if it suggests lawlessness… has central meaning to many people's lives for a wide variety of legitimate reasons.”

One of her detractors, Pat Robertson of the Christian Broadcasting Network, has said that "selling photographs of children in their nakedness for profit is an exploitation of the parental role and I think it's wrong".He views such work as a violation of the responsibility of parents to do everything in their power to protect, shelter, and nurture their children. Furthermore, Mary Gordon argued <mask>'s work abused the power dynamic between mother and child. Gordon argued the placing of her children in sexualised positions invites the viewer to imagine the children as potential sexual partners which is unethical for a mother. She argues the sexual nature of <mask>'s work invites discussion of her children's sexuality; harmfully bringing part of the private sphere of the nucleus family into the public eye. More negative criticism came from Raymond Sokolov's article Critique: Censoring Virginia in the Wall Street Journal. He questioned whether children should be photographed nude and whether federal funds should be appropriated for such artworks.

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title: Sally Mann

texts: Accompanying his article was a modified image by <mask> of her daughter Virginia (Virginia at 4), in which her eyes, nipples, and pubic region were now covered with black bars.<mask> said he used the image without permission "to illustrate that this is the kind of thing that shouldn't be shown". <mask> claimed that after Virginia saw the article, she started touching herself on the areas that were blacked out, saying, "what's wrong with me?" <mask> responded to the criticisms saying she did not plan the photographs and that when she was young, she was often nude, so she raised her children similarly. Many of her other photographs containing her nude or hurt children caused controversy. For example, in The Perfect Tomato, the viewer sees a nude Jessie, posing on a picnic table outside, bathed in light. Mary Gordon argues "tomato" is slang to describes a desirable woman, the title, consequently, furthering the sexual themes and presenting her daughter as "sexually desirable". Conversely, Jessie told Steven Cantor during the filming of one of his movies that she had just been playing around and her mother told her to freeze, and she tried to capture the image in a rush because the sun was setting.This explains why everything is blurred except for the tomato, hence the photograph's title. While Jessie was aware of this photograph, Dana Cox, in her essay, said that the <mask> children were probably unaware of the other photographs being taken as <mask>'s children were often naked because "it came natural to them". This habit of nudity is a family thing because <mask> says she used to walk around her house naked when she was growing

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 up. Cox states that "the own artist's childhood is reflected in the way she captures moments in her children's lives". One image that deals more with another aspect of childhood besides "naked play", Jessie's Cut, shows Jessie's head, wrapped in what appears to be plastic, with blood running down the side of her face from the cut above her left eye. The cut is stitched and the blood is dry and stains her skin. As painful as the image looks, there are a great number of viewers who could relate to Jessie when they think about the broken bones and stitched up cuts they had during childhood.<mask> herself considered these photographs to be "natural through the eyes of a mother, since she has seen her children in every state: happy, sad, playful, sick, bloodied, angry and even naked". Deborah Chambers, in her work on family photo albums, reflects on their idyllic nature but also argues they rarely convey the actual experience of the family. <mask>'s work takes these idyllic photos meant for semi-private consumption and brings them to the public sphere. By working collaboratively with her children <mask> uses these idealised family photos to create a narrative from her children's perspectives. Critics agreed, saying her "vision in large measure [is] accurate, and a welcome corrective to familiar notions of youth as a time of unalloyed sweetness and innocence", and that the book "created a place that looked like Eden, then cast upon it the subdued and shifting light of nostalgia, sexuality and death". When Time magazine named her "America's Best Photographer" in 2001, it wrote:

<mask> recorded a combination of spontaneous and


title: Sally Mann

texts: carefully arranged moments of childhood repose and revealingly — sometimes unnervingly — imaginative play. What the outraged critics of her child nudes failed to grant was the patent devotion involved throughout the project and the delighted complicity of her son and daughters in so many of the solemn or playful events.No other collection of family photographs is remotely like it, in both its naked candor and the fervor of its maternal curiosity and care. The New Republic considered it "one of the great photograph books of our time". Despite the controversy, <mask> was never charged with the taking or selling of child pornography, even though, according to Edward de Grazia, law professor and civil liberties expert, "any federal prosecutor anywhere in the country could bring a case against [<mask>] in Virginia, and not only seize her photos, her equipment, her Rolodexes, but also seize her children for psychiatric and physical examination". Before she published Immediate Family, she consulted a Virginian federal prosecutor who told her that some of the images she was exhibiting could have her arrested. In 1991, she initially decided to postpone the publication of the book. In an interview with New York Times reporter, Richard Woodward, she said "I thought the book could wait 10 years, when the kids won't be living in the same bodies. They'll have matured and they'll understand the implications of the pictures.I unilaterally decided." The children apparently did not like this decision and <mask> and her husband arranged for Emmett and Jessie to talk to a psychologist to be sure their feelings were honest, and so that they


title: Sally Mann

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 understood what the publication would do. Each child was then allowed to vote on which photographs were to be put in the book. To further protect the children from "teasing", <mask> told Woodward that she wanted to keep copies of Immediate Family out of their home town of Lexington. She asked bookstores in the area not to sell it and for libraries to keep it in their rare-book rooms. Dr. Aaron Esman, a child psychiatrist at the Payne Whitney Clinic believes that <mask> is serious about her work and that she has "no intention to jeopardize her children or use them for pornographic images". He says that the nude photographs don't appear to be erotically stimulating to anyone but a "case-hardened pedophile or a rather dogmatic religious fundamentalist".<mask> stated, "I didn't expect the controversy over the pictures of my children. I was just a mother photographing her children as they were growing up. I was exploring different subjects with them." Her fourth book, Still Time, published in 1994, was based on the catalogue of a traveling exhibition that included more than 20 years of her photography. The 60 images included more photographs of her children, but also earlier landscapes with color and abstract photographs. Later career
In the mid-1990s, <mask> began photographing landscapes on wet plate collodion 8x10 inch glass negatives, and used the same 100-year-old 8x10 format bellows view camera that she had used for all the previous bodies of work. These landscapes were first seen in Still Time, and later featured in two shows presented by the Edwynn Houk Gallery in NYC: <mask> – Mother Land: Recent Landscapes of Georgia and

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title: Sally Mann

texts: Virginia in 1997, and then in Deep South: Landscapes of Louisiana and Mississippi in 1999.Many of these large (40"x50") black-and-white and manipulated prints were taken using the 19th century "wet plate" process, or collodion, in which glass plates are coated with collodion, dipped in silver nitrate, and exposed while still wet. This gave the photographs what the New York Times called "a swirling, ethereal image with a center of preternatural clarity", and showed many flaws and artifacts, some from the process and some introduced by <mask>. <mask> has been the subject of two film documentaries. The first, Blood Ties, directed by Steve Cantor and Peter Spirer, debuted at the 1994 Sundance Film Festival, and was nominated for an Academy Award as Best Documentary Short. The second, What Remains: The Life and Work of <mask> (2005) was also directed by Steve Cantor. It premiered at the 2006 Sundance Film Festival and was nominated for an Emmy for Best Documentary in 2008. In her New York Times review of the film, Ginia Bellafante wrote, "It is one of the most exquisitely intimate portraits not only of an artist's process, but also of a marriage and a life, to appear on television in recent memory."<mask> uses antique view cameras from the early 1890s. These cameras have wooden frames, accordion-like bellows and long lenses made out of brass, now held together by tape that has mold growing inside. This sort of camera, when used with vintage lenses, softens the light, which makes the pictures timeless. A self-portrait (which also included her two daughters) was featured on the September 9, 2001 cover of The New York Times Magazine,

