title: R. C. O. Benjamin

texts:
 San Francisco Sentinel. He was for some time the local editor of the Daily Sun In Los Angeles. The Sun was a white paper, and <mask> may have been the first black man to edit a white journal. In California, he became the first black man admitted to the bar in 1887. He practiced in San Francisco and may have been the first black lawyer to visit Oregon.<mask> is claimed to have been admitted to the bar in 12 states, including Virginia, Tennessee, California, Rhode Island, and Alabama. Later career and death

In December 1892, <mask> married Lula M<mask>. They had a son and a daughter. In 1895, while practicing law in Rhode Island, <mask>, who was ordained in the African Methodist Episcopal Church, was nominated to the position of chaplain of the United States House of Representatives. In 1897, <mask>, his wife, Lula, and their two children he returned to Lexington, Kentucky where he edited the Lexington Standard. In 1900, he was an attorney for <mask> and <mask> "Tallow Dick" <mask> in the assassination of governor-elect William Goebel. Murder
On October 2, 1900 he was murdered while helping to register blacks to vote in Lexington.That day he chastised a white man, Michael Moynahan, for harassing a group of black men registering to vote. Moynahan beat <mask> with a revolver, and was then arrested for assault. When Moynahan was released from jail that evening, he went to <mask>'s house and awaited his return. When <mask> returned and saw Moynahan, he turned to run. Moynahan then shot <mask> in the back six times. At his trial, Moynahan pleaded not-guilty for reasons of self defense and the case was dismissed. His life in Lexington is the subject of historic fiction told in first person narratives in the novel A Wounded Snake by Joseph G. Anthony.<mask> was buried in Lexington's African

masks:
Benjamin
Benjamin
Benjamin
. Robinson
Benjamin
Benjamin
Caleb Powers
Richard
Combes
Benjamin
Benjamin
Benjamin
Benjamin
Benjamin


title: R. C. O. Benjamin

type: original

texts:
 Cemetery No. 2. In 1910, a monument was dedicated at his grave site. Publications
<mask>, R. C. O. Poetic gems, Peck & Allan, (Charlottesville, Va.) 1883. <mask>, R. C. O. Life of Toussaint L'Ouverture: Warrior and Statesman, with an Historical Survey of the Island of San Domingo from the Discovery of the Island by <mask>, in 1492, to the Death of Toussaint, in 1803. Vol.1. Evening Express Print Company, 1888. <mask>, R. C. O. Don't : a book for girls. Valleau & Peterson, Book and Job Printers, (San Francisco), 1891. <mask>, R. C. O. The negro problem : and the method of its solution, an address delivered at the A.M.E. Zion Church, Portland, Oregon, June 3d, 1891.George E. Watkins Souvenir and Directory Publishing Co., (San Francisco) 1891. <mask>, R. C. O. Southern outrages; a statistical record of lawless doings. (Los Angeles, Cal. ), 1894
<mask>, R. C. O. <mask>'s pocket history of the American Negro : a story of thirty-one years, from 1863 to 1894. Marion Trint, (Providence, RI) 1894. <mask>, R. C. O.Light after darkness : being an up-to-date history of the American Negro. Daniel Murray Pamphlet Collection (Library of Congress), Marshall & Beveridge, Printers, (Xenia, Ohio), 1896. See also
List of first minority male lawyers and judges in California

References

Sources
Smith Jr, J<mask>. Emancipation: The Making of the Black Lawyer, 1844-1944. University of Pennsylvania Press, 1999. 1855 births
1900 deaths
Activists for African-American civil rights
African Methodist Episcopal Church clergy
African-American educators
African-American journalists
African-American lawyers
American educators
Journalists from California
Lawyers from Birmingham, Alabama
Lawyers from Richmond, Virginia
People from Memphis, Tennessee
Writers from Lexington, Kentucky
Writers from Los Angeles
19th-century

masks:
Benjamin
Benjamin
Christopher Columbus
Benjamin
Benjamin
Benjamin
Benjamin
Benjamin
Benjamin
. Clay


title: Mike Reid (singer)

texts:
<mask> (born May 24, 1947) is an American country music artist, composer, and former American football player. Born and raised in Altoona, Pennsylvania, United States, <mask> attended college at and graduated from the Pennsylvania State University, where he played defensive lineman for the Penn State Nittany Lions football team. He then spent five seasons with the Cincinnati Bengals in the National Football League, earning trips to the Pro Bowl after the 1972 and 1973 seasons, before retiring after the 1974 season. He subsequently focused on his musical career, co-writing several hit singles for country music artists, including Ronnie Milsap's "Stranger in My House", which won a Grammy Award for Best Country Song in 1984. <mask> later began a solo recording career, releasing two studio albums for Columbia Records. He charted seven singles on the Billboard Hot Country Singles & Tracks (now Hot Country Songs) chart as a singer, including the number one hit "Walk on Faith". Football career
At college, <mask> was a captain on both the Nittany Lions undefeated 1968 and 1969 teams that went 22-0.In his senior year (1969), the tackle spearheaded Penn State on defense with 89 tackles and was a unanimous All-America choice and All-East selection. He won the Outland Trophy as the best College football interior lineman in 1969, and also was awarded the 1969 Maxwell Award and finished fifth in the Heisman Trophy balloting. <mask> also wrestled at Penn State and in 1967 he won the Eastern heavyweight wrestling title. In addition to athletics, <mask> played Chicago gangster Big Julie in Penn State's production of the musical Guys and Dolls. <mask> was the first-round selection (#7 pick overall) of the Cincinnati Bengals in the 1970 NFL Draft. In the

masks:
Michael Barry Reid
Reid
Reid
Reid
Reid
Reid
Reid


title: Mike Reid (singer)

texts:
 team's third season, it won the AFC Central Division and made the playoffs. In 1971, <mask> established himself as one of the NFL's best pass rushers by recording 12 sacks, a figure he repeated in 1972.In 1971 <mask> was a consensus All-AFC selection and the following year he was consensus All-Pro as well as being voted consensus All-AFC again. In 1973, he topped those marks by recording 13 sacks. He was named All-Pro by the Newspaper Enterprise Association (NEA) and was second-team All-Pro according to the Associated Press and Pro Football Writers Association. For the third consecutive season <mask> was consensus All-AFC. In 1974, due primarily to injuries, he recorded only seven sacks, bringing his career total to 49. In his final season, <mask> was again an All-AFC selection by Pro Football Weekly. Although sacks were an unofficial statistic, the Bengals kept track of them and <mask> retired as the leading sacker in the team's short history.He made two trips to the Pro Bowl (1972 and 1973) before his retirement following the 1974 season due to knee and hand injuries and his desire to focus on a music career. In 1996, he received the NFL Alumni Career Achievement Award for his success in his post-NFL career. He was elected to the College Football Hall of Fame in 1987 and received the Walter Camp "Alumnus of the Year" award in 1987. In 1995, he received the NCAA Silver Anniversary Award. <mask> was named as part of the Bengals' 40th Anniversary All-Time team in 2007. In 2017, <mask> was named as part of the Bengals' 50th Anniversary All-Time Team. Music career
After receiving his BA in music from Pennsylvania State University in 1969, <mask> would perform as a pianist for the Utah Symphony Orchestra, Dallas Symphony Orchestra, and