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texts: for a theme issue on "Women Looking at Women". <mask>'s fifth book, What Remains, published in 2003, is based on the show of the same name at the Corcoran Gallery in Washington, DC. The book is broken up into four sections: Matter Lent, December 8, 2000,  Antietam, and What Remains. The first section contains photographs of the remains of Eva, her greyhound, after decomposition, along with the photographs of dead and decomposing bodies at a federal forensic anthropology facility (known as the ‘body farm').The second part details the site on her property where an armed escaped convict was killed in a shootout with police. The third part is a study of the grounds of Antietam, the site of the bloodiest single day battle in American history during the Civil War. The fourth part is a study of close-up faces of her children. Thus, this study of mortality, decay and death ends with hope and love. <mask>'s sixth book, Deep South, published in 2005, with 65 black-and-white images, includes landscapes taken from 1992 to 2004 using both conventional 8x10 film and wet plate collodion. These photographs have been described as "haunted landscapes of the south, battlefields, decaying mansion, kudzu shrouded landscapes and the site where Emmett Till was murdered". Newsweek picked it as their book choice for the holiday season, saying that <mask> "walks right up to every Southern stereotype in the book and subtly demolishes each in its turn by creating indelibly disturbing images that hover somewhere between document and dream".<mask>'s seventh book, Proud Flesh, published in 2009, is a study taken over six years of the effects of muscular


title: Sally Mann

texts: dystrophy on her husband <mask>. <mask> photographed her husband using the collodion wet plate process As she notes, "The results of this rare reversal of photographic roles are candid, extraordinarily wrenching and touchingly frank portraits of a man at his most vulnerable moment." The project was displayed in Gagosian Gallery in October 2009. <mask>'s eighth book, The Flesh and The Spirit, published in 2010, was released in conjunction with a comprehensive show at the Virginia Museum of Fine Arts in Richmond, Virginia. Regarding this exhibition, the museum director stated, "She follows her own voice. Her pictures are imbued with an amazing degree of soul." Though not strictly a retrospective, this 200-page book included new and recent work (unpublished self-portraits, landscapes, images of her husband, her children's faces, and of the dead at a forensic institute) as well as early works (unpublished color photographs of her children in the 1990s, color Polaroids, and platinum prints from the 1970s).Its unifying theme is the body, with its vagaries of illnesses and death, and includes essays by John Ravenal, David Levi Strauss, and Anne Wilkes Tucker. In May 2011 she delivered the three-day Massey Lecture Series at Harvard, on the topic of how her extended family influenced her work. Her memoir Hold Still arose as a companion to the lecture. In June 2011, <mask> sat down with one of her contemporaries, Nan Goldin, at Look3 Charlottesville Festival of the Photograph. The two photographers discussed their respective careers, particularly the ways in which photographing personal lives became a source of professional controversy.

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Larry Mann
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title: Sally Mann

texts: This was followed by an appearance at the University of Michigan as part of the Penny W. Stamps lecture series. <mask>'s ninth book, Hold Still: A Memoir with Photographs, released May 12, 2015, is a melding of a memoir of her youth, an examination of some major influences of her life, and reflections on how photography shapes one's view of the world.It is augmented with numerous photographs, letters, and other memorabilia. She singles out her "near-feral" childhood and her subsequent introduction to photography at Putney, her relationship to her husband of 40 years and his parent's mysterious death, and her maternal Welsh relative's nostalgia for land morphing into her love for her land in the Shenandoah Valley, as some of her important influences. Gee-Gee, a black woman who was a surrogate parent, who opened <mask>'s eyes to race relations and exploitation, her relationship with local artist Cy Twombly, and her father's genteel southern legacy and his eventual death are also examined. She ponders the relationship Robert S. Munger, her great-grandfather and southern industrialist, had with his  workers. The New York Times described it as "an instant classic among Southern memoirs of the last 50 years". An article by <mask> adapted from this book appeared with photographs in The New York Times Magazine in April 2015. Hold Still was a finalist for the 2015 National Book Award.<mask>'s tenth book, Remembered Light: Cy Twombly in Lexington was published in 2016. It is an insider's photographic view of Cy Twombly's studio in Lexington. It was published concurrently with an exhibit of color and black-and-white photographs at the


title: Sally Mann

texts: Gagosian Gallery. It shows the overflow of Twombly's general modus operandi: the leftovers, smears, and stains, or, as Simon Schama said in his essay at the start of the book, "an absence turned into a presence". <mask>'s eleventh book, <mask>: A Thousand Crossings, authored by Sarah Greenough and Sarah Kennel, is a large (320 pages) compendium of works spanning 40 years, with 230 photographs by <mask>. It served as a catalog for an exhibit at the National Gallery of Art entitled <mask>: A Thousand Crossings which opened March 4, 2018 and was the first major survey of the artist's work to travel internationally. In her recent projects, <mask> has started exploring the issues of race and legacy of slavery that were a central theme of her memoir Hold Still.They include a series of portraits of black men, all made during one-hour sessions in the studio with models not previously known to her. <mask> was inspired by Bill T. Jones' use of the Walt Whitman 1856 poem "Poem of the Body" in his art, and <mask> "borrowed the idea, using the poem as a template for [her] own exploration". Several pictures from this body of work were highlighted in Aperture Foundation magazine in the summer of 2016. and they also appeared in A Thousand Crossings. This book and exhibit also introduced a series of photographs of African American historic churches photographed on expired film, and a series of tintype photographs of a swamp that served as refuge for escaped slaves. Some critics see in <mask>'s work a deep working through of the legacy of white violence in the South, while others have voiced concern that <mask>'s work at times repeats rather

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 than critiques tropes of white domination and violence in the American southeast. Personal life
<mask>, born and raised in Virginia, is the daughter of Robert Munger and Elizabeth Munger. In <mask>'s introduction for her book Immediate Family, she "expresses stronger memories for the black woman, Virginia Carter, who oversaw her upbringing than for her own mother".Elizabeth Munger was not a big part of <mask>'s life, and Elizabeth said "<mask> may look like me, but inside she's her father's child." Virginia (Gee-Gee) Carter, born in 1894, raised <mask> and her two brothers and was an admirable woman. "Left with six children and a public education system for which she paid taxes but which forbade classes for black children beyond the seventh grade, Gee-Gee managed somehow to send each of them to out-of-state boarding schools and, ultimately, to college." Virginia Carter died in 1994. In 1969 <mask> met <mask>, and in 1970 they married. <mask> is an attorney and, before practicing law, he was a blacksmith. Larry was diagnosed with muscular dystrophy around 1996.They live together in their home which they built on <mask>'s family's farm in Lexington, Virginia. They have three children together: Emmett (born 1979), who took his own life in 2016, after a life-threatening car collision and a subsequent battle with schizophrenia, and who for a time served in the Peace Corps; Jessie (born 1981), who herself is an artist; and Virginia (born 1985), a lawyer. She is passionate about endurance horse racing. In 2006, her Arabian horse ruptured an aneurysm while she was riding him. In the horse's death throes, <mask> was thrown to the

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 ground, the horse rolled over her, and the impact broke her back. It took her two years to recover from the accident and during this time, she made a series of ambrotype self-portraits. These self-portraits were on view for the first time in November 2010 at the Virginia Museum of Fine Arts as a part of <mask>: the Flesh and the Spirit.Publications

Books

 At Twelve: Portraits of Young Women. Aperture, New York, 1988. Immediate Family. Aperture, New York, 1992. Still Time. Aperture, New York, 1994. <mask> (2005), 21st Editions, South Dennis, MA (edition of 110)
 <mask>: Proud Flesh.Aperture Press; Gagosian Gallery, New York, 2009. Southern Landscape (2013), 21st Editions, South Dennis, MA (edition of 58)

Exhibition catalogues
 The Lewis Law Portfolio, at Corcoran Gallery of Art, Washington DC, 1977
 Sweet Silent Thought, at the North Carolina Center for Creative Photography, Durham, NC, 1987
 Still Time, at the Alleghany Highland Arts and Crafts Center, Clifton Forge, VA, 1988
 Mother Land, at the Edwynn Houk Gallery, New York, 1997
 <mask>, at the Gagosian Gallery, New York, 2006
 <mask>: Deep South/Battlefields, at the Kulturhuset, Stockholm, Sweden, 2007

Collections

 Ferdinand Protzman, Landscape: Photographs of time and Place. National Geographic, 2003. R. H. Cravens, Photography Past/Forward: Aperture at 50. Aperture Press, 2005. Other

Film and television
 Blood Ties: The Life and Work of <mask>. Directed by Steven Cantor and Peter Spirer.Moving Target Productions. 30 minutes, color, DVD. Nomination for an Academy Award for Best Documentary: Short Subject (1992)
 "Giving Up the Ghost". Egg, The Arts Show.

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title: Sally Mann

texts:
 Produced by Thirteen/WNET, New York. "Place". Episode One.Art 21- Directed by Catherine Tatge, Art in the Twenty-First Century, PBS Broadcasting, Virginia. 14 minutes. Color. DVD. (2002)
 What Remains: The Life and Work of <mask>. Directed by Steven Cantor. Zeitgeist Films, New York.80 minutes, color, DVD. (2004). Winner of Best Documentary. Jacksonville Film Festival. Won Grand Jury Prize for Best Documentary Film. Nantucket Film Festival Won Best Storytelling in Documentary Film. Nantucket Film Festival Official Selection.Sundance Film Festival New York Loves Film Documentary Award. Tribeca Film Festival. (2006)
 "Some Things Are Private". Playwrights Deborah Salem Smith, Laura Kepley. Trinity Repertory Theatre, Dowling Theater. Providence, RI. (2008)
 "The Genius of Photography: We Are Family".Episode 6. BBC Four Productions, Wall to Wall Media Ltd. (2008)
 "Thalia Book Club: <mask> Hold Still". Ann Patchett, Symphony Space (May 13, 2015)

Awards
 2001: Time magazine named <mask> "America's Best Photographer"
 2006: Honorary Doctor of Fine Arts degree from the Corcoran College of Art + Design. 2012: Honorary Fellowship of the Royal Photographic Society (UK)
 2016: Andrew Carnegie Medal for Excellence in Nonfiction for Hold Still: A Memoir in Photographs. 2020: Centenary Medal, Royal Photographic Society, Bristol, UK
 2021: Inducted into the International Photography Hall of Fame on October 29, 2021
 2021: Prix Pictet's ninth global photography award

Collections
<mask>'s work is held in the following permanent collections:
 Metropolitan Museum of Art
 National Gallery of Art
 Hirshhorn Museum and Sculpture Garden
 Museum

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Sally Mann
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title: Sally Mann

texts:
 of Fine Arts, Boston
 San Francisco Museum of Modern Art
 Whitney Museum, New York City: 12 prints (as of October 2020)

References

External links

 Article about <mask>
 The main works of Mann
 TV interview with Charlie Rose in 2016
 <mask> Exhibition at Gagosian Gallery

American portrait photographers
Nude photography
1951 births
Living people
American women photographers
Bennington College alumni
Hollins University alumni
People from Lexington, Virginia
The Putney School alumni
20th-century American photographers
21st-century American photographers
20th-century American writers
21st-century American writers
20th-century American women artists
21st-century American women artists
20th-century American women writers
21st-century American women writers
Photographers from Virginia
20th-century women photographers
21st-century women

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Sally Mann
Sally Mann


title: Anton Anreith

texts:
<mask> (; June 11, 1754 – March 4, 1822)  was a sculptor and woodcarver from Riegel near Freiburg in Breisgau, Baden, Germany. He is known for numerous sculptural embellishments that adorn buildings in the Cape region of South Africa, thought to represent the crowning achievement of the Cape Baroque style. Background and early life

Although his father's occupation is unknown, an elder brother, Georg, was a builder and architect who settled in Hungary. During the baroque era, architecture and sculpture were closely allied and it is likely that <mask> received his training from an artist's studio, such as that of Christian Wenzinger, a sculptor and architect. He is also thought to have studied under Joseph Amann and later Joseph Hörr. During the time of his apprenticeship in the 1770s, rococo architects Johann Michael Fischer and Johann Balthasar Neumann were well known, as were stucco decorators like the Feuchtmayer family of the Wessobrunner School. Anreith arrived at the Cape of Good Hope as a soldier in the service of the Dutch East-India Company in 1777 on the vessel Woestduijn.Career and works

Church pulpits

Although he was a trained sculptor, he was initially employed as a carpenter. His status changed when, in the 1780s, a wealthy Lutheran named Martin Melck commissioned him to carve a pulpit for the Lutheran Church in Strand Street, Cape Town. His earliest work for the Lutheran Church in Strand Street was the King David relief on the organ loft, done in 1783, but the most important work was

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 the pulpit completed in 1785 to 1786. The memorial plaque, dedicated to Martin Melck is also of his making, as are the windows and the doors. By 1791 Anreith had completed work on the interior of the building and proceeded to give the church a new facade (1791–1792). Unfortunately, this was rebuilt in 1820, along with Anreith's turret, now known only from drawings by Lady Anne Barnard and John Barrow. He also had considerable influence over the facade and carved teak portal of the neighbouring parsonage, known as the Martin Melck House.In 1786, he was appointed master-sculptor to the Dutch East India Company. Not to be outdone by the Lutherans, in 1788 the Dutch Reformed Church commissioned Anreith to create a pulpit. He was assisted by Jan Jacob Graaff (1754–1804), chief carpenter at the Company, who arrived in Cape Town in 1775. Though the pulpit was designed by Anreith, the higher ranking Graaff received 1100 rix dollars, as opposed to his 900. Graaff completed the pulpit in 18 months and it was inaugurated at the Groote Kerk in Adderley Street on 29 November 1789. Groot Constantia

<mask> left the service of the Company and worked independently from 1791, often closely with the architect Louis Michel Thibault. That year he did his first project with the architect, the wine-cellar at Groot Constantia, commissioned by Hendrik Cloete, for which he designed an elaborate baroque pediment, The Rape of Ganymede, a depiction of the myth of the youth, abducted by Zeus in the form of an eagle, who became


title: Anton Anreith

texts:
 cup-bearer to the Greek Gods.He arranged a multitude of putti figures in front of a row of wine vats, joined to one another with vines and bunches of grapes. The childlike Ganymede is central, seated on an eagle, pouring wine from a jar. At the Groot Constantia homestead, a niched gable statue of Abundantia stands holding a cornucopia. This work was likely done around 1800, although Dora Fairbridge claims Cloete family tradition holds it not to be by Anreith. A bath with Triton, also at Constantia, is more likely to be by his hand. In 1789 Thibault and <mask> were joined by Hermann Schutte, an architect and builder from Bremen and the three of them had a profound influence on the development of Cape Town architecture in the late 18th and early 19th centuries. The triumvirate of Thibault, Anreith and Schutte would for many years work out of a workshop in the Castle.The Kat Balcony

During the years 1785 to 1791, Governor of the Dutch East India Company Colony Cornelis Jacob van de Graaff made a number of improvements to the Castle of Good Hope. These included a portal to the Governor's residence, called the Kat Balcony. Anreith produced a painted teak portico and entrance portal. The stucco parapet, Ionic columns, folding door and fanlight, along with teak lion doorknockers, are signature Anreith. Other works

Anreith undoubtedly executed the carvings and fanlights at Rust en Vreugd. At the Herzog House, 131 Bree Street, a pedimental relief of Mercury as a boy (circa 1790), was removed when the house