masks: Reid Reid Reid Reid Reid Reid Reid Reid


title: Mike Reid (singer)

texts: Cincinnati Symphony Orchestra.When he abandoned his football career, he formed a band and began playing at a Holiday Inn location across the Ohio River from Cincinnati, then abandoned the idea of performing in bands and began playing solo at the Blind Lemon, and in the process, beginning to write his own songs. Living in Mount Lookout, he drove Eastern Avenue daily, and slowly "Eastern Avenue River Railway Blues" grew out of that. After a gig in Atlanta, <mask> and some other musicians attended Southeastern Music Hall about 3:30 a.m. A cassette tape of that session somehow found its way to Jerry Jeff Walker, who, in 1978, became the first artist to record a <mask> song, that being "Eastern Avenue River Railway Blues". In 1980, <mask> moved to Nashville, and quickly became known as an in-demand songwriter for Ronnie Milsap. Larry Gatlin also helped <mask> spearhead his songwriting career. In 1984, <mask> won a Grammy Award for Best Country Song with "Stranger in My House", which was recorded by Ronnie Milsap. <mask> would also contribute compositions to artists such as Marie Osmond, Tanya Tucker, Collin Raye, Alabama, and Conway Twitty.In the 1980s and 1990s, <mask> wrote 12 No. 1 singles including "Forever's as Far as I'll Go", which was recorded in 1990 by Alabama; their 29th number one country hit. He was also featured as a guest vocalist on Milsap's "Old Folks", a No. 2 hit from early 1988. He also co-wrote, with Allen Shamblin, Bonnie Raitt's standard "I Can't Make You Love Me". In 1990, <mask> signed to Columbia Records as a recording artist. His debut album Turning for Home produced a No.1 country hit in its lead-off single "Walk on Faith", although the album's other singles were not as successful. His second album, 1992's Twilight


title: Mike Reid (singer)

texts:
 Town, produced two singles which both missed the Top 40. A third album, New Direction Home, was released two decades later in 2012 by the small Off Row Records label and is available on iTunes and Spotify as well as in an mp3 download from <mask>'s website. By 1991, <mask> composed the music for the Civil War musical A House Divided. Over the following two decades, he wrote more musicals, including Quilts, Different Fields, Eye of the Blackbird, Tales of Appalachia, In This House, and The Ballad of Little Jo, a 1997 winner of the Academy of Arts and Letters' 'Richard Rodgers Award for Musical Theater'. In 2019, he again returned to the musical theater stage with The Last Day, a commissioned production co-written with NYU Tisch School of Performing Arts Assistant Dean, <mask>, for <mask>'s alma mater, Penn State. <mask> was inducted into the Nashville Songwriters Hall of Fame in 2005.Discography

Studio albums

Singles

Songwriting
For the most notable recordings of songs written by <mask> see :Category:Songs written by <mask> (singer)

Music videos

References

External links

1947 births
Living people
20th-century American singers
21st-century American singers
All-American college football players
American Conference Pro Bowl players
American country singer-songwriters
American football defensive tackles
American male composers
American musical theatre composers
Cincinnati Bengals players
College Football Hall of Fame inductees
Columbia Records artists
Country musicians from Pennsylvania
Grammy Award winners
Male musical theatre composers
Maxwell Award winners
Penn State Nittany Lions football players
Players of American football from Pennsylvania
Singer-songwriters from Pennsylvania
Sportspeople from Altoona, Pennsylvania
American male

masks:
Reid
Reid
Sarah Schlesinger
Reid
Reid
Mike Reid
Mike Reid


title: Alain Bernaud

texts:
<mask> (born 8 March 1932 - died 4 december 2020) is a French composer. Life
<mask> was born in Neuilly-sur-Seine of a polytechnician father, a good violinist and violist and a mother playing the piano, daughter of Marcel Chadeigne who was, before and after the First World War, choir conductor at the Paris Opera and pianist - accompanist - decipherer - reducer of orchestral scores. He had formed with Maurice Ravel, Maurice Delage, Déodat de Séverac, Florent Schmitt, Paul Ladmirault, Émile Vuillermoz, Désiré Inghelbrecht, Ricardo Viñes and Tristan Klingsor, a group they had named Les Apaches, and whose rallying call was whistling the first theme of Borodin's Second Symphony. Arriving in Paris in 1938, he began studying piano and music theory with , wrote his Opus 1, a string quartet (for the family!) and then returned to the Conservatoire de Paris (direction of Claude Delvincourt) in specialized solfege class, at Lucette Descaves, where he met Michel Legrand, Roger Boutry, Jean-Michel Defaye and <mask>. He then followed Jules Gentil's piano class (1st medal) - studied harmony with Jacques de La Presle (1st prize) - counterpoint and fugue with Noël Gallon (1st medal and 1st prize) - finally musical composition with Tony Aubin (1st Prix de Rome in 1953 with Ouverture à la française for 2 pianos). He won the 2nd Prix de Rome in 1955 with the cantata Le Rire de Gargantua then 1st Grand Prix de Rome in 1957 with the cantata La fée Urgèle.<mask> stayed 40 months at the Villa Médicis, a stay during which he wrote a quartet for saxophones, Les chants de la jungle - six melodies for baritone and string orchestra on poems from Rudyard Kipling, a Symphony, an Ouverture pour orchestre de chambre (1960), a Messe brève for mixed choir and organ (1958), a

masks:
Alain Bernaud
Bernaud
Alain Weber
Bernaud


title: Alain Bernaud

texts:
 violin and piano (concours Jacques Thibaud 1973 - Ed. Rideau Rouge)
 1974: Sonate pour les deux saxophones, soprano and bariton (Ed. Combre)
 1975: Scherzo pour cor et piano (Ed.Max Eschig)
 1975: Le jardin de Gabriel Six evocations for violin and piano
 1976: Hommage au capitaine Fracasse for percussion and piano (Ed. Rideau Rouge)
 1977: Final pour saxophone alto et piano (Ed. Choudens)
 1978: Hallucinations for bassoon and piano (Ed. Peermusic - E.M.I. 1978)
 1979: Crescendo, progressive pieces for young pianists (Ed. Kercoz)
 1979: Étude-expression for quintet with clarinet

1980s
 1980: Exponentielles for tenor trombone and piano (Ed. E.M.I.)1981: Variations pour hautbois et piano (Ed. Billaudot)
 1984: Rhapsodie pour saxophone alto et piano (Ed. Choudens)
 1986: Dies irae Deus misericordiæ for Large Organ (Ed.Kercoz)

1990–2000
 1990: Le Miroir d’Euterpe 49 preludes for string quartet (Ed.Kercoz)
 1997: Catalyses, Rhapsody for piano (Ed. Kercoz) musical journey for an exhibition of the painter <mask>
 2000: Cinq pièces pour quatuor de violoncelles, in honour of Howard Buten (Ed.Kercoz)
 2004: Variazioni Napoli for baroque harpsichord (Ed.Kercoz)
 2005: Quatre mouvements pour trois archets et douze cordes for string trio (Ed. Kercoz)
 2005: Partita pour violoncelle solo (Ed. 1st Grand Prix de Rome for composition 1957. References