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 was demolished in 1970. His work is evident at the Koopmans-de Wet House, and the Huguenot Memorial Museum in Franschhoek, where some woodwork of the demolished Saasveld House survives.The Lioness Gateway in the Company's Gardens survives, although the accompanying Lion Gateway is now a replica. The Lioness Gateway used to serve as entrance to the Company's menagerie, an area now occupied by the Michaelis School of Fine Art. In addition to his sculpture and plaster-work, Anreith made a living teaching life drawing and geometry. He was also head of the first art school in South Africa which was founded by the Freemasons. He became a Freemason in 1797 as a member of the Lodge de Goede Hoop, for which he designed a number of lime plaster statues, of which three survived a fire in 1892: a Silence figure with an owl; a recumbent man with a dagger, book and hourglass; and a weeping woman and child. During the Batavian Republic (1803–1806), Anreith and Thibault created a drinking fountain for the Parade, no longer extant but echoed in the design of the Hurling Pump in Oranjezicht. <mask> was responsible for the lion's mask carving on the pump.<mask>'s later years were marked by poverty, loneliness and a decline in the quality of his work due to frailty. He died in 1822, at his residence at 8 Bloem Street, Cape Town. Gallery

Notes

References

1754 births
1822 deaths
18th-century German sculptors
German male sculptors
19th-century German sculptors
Dutch East India Company people
19th-century male

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title: Toby Stephens

texts:
<mask> (born 21 April 1969) is an English actor who has appeared in films in the UK, US and India. He is known for the roles of Bond villain Gustav Graves in the 2002 James Bond film Die Another Day (for which he was nominated for the Saturn Award for Best Supporting Actor), Edward Fairfax Rochester in a BBC television adaptation of Jane Eyre and in his role as Captain Flint in the Starz television series Black Sails. <mask> was one of the leads in the Netflix science fiction series Lost in Space, which began streaming in 2018. Early life

<mask>, the younger son of actors Dame Maggie Smith and <mask>, was born on 21 April 1969 at the Middlesex Hospital in Fitzrovia, London. He was educated at Aldro School and Seaford College. He then trained at the London Academy of Music and Dramatic Art (LAMDA). Career
<mask> began his film career with the role of Othello in 1992, in Sally Potter's Orlando.He has since made regular appearances on television (including in The Camomile Lawn, 1992) and on stage. He played the title role in a Royal Shakespeare Company production of Coriolanus shortly after graduation from LAMDA; that same season he played Claudio in Measure for Measure for the RSC. He played Stanley Kowalski in a West End production of Tennessee Williams' A Streetcar Named Desire, and Hamlet in 2004. He has appeared on Broadway in Ring Round the Moon. He played the lead in the film Photographing Fairies and played Orsino in Trevor Nunn's 1996 film adaptation of William Shakespeare's Twelfth Night. In 2002 he took on the role of Gustav Graves in the James Bond film Die Another Day. Aged 33 at the time of film's release, he remains the youngest actor to have played a Bond villain.In 2005 he played the role of a British Army

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 captain in the Indian film, The Rising: Ballad of Mangal Pandey, portraying events in the Indian rebellion of 1857. The following year he returned to India to play a renegade British East India Company officer in Sharpe's Challenge. In late 2006 he starred as Edward Rochester in the  highly acclaimed BBC television adaptation of Jane Eyre (broadcast in the United States on PBS in early 2007) and The Wild West in February 2007 for the BBC in which he played General George Armstrong Custer in Custer's Last Stand. During mid-2007, <mask> played the role of Jerry in a revival of Harold Pinter's Betrayal under the direction of Roger Michell. Later that year, <mask> starred as Horner in Jonathan Kent's revival of William Wycherley's The Country Wife. The play was the inaugural production of the Theatre Royal Haymarket Company. In February 2008, the Fox Broadcasting Company gave the go-ahead to cast <mask> as the lead in a potential one hour, prime time US television show, Inseparable, to be produced by Shaun Cassidy.Billed as a modern Jekyll and Hyde story, the show was to feature a partially paralysed forensic psychologist whose other personality is a charming criminal. <mask>' casting was highly unusual, because Fox had not yet approved a script nor purchased a pilot for the show. However, in mid-May 2008, The Hollywood Reporter announced that "[b]y the time the network picked up the pilot (...) [the producers'] hold on <mask> had expired (...)"

In May 2008, <mask> performed the role of James Bond in a BBC Radio 4 production of Ian Fleming's Dr. No, as part of the centenary celebration of Fleming's birth. The production was reportedly the first BBC radio dramatisation of the novel though Moonraker was on South African radio

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texts: in 1956, with Bob Holness providing the voice of Bond. He has since appeared in a number of adaptations of other James Bond novels. Also in May 2008, Stock-pot Productions announced that <mask> will have the lead role in a feature-length film entitled Fly Me, co-starring Tim McInnerny. Stock-pot was the producer of One Day, a short 2006 film shown at international film festivals, in which <mask> played a small part as the boss of McInnerny's character.On 5 October 2008, <mask> appeared onstage at the London Palladium as part of a benefit entitled "The Story of James Bond, A Tribute to Ian Fleming". The event, organised by Fleming's niece, Lucy Fleming, featured music from various James Bond films and Bond film stars reading from Fleming's Bond novels. <mask> took the part of James Bond himself in the readings. In early December 2008, <mask> read from Coda, the last book written by friend Simon Gray, for BBC Radio 4. The excerpts from which <mask> read included Gray's description of his participation as godfather at the christening of <mask>' son Eli. Early in 2009, <mask> appeared as Prince John in season 3 of the BBC series Robin Hood. The series aired on BBC America in the United States.<mask>' appeared in two episodes of a six-part television series, Strike Back, based on the novel by Chris Ryan. The series aired in May 2010. In mid-2009, <mask> returned to the London stage in the Donmar Warehouse production of Ibsen's A Doll's House alongside Gillian Anderson and Christopher Eccleston. In 2010, he starred in the made-for-television film The Blue Geranium, a further sequel to the television series and films based on Agatha Christie's Miss Marple character. The show was broadcast in the US on PBS in June 2010. <mask>

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texts: starred as a highly self-centred detective opposite Lucy Punch in a three-part comedy television series for BBC Two entitled Vexed. <mask> took on a small supporting role in a short film, The Lost Explorer, the directorial debut of photographer Tim Walker.The film is based on a short story by author Patrick McGrath. On the London stage in the spring of 2010, <mask> received outstanding reviews for his performance as Henry in a revival of Tom Stoppard's The Real Thing, directed by Anna Mackmin at the Old Vic Theatre in London. Of debuting at the Old Vic, where his parents performed as part of Laurence Olivier's Royal National Theatre Company, <mask> said: "It's quite moving for me to do something there. It means it has an added fascination. It was an historic place but I never saw anything when [my parents] were there, which is really sad, because I was just born. I'm a huge admirer of Stoppard's work." In 2010, <mask> appeared as Georges Danton in Danton's Death.The play was another debut for <mask>, this time at London's Royal National Theatre. Over the years, <mask> has continued to prolifically narrate audiobooks and perform in broadcast radio dramas. In January 2011, <mask> joined other stars in narrating portions of the King James Version of the Bible for BBC Radio 4 as part of a celebration of the 400th anniversary of the Bible's publication. <mask> performed the role of Raymond Chandler's Philip Marlowe in a radio serial, which debuted in February 2011. <mask> narrated another audiobook, Paul Temple and the Geneva Mystery, released in February 2011. From 2014 to 2017, <mask> starred as Captain James Flint in the Starz television series Black Sails, a prequel to Treasure Island set in the early 18th century during

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 the Golden Age of Piracy. In 2016, he was cast as former British Prime Minister Tony Blair in the film The Journey.Between 2018 and 2021, he appeared as John Robinson in Lost in Space, the Netflix remake of the 1965 TV series. In 2021, he featured as Damian Cray in the second season of Alex Rider. Personal life
<mask> and New Zealand actress Anna-Louise Plowman were married in 2001. Their first child, son Eli Alistair, was born in May 2007. The  British playwright Simon Gray (who penned Japes, a stage play, and Missing Dates, a radio drama, both of which starred <mask>) was reported to be Eli's godfather. Their daughters Tallulah and Kura were born in May 2009 and in September 2010, respectively. Plowman and <mask> performed together as Sibyl and Elyot in Jonathan Kent's revival of Private Lives for the 2012 Chichester Festival, reprised at the Gielgud Theatre in 2013.Filmography

Film

Television

Video games

Theatre

Radio drama and audio books

Awards
 1992—Ian Charleson Award Second Prize: for Bertram in All's Well That Ends Well (Swan Theatre)
 1994—Ian Charleson Award (best classical actor under 30): for Coriolanus in Coriolanus (Royal Shakespeare Company)
 1994—Sir John Gielgud Award (best actor): for Coriolanus in Coriolanus (Royal Shakespeare Company)
 1999—Theatre World Award (debut performance on Broadway): for Hugo/Frederick in Ring Round the Moon (Lincoln Center Theater)

References

Interviews and articles
 The Independent – It'll Be All Right on the Night (27 March 1994)
 The New York Times – It's Not Romantic or Oedipal: It's Just the Family Business (24 April 1999)
 The Times – My Cultural Life (23 November 2002)
 The Sunday Telegraph – Villain with a Past (16 December 2002)
 San Francisco Chronicle –

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title: I. Dragoslav

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I<mask> or <mask> (), pen names of <mask><mask> or <mask> (; June 14, 1875 – May 5, 1928), was a Romanian writer. His presence on the local literary scene meant successive affiliations with various competing venues: having debuted with the traditionalist and nationalist magazine Sămănătorul, he later connected the eclectically conservative Convorbiri Critice group of Mihail Dragomirescu with the Romanian Symbolist movement leaders Alexandru Macedonski and <mask>, before moving close to the modernist trend of Eugen Lovinescu and his Sburătorul. Noted for his contributions to fantasy, children's literature and memoir, <mask> defied inclusion in the genres illustrated by his public commitments. His work, often described as picturesque but mediocre, is primarily indebted to <mask>, through him, to folkloric tradition. Biography
A native of Fălticeni to a peasant family, <mask> completed his secondary studies in the city, where he was in the same class as future writers Lovinescu and Mihail Sadoveanu. Largely an autodidact, he made his debut in writing in 1903, when his contribution was hosted by the leading traditionalist venue, Sămănătorul. He is known to have been studying Letters and Law at the University of Bucharest during 1904.During those years, he published his first volumes, the lyric poetry collection Pe drumul pribegiei ("On the Path of Wanderers"), followed by the short story volumes Facerea lumiii ("The Origin of the World") and La han la Trei ulcele ("At the Three Pitcher Inn"). I<mask>'s works made an impression on two rival literary men, Mihail Dragomirescu and Alexandru Macedonski. As he himself recalled in a 1920 article, he found an early mentor in Macedonski, who guided

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. Dragoslav


title: I. Dragoslav

texts: his early literary career and provided him with advice upon their first meeting in Bucharest. Also before 1910, <mask> began contributing to Covorbiri Critice magazine and attending its club, which Dragomirescu was hosting at his Bucharest home. Previously a follower of the conservative literary society Junimea, Dragomirescu had been directing his efforts toward assembling together some of his former colleagues, alongside writers from traditionalist and Neo-romantic groups like Făt Frumos (Emil Gârleanu, Anastasie Mândru, Corneliu Moldovanu and D. Nanu among them), and more eclectic ones—Panait Cerna, Gheorghe Vâlsan, as well as <mask> himself. In addition to these authors, people who frequented Dragomirescu's circle before its 1910 disestablishment included Symbolist figures (Minulescu, Dimitrie Anghel, Al. T. Stamatiad) or writers of various other orientations (Cincinat Pavelescu, Liviu Rebreanu), joined by visual artists <mask> <mask>, Costin Petrescu and George Talaz.The eclectic circle became a post-Junimist venue and a center of opposition to Sămănătorul, but, according to literary historian Z. Ornea, failed to impose the "new literary school" imagined by Dragomirescu. <mask> was still living mostly in Fălticeni, where, according to literary historian George Călinescu, he lived the life of a bohemian and treasured the drinking culture, profiting from the fact that a relative of his was a tavern owner. He was a regular presence at the pub La Plosca Verde ("At the Green Wineskin") in Iași. Călinescu also notes that, although he boasted a rustic lifestyle, Dragoslav's townhouse was "far from a miserable mud hut", and that Dragoslav raised ducks, geese and pigs. Dragoslav made

masks: Dragoslav Dragoslav Iosif Iser Dragoslav


title: I. Dragoslav

texts: frequent trips outside Fălticeni "with a giant satchel of manuscripts", seeking out fellow writers and addressing them, coarsely, as măi frate-miu ("brother o' mine"). Dragoslav pursued a diverse activity in the literary press, and also published his work in, among others, Făt Frumos, Flacăra, Luceafărul, Ramuri, Universul daily and Viața Literară. In 1909, having published Fata popei ("The Priest's Daughter") and Povestea copilăriei ("The Story of Childhood"), he joined the Romanian Writers' Society, a professional association founded by Anghel, Gârleanu and Pavelescu in 1908.In 1910, he put out the collections Novele ("Novellas") and Povestiri alese ("Selected Stories"), followed in 1911 by Povestea trăznetului ("The Story of Thunder"). For a while in 1912, <mask> was affiliated with the Symbolist and modernist venue Insula, edited by <mask>. According to critic Paul Cernat, <mask> was by then "a dissident Sămănătorist", and, with Constantin Beldie, the only person from the Insula group not to have been a Symbolist. That same year, the writer was among those who welcomed Macedonski back from his extended trip to France (itself caused by literary scandals). He viewed the event as an opportunity for restoring Macedonski's prestige, and, in a Rampa article, stated: " 'Macedonski has arrived'; this word is on everyone's lips and sounds as if the man has risen from the dead." Together with Stamatiad and Mândru, <mask> was instrumental in bridging the gap between Macedonski's Literatorul and Convorbiri Literare, successfully urging Dragomirescu to give his colleague a positive review. His volumes followed each other in quick succession: Flori și povești ("Flowers and Stories") in 1911;

masks:
Dragoslav
Ion Minulescu
Dragoslav
Dragoslav


title: I. Dragoslav

texts:
 Volintirii ("The Volunteers") and Împăratul Rogojină ("Emperor Doormat") in 1912; Povești de sărbători ("Holiday Stories") in 1913; Povești de Crăciun ("Christmas Stories"), in 1914.In 1915, he put out the selected stories volumes Sărăcuțul ("Poor Little Fella"). Several of these books saw print in Orăștie, a town then outside the Kingdom of Romania, in Austro-Hungarian-ruled Transylvania. At an early stage of World War I, when Romania had not yet joined up with the Entente, Dragoslav affiliated with Libertatea, a gazette put out by the controversial agitator and Symbolist poet Alexandru Bogdan-Pitești, which campaigned in favor of the Central Powers and was reportedly financed by the German Empire. However, as the Central Powers occupied the Romanian south and the Romanian front drew close to Fălticeni, Dragoslav reportedly spend much time at the local high school, reading to wounded soldiers. During the early interwar period, <mask> affiliated with Eugen Lovinescu's Sburătorul modernist club, and, in 1921, put out his definitive selection of novellas and sketch stories. By the 1920s, he had fallen severely ill with a disease of the liver, argued by Călinescu to have been the result of binge drinking. He was hospitalized for ascites, and his peritoneal cavity was drained of over 6 liters of bodily fluid.He was again hospitalized at the Colțea Hospital, in the care of physician <mask> Nanu-Musceleanu, but died soon afterward in Fălticeni. Critical reception and legacy
Critics have traditionally described <mask>'s stories as picturesque works evidencing some talent, but overall mediocre. His prose is thought to have been heavily influenced by <mask>, a celebrated late 19th century