External links
 Personal website
 <mask>, Hallucinations for bassoon and piano (YouTube)

1932 births
Living people
People from Neuilly-sur-Seine
20th-century French composers
21st-century French composers
French film score composers
Conservatoire de Paris alumni
Conservatoire de Paris faculty
Prix de Rome for composition
French male film score composers
20th-century French male musicians
21st-century French male

masks:
François Bernaud
Alain Bernaud


title: Lorenzino de' Medici

texts:
<mask><mask> (23 March 1514 – 26 February 1548), also known as Lorenzaccio, was an Italian politician, writer, and dramatist, and a member of the Medici family. He became famous for  assassinating his cousin, Alessandro de<mask>, Duke of Florence in 1537. He was in turn murdered in 1548 in retaliation for his deed. Biography

Childhood and youth
Son of Pierfrancesco and Maria Soderini, <mask> lost his father when he was only eleven (1525). He was then raised by his mother at the Villa del Trebbio along with his younger brother Giuliano and his two sisters Laudomia and Maddalena. In 1526 his mother decided to move to Venice with Giuliano and the future Cosimo I de<mask> to escape the arrival of the Landsknechts. Their departure was timely because, only one year later, the Sack of Rome enormously weakened Pope Clement VII (formerly known as Giulio di Giuliano de<mask>) and as a consequence, the Medici were expelled from Florence.In 1530 Lorenzino moved to Rome, where in 1534 he mutilated the heads of some of the ancient statues of the Arch of Constantine. Only the intercession of his cousin Cardinal Ippolito saved Lorenzino from the anger of the Pope, who had promised to condemn the vandal to death. Nevertheless, after this virtually inexplicable action, <mask> was disgracefully expelled from Rome. Relationship with Alessandro de<mask>
After leaving Rome, Lorenzino returned to Florence, where he soon established a close relationship with his cousin Alessandro, who had become lord of Florence in 1530 and duke in 1532. The two were partners in riotous escapades, but the authenticity of their friendship is doubtful and their relationship had more than one dark side. In 1536, the duke sided against Lorenzino in a legal controversy on the inheritance

masks:
Lorenzino de
' Medici
' Medici
Lorenzino
' Medici
' Medici
Lorenzino
' Medici


title: Lorenzino de' Medici

texts:
 of Pierfrancesco the Elder, Lorenzino's great-grandfather, which caused substantial financial damage to Lorenzino. In the same year, Alessandro married Margaret of Parma, the natural daughter of the Emperor Charles V.

Assassination of Alessandro

On the evening of 6 January 1537, Lorenzino lured Alessandro to his apartments with the promise of a night of passion, and left him alone pretending that he was going to fetch a woman who had already agreed to meet him.According to most historians, the woman was Caterina Soderini, wife of Leonardo Ginori, but others think it was Laudomia, Lorenzino's sister. In the meantime, Alessandro fell asleep and, having previously sent away his men, he was completely defenceless when Lorenzino came back with his servant Piero di Giovannabate, also known as Scoronconcolo. The two men assaulted the duke with swords and daggers, and Alessandro was killed even though he reacted ferociously and fought with all his might. Many hypotheses have been proposed to explain the reasons for the murder, from the personal resentment caused by jealousy or patrimonial reasons, to Lorenzino's desire to make a sensational gesture to immortalize his glory. <mask> himself, however, stated in his famous Apology - written only a few days after his crime - that he acted for political reasons; he killed the duke to free Florence from the man that many considered to be a tyrant. The Florentine republican exiles generally had the same explanation; they considered Lorenzino a hero, since in so doing he could have made the reintroduction of the Republic possible. Dominant figures in the republican exiles, such as Benedetto Varchi, even compared Lorenzino's cause and actions to Brutus, the killer of Julius Caesar who held the same


title: Lorenzino de' Medici

texts:
 republicanism ideal.Exile
After the murder, Lorenzino took the horses he had previously prepared and left Florence along with Piero and another servant. He first arrived in Bologna, where the jurist Silvestro Aldobrandini, another republican exile, did not believe him. Then Lorenzino continued his journey until he reached Venice, where he was welcomed with open arms by the very rich banker Filippo Strozzi, the leader of the exiles, who promised him that he would marry his sons Piero and Roberto to Lorenzino's sisters Laudomia and Maddalena de' <mask>. Among the many other exiles that exulted over the duke's death were the famous men of letters Iacopo Nardi and Benedetto Varchi: the latter said that Lorenzino was greater than Brutus. Also the poet Luigi Alamanni praised Lorenzino from France, whereas the sculptor Jacopo Sansovino promised to dedicate a statue to him. With Alessandro's death, the main branch of the Medici family was extinguished. The lack of a suitable lineal descendant created the conditions for the rise to power of the seventeen-year-old Cosimo, a member of the cadet branch of the family who was chosen as the new duke with the approval of the Holy Roman Emperor Charles V.

After a few days in Venice, Lorenzino decided to go to Mirandola, where he was hosted by Count Galeotto Pico and remained for around two weeks.He then returned to Venice and from there, on 16 February 1537, he left to go to Constantinople, with the Ottoman ambassador in Venice and Giorgio Gritti, son of Doge Andrea. The choice to leave Italy was due partly to the risk of being killed and partly to a diplomatic mission to the Ottoman Sultan Suleiman the Magnificent on behalf of the King of France. A few months later, the battle of Montemurlo, won by Cosimo's


title: Lorenzino de' Medici

texts:
 army, ended the hopes of Filippo Strozzi and the other exiles. <mask>'s patron Filippo was taken prisoner. He died in 1538 (suicide, according to the official version) after being tortured in the attempt to establish an unlikely connection between him and the Duke's assassination. In September 1537 Lorenzino went to France, to the court of Francis I of France, where he could count on the political support of the king and on the hospitality of many Florentines, especially his maternal uncle, the bishop of Saintes Giuliano Soderini, and the royal treasurer Giuliano Bonaccorsi. Contrary to what was previously believed, in this period Lorenzino went often to Italy and carried out important political-diplomatic missions on behalf of Francis I.Most importantly, he was in Italy from February to July 1542 to act as a go-between for the king and the Florentine exiles in Venice, with the aim of organizing a military venture against Cosimo. Death

In 1544 <mask> returned for good to Venice, where he was in close contact with the other Florentine exiles and established a friendship with the papal legate Giovanni Della Casa. In Venice, a nest of imperial and Medici spies, Lorenzino was much more vulnerable than in France, and the attempts to kill him and revenge the death of Duke Alessandro multiplied. The situation got even more complicated when, between the end of 1547 and the beginning of 1548, almost all the Florentines left Venice and moved to France, thus leaving Lorenzino isolated. Consequently, on 26 February 1548, Lorenzino was murdered in Venice by two hired killers. One of them, Francesco da Bibbona, left a detailed account of the deed which includes precious information on the execution of the murder. For several centuries, it has been

masks: Lorenzino Lorenzino


title: Lorenzino de' Medici

texts:
 believed that the Medici secretary Giovanni Francesco Lottini had organized the murder, but new research has demonstrated that he played no part in it.Moreover, both his contemporaries and historians of the following centuries have always believed that <mask>'s assassination had been ordered by Duke Cosimo I, as revenge for the murder of his predecessor. On the contrary, a new study by Stefano Dall’Aglio has shown that the entire operation was orchestrated by the Emperor Charles V, who could not forgive the death of his son-in-law, the husband of his daughter Margaret. It was Charles V who explicitly ordered the murder, writing from Augsburg unbeknownst to Cosimo, and gave detailed instructions to his ambassador in Venice, Juan Hurtado de Mendoza, who was in charge of the operation. Works
<mask> was also a writer. In his Apology he defended himself, explaining that he had committed the murder for the love of liberty: he had followed the example of Brutus – one of the assassins of Julius Caesar – and had murdered the duke after pretending he was his faithful servant and friend. The Apology is considered one of the loftiest examples of Renaissance eloquence and a masterpiece of anti-tyrannical thought. It was written in two subsequent versions, the first of which, not very different from the definitive one, dates back to January 1537, a few days after the murder.He also authored a play entitled Aridosia, written around 1535 and successfully presented in Florence, first at the Spedale dei Tessitori and later at Palazzo Medici. Cultural Depiction

<mask>'s assassination of Alessandro, as well as his republicanism, anti-tyrannical spirit, inspired French playwriter Alfred de Musset to write the play of Lorenzaccio. References

Bibliography

masks: Lorenzino Lorenzino Lorenzino


title: Lorenzino de' Medici

texts:
 Dall'Aglio, Stefano. "Solving a Renaissance Murder Mystery." History Today (Feb 2020) 70#2 pp 38–49. Dall'Aglio, Stefano, The Duke's Assassin. Exile and Death of <mask> de<mask> (New Haven and London: Yale University Press, 2015), .Other languages
 Bredekamp, Horst, 'Lorenzinos de’ Medici Angriff auf den Konstantinsbogen als Schlacht von Cannae', in L’art et les révolutions (Strasbourg: Societè Alsacienne pour le Développement de l’Histoire de l’Art, 1992), 4, pp. 95–115. Dall'Aglio, Stefano, 'Il presunto colpevole. Giovan Francesco Lottini e l'assassinio di Lorenzino de' <mask>', in Rivista Storica Italiana, CXXI (2009), pp. 840–856. Dall'Aglio, Stefano, 'Nota sulla redazione e sulla datazione dell' Apologia di Lorenzino de' <mask>', in 'Bibliothèque d'Humanisme et Renaissance', LXXI (2009), pp. 233–241.Ferrai, Luigi Alberto, 'La giovinezza di Lorenzino de' <mask>', in Giornale Storico della Letteratura Italiana, II, 1883, pp. 79–112. Ferrai, Luigi Alberto, <mask> de<mask> e la società cortigiana del Cinquecento (Milan: Hoepli, 1891). Racconto della morte di <mask> de<mask>, tratto da una relazione del capitano Francesco Bibbona, che l'uccise, in Cesare Cantù, 'Spigolature negli archivi toscani', in Rivista Contemporanea 20 (1860), pp. 332–345. External links

 Entry on <mask> de<mask> on the Encyclopaedia Britannica
 Article on <mask> de<mask> on The Weekly Standard

Assassins of heads of state
Italian assassins
Italian male writers
1514 births
1548 deaths
1537 crimes
1548 crimes
Lorenzino
Executed Italian people
People executed by Florence
People executed for murder
Nobility from Florence
16th-century people of the Republic of Florence
16th-century executions by Italian states
16th-century Venetian people
16th-century Italian

masks:
Lorenzino
' Medici
Medici
Medici
Medici
Lorenzino
' Medici
Lorenzino
' Medici
Lorenzino
' Medici
Lorenzino
' Medici


title: Mustafa ibn Ali al-Muwaqqit

texts:
<mask>-Muwaqqit (died 1571, the epithet al-Muwaqqit means "the timekeeper"), also known as <mask> and Koca Saatçi, was an Ottoman astronomer and author of geography from the sixteenth century. Because of his works on the science of timekeeping and practical astronomy,  he is considered "the founder of the Ottoman tradition" of those fields. He was one of the pioneers of astronomy literature in Ottoman Turkish—instead of Arabic which was more common in the Islamic world—following Muhammad al-Qunawi. Since his youth he served as the muwaqqit (religious timekeeper) attached to the Mosque of Selim I in Istanbul, in which capacity he produced most of his writing. In 1560 or later he was appointed to the office of müneccimbaşı, the highest post for astronomers of the Empire. Early life
Muslih al-<mask>-Qustantini al-Rumi was born in Istanbul, the capital of the Ottoman Empire, in the early sixteenth century. Among his teachers were the astronomer Mirim Çelebi (1475–1525), as well Muhammad al-Qunawi (d. ) a muwaqqit (religious timekeeper) in the tradition of Shams al-Din al-Khalili and Ibn al-Shatir, and Ottoman astronomer who began the attempt to write about his field in Ottoman Turkish rather than Arabic.Career

<mask> <mask> was appointed as the muwaqqit of the Mosque of Selim I in Istanbul, when he was young. He produced most of his works during this tenure. Instead of Arabic, the customary scientific language of the Islamic World at the time, he wrote mostly in Ottoman Turkish. This decision was made in order to

masks:
Mustafa ibn Ali al
Müneccimbaşı Mustafa Çelebi
Din Mustafa ibn Ali al
Mustafa ibn
Ali


title: Mustafa ibn Ali al-Muwaqqit

texts: features, and its division into seven climes. It was built on works by earlier scholars, including astronomers Jaghmini, Qadizade al-Rumi, and Zakariya al-Qazwini, as well as the zoologist Al-Damiri. Many of his other works were about astronomical instruments.Among these, Faraḥ Fazā was dedicated to the grand vizier Pargalı Ibrahim Pasha and describes the horizontal quadrant (al-rub' al-afaqi), which according to <mask> was his own invention. Another work, Kifayat al-qanu' fi al-'amal bi'r-rub' al-maqtu was written in Arabic and was a commentary on the works of an earlier muwaqqit Sibt al-Maridini. His other works, Kifayat al-waqt, also known as Risala fi al-muqantarat (1529), was written in Turkish and describes an instrument called the astrolabic quadrant, as well as other themes in geometry, trigonometry, and astronomy. Today 120 copies of this work are extant in various libraries. His Tashil al-miqat (1529) discusses the science of timekeeping and the sine quadrant (al-rub' al-mujayyab). This work appeared to have been continuously updated, and today it is found in 100 extant copies of five distinct versions. He describes another instrument, al-mujayyab al-afaqi in the work Risalah-i jayb-i afaqi (1529, Turkish) and describes its use for the coordinates of Istanbul in the work Hall da'irat mu'addil al-nahar (1531, Turkish) which was commissioned by the grand vizier Ayas Mehmed Pasha.His longest work was Risalat al-asturlab al-Selimi ("Selim's Treatise on the Astrolabe"), which was written in 1544, also in Turkish,