masks:
Dragoslav
Ioan
Dragoslav
Ion Creangă


title: I. Dragoslav

texts: raconteur, who, like <mask>, borrowed inspiration from rural culture and Romanian folklore. The impact of other works on <mask>'s work was reviewed with severity by Călinescu, who concluded that the object of his criticism was "far from being a writer." Including <mask>'s work among an "eclectic" tendency, he rejected most of it as "garrulous" and "adulterous" versions from themes provided by other authors, and called the memoir Povestea copilăriei a "disgraceful pastiche" of Creangă's Childhood Memories. Lovinescu provides a similar verdict, noting that <mask> was an inauthentic peasant, who tried to adapt a "popular epic" to modern urban subjects, using the comedic work of <mask> Caragiale as a template. This results in "loose productions", in which the better parts are echoes from Creangă.<mask>'s works often employ other various narrative motifs found in earlier literature. With La han la Trei ulcele, the author illustrated the pretext of protagonists meeting in inns, a common theme in 19th- and 20th-century Romanian literature (also used by Caragiale, Nicolae N. Beldiceanu, <mask> Alexandru Brătescu-Voinești, Mihail Sadoveanu, Constantin Sandu-Aldea and <mask> Slavici). Călinescu deemed Facerea lumii, Dragoslav's main work in the fantasy genre, a "sort of glib fairy tale." The story is structured on a biblical model (the Book of Genesis), and introduced by the words: "In the beginning of beginnings there was darkness, there was no light, there was no time". As noted by Lovinescu, its mythopoeia samples residual Bogomilist beliefs, found among dwellers of the mahala (rather than being "truly peasant"), and is "evidently prolix", without "plasticity". However, the Sburătorul critic

masks:
Dragoslav
Dragoslav
Dragoslav
Dragoslav
Ion Luca
Dragoslav
Ioan
Ioan


title: I. Dragoslav

texts:
 also sees such pieces as <mask>'s "most accomplished": "aside from his ever-present naïveté, one may identify here a kind of literary styling." Assessments of <mask>'s literary work divided the literary circles he frequented.An especially supportive voice among literary promoters was that of Mihail Dragomirescu: he described <mask> as a new Creangă, and found some of his works to be masterpieces—an enthusiasm which Ornea attributes solely to the imperative need of finding new and distinctive works that would impose a dissident aesthetic guideline. Although himself affiliated with Covorbiri Critice, literary reviewer <mask> commented: "What is the baggage of <mask> the short story writer? Sheer poverty, as far as the artistic sphere is concerned." Nevertheless, Călinescu saw one of Trivale's major mistakes as being his "excessive leniency" for both Dragoslav and comediographer Alexandru Cazaban. <mask> was identified by Călinescu as the main source of inspiration for Pitarcă, a secondary character in Mihail Sorbul's novel Mângâierile panterei ("The Panther's Caresses"). His appearance is also recorded in a portrait drawn by <mask> <mask>. Notes

References
George Călinescu, Istoria literaturii române de la origini pînă în prezent, Editura Minerva, Bucharest, 1986
Tudor Vianu, Scriitori români, Vol.II, Editura Minerva, Bucharest, 1971. 1875 births
1928 deaths
People from Fălticeni
Romanian children's writers
Romanian fantasy writers
Romanian humorists
Romanian journalists
Romanian memoirists
Romanian novelists
Romanian male novelists
Romanian poets
Romanian male poets
Romanian male short story writers
Romanian short story writers
Mythopoeic writers
Romanian people of World War I
Deaths

masks:
Dragoslav
Dragoslav
Dragoslav
Ion Trivale
Dragoslav
Dragoslav
Iosif
Iser


title: Carolina Nairne

texts:
<mask>, <mask> (16 August 1766 – 26 October 1845) – also known as <mask> in the peerage of Scotland and Baroness Keith in that of the United Kingdom – was a Scottish songwriter. Many of her songs, such as, "Will ye no' come back again? ", "Charlie is my Darling" , "The Rowan Tree" and "Wi' a Hundred Pipers' remain popular today, almost two hundred years after they were written. One of her songs, "Caller Herrin'", was sung at the 2021 commemoration of the 1881 Eyemouth disaster. She usually set her words to traditional Scottish folk melodies, but sometimes contributed her own music. <mask> and her contemporary Robert Burns were influenced by the Jacobite heritage in their establishment of a distinct Scottish identity, through what they both called national song. Perhaps in the belief that her work would not be taken seriously if it were known that she was a woman, Nairne went to considerable lengths to conceal her identity (even from her husband) when submitting her work for publication.Early on she called herself Mrs Bogan of Bogan, but feeling that gave too much away she often attributed her songs to the gender-neutral B.B., S.M., or "Unknown". Although both working in the same genre of what might today be called traditional Scottish folksongs, Nairne and Burns display rather different attitudes in their compositions. Nairne tends to focus on an earlier romanticised version of the Scottish way of life, tinged with sadness for what is gone forever, whereas Burns displays an optimism about a better future to come. Life and antecedents

<mask> was born at the Auld Hoose, Gask, Perthshire (her father's ancestral family home) on 16 August 1766. She was the fourth child of the three sons and four daughters of Laurence Oliphant (1724–1792), laird of Gask, and his wife Margaret Robertson (1739–1774); her mother was

masks:
Carolina Oliphant
Lady Nairne
Carolina Baroness Nairn
Carolina Nairne
Carolina Oliphant


title: Carolina Nairne

texts: the eldest daughter of Duncan Robertson of Struan, the chief of Clan Donnachie, which fought on the Jacobite side in the uprisings of 1715 and '45. Her father was also a staunch Jacobite, and she was given the name <mask> in memory of Prince Charles Edward Stuart. Following the failure of the Jacobite rising of 1745 the Oliphant family – along with the Robertsons and the Nairnes – was accused of high treason, exiled to France, and their estates seized.The exiles remained in France for nineteen years, during which time <mask>'s parents were married at Versailles, in 1755. The government eventually allowed the family's kinsmen to buy back part of the Gask estate, and the couple returned to Scotland two years before <mask>'s birth. Her parents were cousins, both grandchildren of Lord Nairne, who had commanded the second line of the Jacobite army at the Battle of Prestonpans in 1745. Although he was sentenced to death the following year, he managed to escape to France, where he remained in exile until his death in 1770. The upbringing of <mask> and her siblings reflected their father's Jacobite allegiance, and their everyday lives were filled with reminders that he considered the Stewarts to be the rightful heirs to the throne. A governess was employed to ensure that the girls had a 'full education including music and art', and  that they did not speak in a broad Scots dialect, as their father considered it unladylike. General tuition was provided by a local minister – the children's prayer books had the Hanoverian sovereign's names obscured by those of the Stewarts – and music and dance teachers were also engaged.Delicate as a child, <mask> gradually developed into a genteel young woman, much admired by fashionable families; she was well educated, able to paint and an accomplished musician familiar with

masks: Carolina Carolina Carolina Carolina Carolina


title: Carolina Nairne

texts:
 traditional songs. As a teenager, <mask> was betrothed to William Murray <mask>, another of Lord Nairne's grandchildren, who became the 5th <mask> in 1824. Born in Ireland to a Jacobite family from Perthshire whose lands had also been forfeited, he regularly visited Gask. It was only after he was promoted to the position of assistant inspector-general at a Scottish barracks that the pair were married on 2 June 1806. The couple settled in Edinburgh, where their only son, also named William Murray <mask> (1808–1837), was born two years later. He was a sickly child and, following her husband's death in 1830, Lady Nairne lived with her son in Ireland and on the continent. The change in climate was not as beneficial to his health as had been hoped; he died in Brussels in December 1837.Nairne returned to Gask in 1843, but following a stroke her health deteriorated; she died on 26 October 1845 and was buried in the family chapel. Songwriting

Nairne began writing songs shortly after her father's death in 1792. She was a contemporary of the best-known Scottish songwriter and poet Robert Burns. Although the two never met, together they forged a national song for Scotland, that in the words of Dianne Dugaw, Professor of English and Folklore at the University of Oregon, "lies somewhere between folk-song and art-song." For both, Jacobite history was a powerful influence. Nairne could read music and played the harpsichord, which allowed her to contribute some of her own tunes. Three tunes she almost certainly wrote are those to "Will Ye No Come Back Again", "The Rowan Tree", and "The Auld House", as no earlier printed versions have been found.What was probably her first composition – The Pleughman (ploughman) – may have been a tribute to Burns. Just like him, Nairne's songs were at first circulated by being performed,

masks:
Carolina
Nairne
Lord Nairne
Nairne


title: Nomi Ruiz

texts:
<mask> is an American singer, songwriter, actress, essayist and producer who is also known for her work as Jessica 6. Early life
<mask> was born in 1986 in the Brooklyn borough of New York City. Her parents are of Puerto Rican descent. Career

Lost In Lust
In 2005 <mask> released her debut album "Lost in Lust" on her own independent label Park Side Records. The album is a song-oriented downbeat electronic album steeped in the grittier ends of early-'90s hip-hop and R&B production. After its release she toured with CocoRosie, Debbie Harry and Antony & The Johnsons as part of their "Turning" project and Turning (film). Hercules & Love Affair
In 2008 <mask> appeared on the nu-disco band Hercules and Love Affair's self-titled album released on James Murphy's label DFA Records.She was featured on the single "You Belong" and appeared in the music

video. Slant Magazine placed "You Belong" at #9 on the Top 25 Singles of 2008 and the song was used in the pilot episode of the TV show How to Make It in America. <mask> also featured on and co-wrote "Hercules Theme" which Pitchfork Media placed at #21 on The 100 Best Tracks of 2008. The band made its live debut on May 17, 2008, at the Studio B venue in Brooklyn, New York, before going on a European and North American tour, where <mask> sang her contributions as well as those of Anohni making her the first latinx transgender woman to perform on prestigious stages and festivals such as Switzerland’s Montreax Jazz Festival, England’s Glastonbury, Lovebox, O2 Arena, New York’s Hammerstein Ballroom and many more. The Guardian described <mask> as "boasting the spookily effortless air of a future pop icon." In 2009 <mask> quit the band and formed the group Jessica 6. Jessica 6
In 2009 <mask> formed the group Jessica 6 with Andrew Raposo (of Automato) and Morgan Wiley.The band met in late 2007 after they helped put together the

masks:
Nomi Ruiz
Nomi Ruiz
Ruiz
Ruiz
Ruiz
Ruiz
Ruiz
Ruiz
Ruiz


title: Nomi Ruiz

texts: Hercules and Love Affair live show. Jessica 6 released their debut single "Fun Girl" on May 21, 2009, on the label Midnight Sun Sound. In 2011 they released See The Light an album that combined dance with her natural R&B/soul stylings released by Peacefrog Records. On January 7, 2011 Jessica 6 released its second single White Horse The song's music video directed by Marco Ovando premiered on February 28, 2011 on Perez Hilton's website. The video received over 2 million hits on YouTube and received positive reviews from music critics. In a review for The Guardian, Michael Cragg felt that the song creates a "fresh take on 70s disco and filtered house with a dash of funk. But while Hercules & Love Affair sound like they now lack a distinctive vocalist, Jessica 6 are elevated by <mask>'s smoky, melancholic voice."Likewise, Robin Murray of Clash noticed a "definite pop touch, but that doesn’t discredit some fantastic production." The album's critical acclaim further solidified her status as a history making global artist, at the Greek MAD Video Music Awards on 14 June 2011, Berlin’s Tempodrom, London’s prestigious Royal Albert Hall, Tate Modern and making an appearance at Chile’s Vina del Mar Festival where she appeared with Academy Award nominated actress Daniela Vega. The song "White Horse" was also used in the provocative Thierry Mugler spring '12 menswear campaign film titled "Brother's Of Arcadia". <mask> was also featured in the film seen in provocative S&M posturings. Their third single "Prisoner Of Love" featured Anohni who also appeared in the song's video also directed by Marco Ovando and styled by Nicola Formichetti. In 2012 after a 2 month North American tour with American synthpop band Holy Ghost!, the trio disbanded and <mask> continued her work in electro-pop and dance under the same name. She released a sophomore Jessica 6 LP titled "The Capricorn" which

masks: Ruiz Ruiz Ruiz


title: Nomi Ruiz

texts:
 was called “seductive, dark, smart, and as catchy as Miss Jackson’s greatest hits” by i-D Magazine.In 2018 she released "The ELIOT Sessions" which received rave reviews in Billboard Magazine and landed <mask> an artist profile in Harper's Bazaar. Borough Gypsy
In 2013 <mask> completed a two month residency at the Clocktower Gallery in downtown New York City where she completed a mixtape project titled "Borough Gypsy" which the gallery described as "a lo-fi cassette tape trip down memory lane using the grit of 90’s Hip Hop combined with Soul and acoustic folk elements." The mixtape debuted at the Clocktower Galleries' studio space which was "transformed into a world where visitors step into the mind of the borough gypsy and get to see and sift through the urban tale as they listen to the album unfold. Visitors are granted full access to diaries, sketchbooks, photo albums and song writing journals which document the album's progress as well as the emotional progression which inspired its content. Also on display are hand-made items used for stage shows, items from Nomi’s childhood, and some of her first ever recorded demos which are only available in reel-to-reel and cassette tape format." She released the mixtape to the public via Soundcloud and followed it up in 2016 with "Borough Gypsy" vol. 2 "NOMI vs DILLA" where she wrote and sang over instrumentals produced by J Dilla.It premiered in The Source accompanied by visuals directed by long time collaborator Gabriel Magdaleno. Essays
As an essayist, <mask> has been outspoken about discrimination in the music industry and has published intimate essays and poems on feminism, sex, romance and gender identity in books by Emely Nue of Pussy Riot, Jezebel, The Fader and more. On March 9, 2017, Jezebel published <mask>'s essay titled "The Lingering Trauma of Searching for Love as a Trans Youth" where she addresses how

masks: Ruiz Ruiz Ruiz Ruiz


title: Nomi Ruiz

texts:
 shame can lead to abusive relationships stating "What a fragile device, to be frail in the eyes of the preying." On June 12, 2018, INTO Magazine published <mask>'s essay titled "The Storm Inside: Loving Trans Women in a Toxic World" Here <mask> touches on how masculine ideology affects men who are transamorous and how that leads to complications when finding love, "shame is the most common form of child abuse, and the most common tool used to shape and mold young boys on their journey to becoming men." On September 7, 2018, Talkhouse asked <mask> to contribute a piece for their Gig Economy column. They published her essay on "Identity, Equality and Fighting for a Livable Wage". Here <mask> touched on her struggles in the music industry as well as her time with Hercules & Love Affair, "I think back over all the obstacles I’ve overcome and still face, count all my blessings and successes, and realize that nothing will ever amount to my biggest win yet: living my truth."Acting & Television
In 2018, <mask> made her acting debut on Kurt Sutter's Sons of Anarchy spin-off Mayans M.C. on FX and stars in the Muay Thai boxing feature film drama "Haymaker". She also appeared on Viceland's Slutever TV Series where she discussed the stigma trans women face when embracing and openly discussing sex and sexuality. Musical Collaborations

Discography

Music Videos

References

External links
Personal website

American electronic musicians
American women singer-songwriters
American singer-songwriters
Living people
LGBT singers from the United States
Transgender and transsexual women musicians
LGBT people from New York (state)
American people of Puerto Rican descent
American women in electronic music
Hercules and Love Affair members
Year of birth missing (living people)
LGBT Hispanic and Latino American people
Hispanic and Latino American actresses
Hispanic and Latino American women

masks: Ruiz Ruiz Ruiz Ruiz Nomi


title: Stringer Lawrence

texts:
Major-General <mask> (February 1698–10 January 1775) was an English soldier, the first Commander-in-Chief, India