title: Mustafa ibn Ali al-Muwaqqit

texts:
 and discusses the construction of the astrolabe, its mathematical properties, and its uses, based on Zij-i Sultani published by the astronomer Ulugh Beg in 1438 or 1439. In or after 1560, he was appointed müneccimbaşı (or munajjim-bashi, "head astrologer"), the highest office for astronomers in the Ottoman Empire, hence his other name "Müneccimbaşı <mask>". He replaced <mask> Umar and held the post until his death in 1571. He was the primary reference in the Ottoman Empire on the science of timekeeping, and according to the Turkish explorer Evliya Çelebi his works were cited in Western Europe. Other than the title al-muwaqqit and müneccimbaşı, based on his offices, he was also known by the honorific Koca Saatçi ("the great timekeeper"). After <mask>'s death, Sultan Selim II appointed the prominent scholar Taqi ad-Din Muhammad <mask>'ruf—who just returned to Istanbul in 1570 after his service in the Egypt Eyalet—as his successor. Legacy
<mask> <mask> was one of the most important Ottoman astronomers of the sixteenth century.Because of his works on the theory and applications of the science of timekeeping and practical astronomy, Fazlıoğlu writes that he is considered to be "the founder of the Ottoman tradition" of those fields. He was one of the earliest authors of astronomy in Turkish, a tradition started by Muhammad al-Qunawi. References

Bibliography

Astronomers of the Ottoman Empire
People from Istanbul
16th-century births
1571 deaths
16th-century people of the Ottoman Empire
16th-century

masks:
Mustafa Çelebi
Yusuf ibn
Mustafa
ibn Ma
Mustafa ibn
Ali


title: Shulü Ping

texts:
<mask> (; 19 October 879 – 1 August 953), nickname Yueliduo (月里朵), formally Empress Yingtian () also known as Empress Di (地皇后) during the reign of her husband Emperor Taizu of Liao (Yelü Abaoji), posthumous name initially Empress Zhenlie (貞烈皇后, "the virtuous and achieving empress") then Empress Chunqin (淳欽皇后, "the pure and honoured empress") was an empress of the Khitan-led Liao dynasty of China. After Emperor Taizu's death in 926, she served as empress dowager until her  death in 953. She was directly involved in two imperial successions and is credited with changing expectations of widows in Khitan society. Background
<mask> was born in 879. Her great-great-grandfather Shulü Nuosi (述律糯思) was said to be of Huigu extraction. Her father was named Shulü Pogu (述律婆姑), who also had the name of Yuewan (月碗), served under the Khitan Yaonian (遙輦) clan. Her mother was said to be a daughter of "King Yundejia" (勻德恝王) — apparently the grandfather of her eventual husband Yelü Abaoji, Yelü Yundeshi (耶律勻德實) — which would make her and Yelü Abaoji cousins.Eventually, she married Yelü Abaoji as his wife, but it is not known when that occurred. She bore Yelü Abaoji three sons — Yelü Bei, Yelü Deguang, and Yelü Lihu. During Emperor Taizu's reign
In 916, Yelü Abaoji, having consolidated the power over the Khitan tribes into his hands, declared himself emperor of a new Liao dynasty, and created  Shulü <mask> empress. As empress, she was described as brave, resolute, and full of strategies, often participating in Emperor Taizu's military decisions. There was one time when Emperor Taizu were attacking the Dangxiang through the desert. He left Empress Shulü in charge of the headquarters. Hearing that he was away, two Shiwei

masks:
Shuü Ping
Shuü Ping
Ping


title: Masaccio

texts:
<mask> (, , ; December 21, 1401 – summer 1428), born Tommaso di Ser Giovanni di Simone, was a Florentine artist who is regarded as the first great Italian painter of the Quattrocento period of the Italian Renaissance. According to Vasari, <mask> was the best painter of his generation because of his skill at imitating nature, recreating lifelike figures and movements as well as a convincing sense of three-dimensionality. He employed nudes and foreshortenings in his figures. This had seldom been done before him. The name <mask> is a humorous version of Maso (short for Tommaso), meaning "clumsy" or "messy" Tom. The name may have been created to distinguish him from his principal collaborator, also called Maso, who came to be known as Masolino ("little/delicate Tom"). Despite his brief career, he had a profound influence on other artists and is considered to have started the Early Italian Renaissance in painting with his works in the mid- and late-1420s.He was one of the first to use linear perspective in his painting, employing techniques such as vanishing point in art for the first time. He moved away from the International Gothic style and elaborate ornamentation of artists like Gentile da Fabriano to a more naturalistic mode that employed perspective and chiaroscuro for greater realism. <mask> died at the age of twenty-six and little is known about the exact circumstances of his death. Upon hearing of <mask>’s death, Filippo Brunelleschi said: "We have suffered a great loss." Early life
<mask> was born to Giovanni di Simone Cassai and Jacopa di Martinozzo in Castel San Giovanni di Altura, now San

masks: Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio


title: Masaccio

texts:
 Giovanni Valdarno (today part of the province of Arezzo, Tuscany). His father was a notary and his mother the daughter of an innkeeper of Barberino di Mugello, a town a few miles north of Florence. His family name, Cassai, comes from the trade of his paternal grandfather Simone and granduncle Lorenzo, who were carpenters/cabinet makers (casse, hence cassai).<mask>'s father died in 1406, when he was only five; later that same year a brother was born, named Giovanni (1406–1486) after his father. He also was to become a painter, with the nickname of lo Scheggia meaning "the splinter." In 1412 Monna Jacopa married an elderly apothecary, Tedesco di maestro Feo, who already had several daughters, one of whom grew up to marry the only other documented painter from Castel San Giovanni, Mariotto di Cristofano (1393–1457). There is no evidence for Masaccio's artistic education,  however Renaissance painters traditionally began an apprenticeship with an established master around the age of 12. Masaccio would likely have had to move to Florence to receive his training, but he was not documented in the city until he joined the painters guild (the Arte de' Medici e Speziali) as an independent master on January 7, 1422, signing as "Masus S. Johannis Simonis pictor populi S. Nicholae de Florentia." First works
The first works attributed to Masaccio are the San Giovenale Triptych (1422), now in the Masaccio Museum of Sacred Art in Cascia di Reggello near Florence, and the Virgin and Child with Saint Anne (Sant'Anna Metterza) (c. 1424) at the Uffizi. The San Giovenale altarpiece was discovered in 1961 in the church of


title: Masaccio

texts:
 San Giovenale at Cascia di Reggello, very close to <mask>'s hometown.It depicts the Virgin and Child with angels in the central panel, Sts. Bartholomew and Blaise on the left panel, and Sts. Juvenal (i.e. San Giovenale) and Anthony Abbot in the right panel. The painting has lost much of its original framing, and its surface is badly abraded. Nevertheless, <mask>'s concern to suggest three-dimensionality through volumetric figures and foreshortened forms is apparent, and stands as a revival of Giotto's approach, rather than a continuation of contemporary trends. The second work was perhaps <mask>'s first collaboration with the older and already-renowned artist, Masolino da Panicale (1383/4–c.1436). The circumstances of the two artists' collaboration are unclear; since Masolino was considerably older, it seems likely that he brought <mask> under his wing, but the division of hands in the Virgin and Child with Saint Anne is so marked that it is hard to see the older artist as the controlling figure in this commission. Masolino is believed to have painted the figure of St. Anne and the angels that hold the cloth of honor behind her, while Masaccio painted the more important Virgin and Child on their throne. Masolino's figures are delicate, graceful and somewhat flat, while <mask>'s are solid and hefty. Maturity
In Florence, Masaccio could study the works of Giotto and become friends with Brunelleschi and Donatello. According to Vasari, at their prompting in 1423 Masaccio travelled to Rome with Masolino: from that point he was freed of all Gothic and Byzantine influence, as seen in his altarpiece for the

masks: Masaccio Masaccio Masaccio Masaccio Masaccio


title: Masaccio

texts:
 Carmelite Church in Pisa. The traces of influences from ancient Roman and Greek art that are present in some of Masaccio's works presumably originated from this trip: they should also have been present in a lost Sagra, (today known through some drawings, including one by Michelangelo), a fresco commissioned for the consecration ceremony of the church of Santa Maria del Carmine in Florence (April 19, 1422).It was destroyed when the church's cloister was rebuilt at the end of the 16th century. Brancacci Chapel

In 1424, the "duo preciso e noto" ("well and known duo") of <mask> and Masolino was commissioned by the powerful and wealthy Felice Brancacci to execute a cycle of frescoes for the Brancacci Chapel in the church of Santa Maria del Carmine in Florence. With the two artists probably working simultaneously, the painting began around 1425, but for unknown reasons the chapel was left unfinished, and was completed by Filippino Lippi in the 1480s. The iconography of the fresco decoration is somewhat unusual; while the majority of the frescoes represent the life of St. Peter, two scenes, on either side of the threshold of the chapel space, depict the temptation and expulsion of Adam and Eve. As a whole, the frescoes recount the life of St Peter as if it were the story of salvation. The style of Masaccio's scenes shows the influence of Giotto especially. Figures are large, heavy, and solid; emotions are expressed through faces and gestures; and there is a strong impression of naturalism throughout the paintings.Unlike Giotto, however, <mask> uses linear and atmospheric perspective, directional light, and

masks: Masaccio Masaccio


title: Masaccio

texts:
 chiaroscuro, which is the representation of form through light and color without outlines. As a result, his frescoes are even more convincingly lifelike than those of his trecento predecessor. Works of the chapel

The Expulsion from the Garden of Eden, depicts a distressed Adam and Eve, chased from the garden by a threatening angel. Adam covers his entire face to express his shame, while Eve covers her breasts and groin. The fresco had a huge influence on Michelangelo and his work. Another major work is The Tribute Money in which Jesus and the Apostles are depicted as neo-classical archetypes. Scholars have often noted that the shadows of the figures all fall away from the chapel window, as if the figures are lit by it; this is an added stroke of verisimilitude and further tribute to Masaccio's innovative genius.In the Resurrection of the Son of Theophilus, he painted a pavement in perspective, framed by large buildings to obtain a three-dimensional space in which the figures are placed proportionate to their surroundings. In this he was a pioneer in applying the newly discovered rules of perspective. In September 1425 Masolino left the work and went to Hungary. It is not known if this was because of money quarrels with Felice or an artistic divergence with Masaccio. It has also been supposed that Masolino planned this trip from the very beginning, and needed a close collaborator who could continue the work after his departure. But <mask> left the frescoes unfinished in 1426 in order to respond to other commissions, probably coming from the same patron. However, it has also been suggested that the


title: Masaccio

texts:
 declining finances of Felice Brancacci were insufficient to pay for any further work, so the painter sought work elsewhere.<mask> returned in 1427 to work again in the Carmine, beginning the Resurrection of the Son of Theophilus, but apparently left it, too, unfinished, although it has been suggested that the painting was severely damaged later in the century because it had contained portraits of the Brancacci family, at that time excoriated as enemies of the Medici. This painting was either restored or completed more than fifty years later by Filippino Lippi. Some of the scenes completed by <mask> and Masolino were lost in a fire in 1771; we know about them only through Vasari's biography. The surviving parts were extensively blackened by smoke. In the twentieth century, the removal of marble slabs covering two areas of the paintings revealed the original appearance of the work. Pisa Altarpiece
On February 19, 1426, <mask> was commissioned by Giuliano di Colino degli Scarsi da San Giusto, for the sum of 80 florins, to paint a major altarpiece, the Pisa Altarpiece, for his chapel in the church of Santa Maria del Carmine in Pisa. The work was dismantled and dispersed in the 18th century, and only eleven of about twenty original panels have been rediscovered in various collections around the world.The central panel of the altarpiece (The Madonna and Child) is now in the National Gallery, London. Although it is very damaged, the work features a sculptural and human Madonna as well as a convincing perspectival depiction of her throne. <mask> probably worked on it entirely in Pisa, shuttling back and

masks: Masaccio Masaccio Masaccio Masaccio


title: Masaccio

texts:
 forth to Florence, where he was still working on the Brancacci Chapel. In these years, Donatello was also working in Pisa at a monument for Cardinal Rinaldo Brancacci, to be sent to Naples. It is suggested that <mask>'s first ventures in plasticity and perspective were based on Donatello's sculpture, before he could study Brunelleschi's more scientific approach to perspective. Holy Trinity
Around 1427 Masaccio won a prestigious commission to produce a Holy Trinity for the Dominican church of Santa Maria Novella in Florence. No contemporary documents record the patron of the fresco, but recently references to ownership of a tomb at the foot of the fresco have been found in the records of the Berti family of the Santa Maria Novella Quarter of Florence; this working-class family expressed a long-standing devotion to the Trinity, and may well have commissioned Masaccio's painting.Probably it is the male patron who is represented to the left of the Virgin in the painting, while his wife is right of St. John the Evangelist. The fresco, considered by many to be Masaccio's masterwork, is the earliest surviving painting to use systematic linear perspective, possibly devised by Masaccio with the assistance of Brunelleschi. According to the reconstruction Masaccio started by producing a rough drawing of the composition and perspective lines on the wall. The drawing was covered with fresh plaster for making the fresco. To ensure the precise transfer of the perspective lines from the sketch to the plaster, Masaccio inserted a nail in at the vanishing point under the base of the cross and attached strings to it,


title: Masaccio

texts:
 which he pressed in (or carved into) the plaster. The marks of the preparatory works are still visible. The sacred figures and the donors are represented above an image of a skeleton lying on a sarcophagus.An inscription seemingly carved into the wall above the skeleton reads:  "Io fui gia quel che voi siete e quel ch'io sono voi anco sarete" (I once was what now you are and what I am, you shall yet be). This skeleton is at once a reference to Adam, whose sin brought humans to death and a reminder to viewers that their time on earth is transitory. It is only through faith in the Trinity, the fresco suggests, that one overcomes this death. The Holy Spirit is seen in the form of a dove, above Jesus. The combination of trinity, death and decay "can be interpreted as a transposition of the Golgotha chapel"  in the Church of the Holy Sepulchre in Jerusalem. Other paintings
Masaccio produced two other works, a Nativity and an Annunciation, now lost, before leaving for Rome, where his companion Masolino was frescoing a chapel with scenes from the life of St. Catherine in the Basilica di San Clemente. It has never been confirmed that Masaccio collaborated on that work, even though it is possible that he contributed to Masolino's polyptych for the altar of Santa Maria Maggiore with his panel portraying St. Jerome and St. John the Baptist, now in the National Gallery of London.<mask> died at the end of 1428. According to a legend, he was poisoned by a jealous rival painter. Only four frescoes undoubtedly from Masaccio's hand still exist today, although many other works have been at least partially attributed