Origins
<mask> was born at Hereford, England, the son of <mask> of Hereford by his wife Mary, about either of whom little is known. He was baptised in the Church of All Saints, Hereford, on 27 February 1697 (Old Style). Concerning his possible ancestry, in 1660 "<mask>, junior, gentleman", was admitted to the freedom of the City of Hereford, and became Mayor in 1661. In 1682 "<mask>, apothecary", and in 1702 "<mask>, brewer", were admitted to the freedom of the city. In the opinion of Biddulph (1901) one of these last "must, almost certainly, have been the father of <mask>". In the All Saints' Church burial register is recorded the burial of a certain <mask> on 13 November 1698, from which fact Biddulph (1901) presumed that Stringer was the maiden name of his mother. Career

He seems to have entered the army in 1727 and served in Gibraltar and Flanders, subsequently taking part in the Battle of Culloden.In 1748, with the rank of major and the reputation of an experienced soldier, he went out to India to command the East India Company's troops. Dupleix's schemes for the French conquest of southern India were on the point of taking effect, and not long after his arrival at Fort St David, <mask> was actively engaged. He successfully foiled an attempted surprise by French troops at Cuddalore, but was captured by a French cavalry patrol at Ariancopang (modern Ariankuppam) whilst leading forces to assist Admiral Edward Boscawen in enforcing the Siege of

masks:
Stringer Lawrence
Lawrence
John Lawrence
James Lawrence
John Lawrence
John Lawrence
Stringer Lawrence
Michael Stringer
Lawrence


title: Stringer Lawrence

texts: Pondicherry in 1748. He was kept prisoner by the French until the peace of Aix-la-Chapelle. In 1749 he was in command at the capture of Devicota, during which one of his subordinate officers was Robert Clive (1725–1774), the future Commander-in-Chief of British India, with whom a lifelong friendship began. When Clive had become famous he honoured <mask> by refusing to accept a sword of honour unless one was voted to him also, as the creator of the Indian army. In 1750 <mask> returned to England, but he was back in India by 1752.Here he found Clive in command of a force intended for the relief of Trichinopoly. As senior officer <mask> took over the command, but was careful to allow Clive every credit for his share in the subsequent operations, which included the relief of Trichinopoly and the surrender of the entire French besieging force. In 1752 with an inferior force he defeated the French at Bahour and in 1753 again relieved Trichinopoly. For the next seventeen months he fought a series of actions in defence of that place, and finally arranged an armistice of three months, afterwards converted into a conditional treaty. He was commander-in-chief until the arrival of the first detachment of regular forces of the crown. In 1757 he served in the operations against Wandiwash, and in 1758-1759 was in command of Fort St George, Madras, during the siege by the French under Lally. In 1759 failing health compelled him to return to England, but in 1761 he resumed his command as major-general and commander-in-chief.Clive supplemented his old friend's limited income by

masks: Lawrence Lawrence Lawrence


title: Stringer Lawrence

texts:
 settling on him an annuity of £500 a year. In 1765 he presided over the board charged with arranging the reorganisation of the Madras army, and he finally retired the following year. Retirement, death and succession
His retirement years in England were spent as an honoured guest of his friend Sir Robert Palk, 1st Baronet (1717-1798) at Haldon House in the parish of Dunchideock in Devon, a fellow officer of the British East India Company who served as Governor of the Madras Presidency. He died in London on 10 January 1775, and was buried in Dunchideock Church in Devon, the parish church of Haldon House. <mask> bequeathed the huge sum of £50,000 to his friend Palk, as whose guest <mask> spent his retirement. Palk erected lavish monuments in <mask>s' memory, namely the 26 metres (85 ft) high triangular 'Lawrence Tower' (at Haldon House), containing a life-size statue of <mask> dressed as a Roman general and decorated with three large tablets inscribed with details of his career, and also a mural monument in Dunchideock Church. Palk named his son and heir <mask> in his honour, which became a tradition in the Palk family.Armorials

His arms were: Ermine, a cross raguly gules, as is visible without tinctures on his monuments in Westminster Abbey and Dunchideock, and with tinctures on the vestry screen of Dunchideock Church. These are the arms of Sir <mask> (d.1692) Lord Mayor of London in 1665, which in 1839 were visible on the monument to Sir Thomas Gresham in St Helen's Church, Bishopsgate, City of London, apparently a difference of the ancient arms of <mask> of Ashton

masks:
Lawrence
Lawrence
Lawrence
Lawrence
Lawrence
John Lawrence
Lawrence


title: Stringer Lawrence

texts:
 Hall, Lancashire. They also feature in the arms of <mask>, 1st Baron <mask> (1811-1879), Viceroy of India. Monuments

Westminster Abbey
The East India Company erected a monument to his memory of white and coloured marble by the sculptor William Tyler (1728-1801), situated in the north aisle of the nave of Westminster Abbey. His bust stands on a pedestal at the top, below which is a medal inscribed "Born March 6, 1697; died January 10, 1775". On the left side below is a winged figure of Fame holding an oval shield inscribed: "For Discipline Established, Fortresses Protected, Settlements Extended, French and Indian Armies Defeated, and Peace Concluded in the Carnatic". On the right side below is a female figure seated on a bale, representing the East India Company.She points towards <mask>'s bust and at her feet are shown various French and Indian flags. An heraldic escutcheon on the front of the pedestal shows the arms of <mask>: Ermine, a cross raguly gules. Further down on the pedestal is a panel containing a relief sculpted perspective of a city and an encampment, inscribed: "Tritchinopoly", which town <mask> defended  against the French from May 1753 to October 1754. The main inscription on the black marble base is as follows:
"Erected by the East India Company to the memory of Major General <mask> <mask> in testimony of their gratitude for his eminent services in the command of their forces on the coast of Coromandel from the year MDCCXLVI to the year MDCCLXVI". Foreign and Commonwealth Office
A life-size marble statue of him sculpted in 1764 by Peter Scheemakers

masks:
John Lawrence
Lawrence
Lawrence
Lawrence
Lawrence
Stringer
Lawrence


title: Stringer Lawrence

texts:
 (1691-1781) stands in the Foreign and Commonwealth Office in London. The statue is 5 ft 8 inches (172 cm) high and shows him dressed as a Roman general. It was commissioned by the East India Company in 1760 and is inscribed on the front: "Major General <mask> <mask>.A.D. 1764" and on the side: "P. Scheemakers Ft". A drawing of the statue was published in Neill, J.G.S., Historical Record of the First Madras European Regiment, London, 1843, p. 205. In Devon
The  triangular Lawrence Tower, now known as the Haldon Belvedere, was erected in 1788 to <mask>'s memory by Sir Robert Palk of Haldon House, where <mask> had spent his retirement as a guest. In the centre of the tower's ground floor stands a statue made of coade stone similar to the one in the Foreign and Commonwealth Office, and on the walls are three large inscribed tablets recounting <mask>'s career. There is also a reproduction of the Gainsborough portrait in the National Portrait Gallery in London. <mask> was buried in St Michael's Church, Dunchideock, the parish church of Haldon House, where Palk erected a mural monument to him. Like the larger monument in Westminster Abbey, this was also by William Tyler.It contains a marble profile (see photograph in the gallery below) and three inscriptions. Gallery

Notes

References

Further reading

 Colonel John Biddulph, <mask> <mask>: The Father of the Indian Army, London, 1901

1698 births
1775 deaths
People from Hereford
British Commanders-in-Chief of India
British East India Company Army generals
West Yorkshire Regiment officers
British Army personnel of the

masks: Stringer Lawrence Lawrence Lawrence Lawrence Lawrence Stringer Lawrence