title: Bradford Gilbert

texts:
<mask> (March 24, 1853–September 1, 1911) was a nationally active American architect based in New York City. He is known for designing the Tower Building in 1889, the first steel-framed building anywhere and the first skyscraper in New York City. This technique was soon copied across the United States. He also designed Atlanta's Cotton States and International Exposition of 1895, the Flatiron Building in Atlanta, and many railroad stations. Background
<mask> was born in Watertown, New York, the son of civil engineer and banker <mask> and his wife Marie Antoinette (née Bacon). His uncle was Jasper W<mask>, a justice with the New York Supreme Court. He attended Siglar's School in Newburg and the Sedgwick Institute in Great Barrington, Massachusetts.Later, he had private tutors at home in Irvington, New York to get ready to attend Yale University, rather than his father's alma mater Norwich University. However, <mask> decided to forgo college as he was very anxious to learn architecture. He became a student with the architectural firm J. Cleveland Cady in New York City for five years, beginning in 1872. In 1876, <mask> was hired as an architect for the New York, Lake Earie and Western Railroad, under engineer Octave Chanute. Through his work with the railroad in the Northern and Northwestern states, <mask> earned a reputation for originality. Although his  body of work is diverse, he preferred Romanesque style and consistently featured, "sinuous, interlaced patterns, virtuoso brickwork and deep red color effects." By 1890, <mask> opened a firm in his name in at 1 Broadway in New York City, initially specializing in railroad and public buildings.He said, "It certainly costs no more, often not

masks:
Bradford Lee Gilbert
Bradford
Horatio Gates Gilbert
. Gilbert
Gilbert
Gilbert
Gilbert
Gilbert


title: Bradford Gilbert

texts:
 such much, to design a building that is architecturally correct, of good, quiet contour, the whole effect gained by constructional outlines, in place of the fancy 'ginger-bread' work to often adopted; and with the interior arrangements designed to meet every requirement." Throughout his career, <mask> also designed apartment buildings, churches, clubs, exhibition buildings, hospitals, hotels, houses, and office buildings. <mask> did not just design buildings, he also managed the projects and visited the construction sites; this was documented in newspapers articles announcing his arrival in town to check on progress of the projects. This attention to detail may have paid off as many of his other projects steamed from his railroad connections, including designing residences for William H. Baldwin, Jr. who was president of the Long Island Railroad, Alfred Skitt who was president of the New York City Interborough Railway Company, Arthur M. Dodge whose father built the Macon and Brunswick Railroad, Benjamin A. Kimball who was president of the Concord and Montreal Railroad Company, and William Greene Raoul president of the Atlantic and Birmingham Railway, the Central Railroad and Banking Company of Georgia, the Mexican National Railroad Company, and the Southwestern Railroad. Projects

Railroad stations

As an architect with the New York, Lake Erie & Western Railroad, <mask> designed many railroad stations and related buildings. Through his private practice, his railroad clients included the Atlantic Coast Line Railroad; Boston & Maine Railroad; Central Railroad of New Jersey; Concord and Montreal Railroad; the Delaware, Lackawanna & Western Railroad; Flint & Pere Marquette Railroad; Georgia

masks: Gilbert Gilbert Gilbert


title: Bradford Gilbert

texts: Railroad Company; Grand Rapids and Indiana Railroad; Illinois Central Railroad; Intercolonial Railroad (Canada); Michigan Central Railroad; Missouri-Kansas-Texas Railroad; New York, New Haven and Hartford Railroad; Norfolk and Virginia Beach Railroad; Northern Pacific Railway; Old Colony Railroad; Philadelphia & Reading Company and others. In 1901, he designed the Ottawa Central Railway Station.He also designed stations, offices and terminals for the National Railroad of Mexico. <mask> designed the Illinois Central Terminus at 12th Street in Chicago—it was constructed in nine months for the 1893 for the World's Columbian Exposition. The location and use of the building created certain challenges given the brief that all fair buildings have impact and beauty; <mask>'s solution was to increase the size of the station and give it strong Romanesque details, as "the first impression gained of the building by the general public would be regarding its general contour and 'massing' as well as the outline skylines." In other words, it need to be impressive at a distance. His design included a ten story office building, with lobby and offices connected via a pneumatic tube service. The first three stories were built from dark speckled granite, with buff brick for the upper levels. The roof was dark glazed Spanish tiles, along with a coppery dome.<mask> was also instructed to make the building fireproof. He achieved this in part by using the building's adjacent tower as a series of fire-proof vaults. The 15-story tower was also a functional clock tower. The cost of this project was over a million dollars, including the passenger station, waiting rooms, restaurant, office building, and a train shed


title: Bradford Gilbert

texts:
 that covered eight tracks. The waiting room was the largest in the world, at 100 x 150 feet, and 100 feet high. This elaborate structure remained in use until it was demolished in 1974. <mask> was also the architect for the 1898 remodel of New York City's Grand Central Terminal—a project started in 1892 where "no expense is to be spared in making the building attractive"  The actual cost was around $175,000.<mask> designed the ten-story building in the Romanesque style. The front of the building had ornamental bronze panels and bay windows on the second story. The lower level was granite, with limestone from Indiana on top. Inside, there were tiled floors and deeply paneled ceilings, as well as pneumatic tubes to connect the lobby to the offices. This building was replaced by the current Grand Central Station in 1913. Whether designing a large railroad station for New York City or a small station for a Mexican village, <mask> believe the structure should be comfortable, functional, and aesthetically pleasing so as to be an asset to its community. In Engineering Magazine, <mask> wrote, "No excuse should exempt a railroad company from being amenable to 'local pride.'"He also criticized designing public buildings in Queen Anne or other overly decorative styles as being both expensive to construct and to maintain. World's Columbian Exposition
In 1893, <mask> designed an exhibition building for the for the World's Columbian Exposition in Chicago for his clients the New York Central and Hudson River Railroad along with The Wagner Palace Car Co. The building contained wings on either side for railroad engines; inside was an exhibit showing photographs and sketches of <mask>'s work on railroad

masks: Gilbert Gilbert Gilbert Gilbert Gilbert Gilbert


title: Bradford Gilbert

texts:
 station architecture. The Exposition's Board of Directors gave <mask> a gold medal "for a new type of American architecture." In 1895, the exhibit illustrations were published by Railway Gazette as a book, Sketch Portfolio of Railroad Stations and Kindred Structures. <mask> noted that railroad buildings had been overlooked in the past, but were an excellent place to "to illustrate the modern architecture." Mason Stables
Edmund Coffin Jr., a prominent real estate investor and lawyer in New York City, hired <mask> to design the Mason Stables.This project took three years to construct and was divided into two phases, 1881-1882 and 1883-1894. When completed, the Mason Stables were one of the largest livery stables in New York City. The five-story stables included 158 stalls and room for more than 300 carriages. Primarily Romanesque Revival in style, the building was decorated with some Celtic-style ornaments, repeating patterns in variegated orange-yellow and orange-red brick, and rows of repeating slender windows. One modern writer says, "The stables were nearly abstract, a field of dreams in orange, red and yellow masonry." The New York City Landmarks Preservation Commission says, "Color and texture, rather than ornament, were skillfully used to give the structure its simple, yet monumental character." Another unique aspect of the Mason Stables was its layout, as the stables wrapped around other buildings, resulting in three entrances—76th Street, 77th Street, and Amsterdam.Two of the entrances featured step-gables, a characteristic of Dutch Renaissance Revival style that <mask> used with other public buildings in New York City. In 1912, the stables were remodeled into a carpark and were

masks: Gilbert Gilbert Gilbert Gilbert


title: Bradford Gilbert

texts:
 renamed the Dakota Stables (not to be confused with a 19th-century facility with that name), and the Pyramid Garage in the 1950s. Over the years, the building lost many of its period details and it was demolished in 2011. Tower Building

John Noble Sterns, a supporter of the Cremorne Mission where <mask> was a trustee, hired <mask> in 1888 to design an eleven-story office building in New York City. For such a tall building, traditional construction methods required very thick walls that would have dominated the lot that was just 21 feet 6 inches wide. Calling upon his railroad background, <mask> thought of turning a railroad bridge on end, with iron girders to support the floors and external walls. This innovation of  "skeleton construction” with “steel-framed curtain walls” allowed him to construct a skyscraper without having thick load-bearing walls.Another benefit of this construction technique was that it was fire proof. To work around local building ordinances, <mask> had to first construct a foundation that was four stories or seventy feet tall, essentially the height of the adjacent buildings. This foundation was constructed of iron and Little Falls stone. Next, came ten stories constructed in Philadelphia and Tiffany brick, with an octagonal roof covered in Spanish tiles. The brickwork was colorful, and there were Celtic ornamentation similar to that of Mason Stables. Opening in 1889, the Tower Building is considered New York City's first skyscraper and the first curtain-wall building in the world. It was initially greeted with great skepticism, with members of the public predicting it would blow over.Some engineers declared it "unsafe and impracticable." To assure the public of


title: Bradford Gilbert

texts:
 its safety, <mask> moved his offices to its top floor—and remained there until he stopped practicing. He also scaled the building in the middle of an 1889 hurricane to prove that the building was not vibrating with a plumb line. In 1889, Engineering News called it "a most skillful solution of an exceedingly difficult problem." Kobble's New York and Environs wrote, "The Tower Building, of No. 50 Broadway, with its fifteen stories, is a remarkable example of a clever utilization of a narrow plot of ground." The Tower Building cost $250,000 to build.This was quite a bargain given that as it was expected to earn $210,000 a year in rent, after taxes and upkeep. A building with traditional construction on the same lot would have only netted $30,000 a year in rent, due to the height limit of ten stories and thick walls reducing square footage. Because <mask> had devised a way to double income from property, The Philadelphia Inquirer noted that "the old Knickerbockers who own real estate on Broadway and other gilt-edge thoroughfares in the lower part of New York have a new god in the person of <mask>. <mask>." The building was razed in 1914 to make way for a taller structure. Fire Engine Company No. 258, Hook and Ladder Company No.115
During his career, <mask> designed just one firehouse—for Engine Company No. 1 and Hook & Ladder Company No. 1 in Long Island City. Established in 1891, this company was, as its numbering suggests, the first professional firefighters in Queens. However, the first base of operation for this ladder company was a modest wood-frame shed. The department merged with that of New York City in 1898, and its name changed to Fire Engine Company No. 258 and Ladder Company

masks:
Gilbert
Gilbert
Bradford L
Gilbert
Gilbert


title: Bradford Gilbert

texts:
 No.115 in 1904.Constructed between 1902 and 1904, <mask>'s granite building with 4 1/2 stories not only improved the working condition of the firefighters, but also reflects the importance of this paid crew who fought fires at the Standard Oil refinery, row-frames, schools, tenements and factories such as the Pratt & Lambert varnish factory. New York City's Historic Districts Council says, "This building was one of the more ambitious firehouse projects undertaken by the department due to its size and level of architectural detail." Even the selection of the renowned <mask>, rather than the city's usual firehouse architects, was a statement. Calling on the origins of New York as New Netherland, <mask>'s designed the firehouse in Dutch Renaissance Revival style, with oversized limestone trim to offset the darker granite background. <mask> had also used Dutch Renaissance Revival for other buildings in New York City, including the 1888 YMCA building and the Samuel R. Smith Infirmary and Hospital in Staten Island. The fire house's site cost $20,000; the building was $60,000. The firehouse is still in use and is listed as a NYC Individual Landmark.Southern Projects
In 1888, <mask> designed the Virginia Beach Hotel, with its attached Terminal Station, for the Norfolk and Virginia Beach Railroad in Virginia Beach, Virginia. Later called the Princess Anne Hotel, this marked the beginnings of the beach resort, as well as Norfolk Southern Railroad. In 1895, <mask> designed the Mary F. Ballentine Home for the Aged at 927 Park Ave. in Norfolk, Virginia, for Thomas R. Ballentine. This facility was named after Ballentine's late wife as it was originally her idea. The Ballentine Home was intended to


title: Bradford Gilbert

texts:
 provide a non-institutional, home-like environment for elderly local women, "more specifically gentle folk of irreproachable family." Ballentine endowed the home when he died and it remained in <mask>'s building until new construction at a different location in 1952. W.G.Raoul House
In 1891, wealthy railroad executive William Greene Raoul hired <mask> to design his residence on Peachtree Street in Atlanta, Georgia. The house and its estate included a wine cellar, a cottage for servants, a stable, and the first tennis court in Atlanta. This house was home to the Raoul family through 1914. During the 1940s, the Red Cross acquired the property and used the house as a blood donation and bandage rolling center; around 1950 the Red Cross built a modern building on the property, directly in the front of the Raoul house. The house was also surrounded by the Cabana Motor Hotel and the Biltmore Hotel, losing its original context on a street of mansions. The Raoul House was placed on the National Register of Historic Places in the 1980s, but burned in 1991 while it was leased to a night club. Cotton States and International Exposition

In 1895, <mask> was the supervising architect for the Cotton States and International Exposition in Atlanta.For this world's fair event, he designed many structures, including the Administration Building with Main Entrance and Exits, the Agricultural Building, the Auditorium, the Chime Tower and Band Stand, the Electricity Building, the Fire Building, the Machinery Hall, the Manufacturers & Liberal Arts Building, the Minerals and Forestry Building, the Negro Building, the Semi-Circular Entrance and Exit Gateway, the Transportation Building, and the United States


title: Bradford Gilbert

texts:
 Government Building. There was a logic to his designs; for example, the Minerals and Forestry Building was constructed of natural Southern woods. At his suggestion, <mask> designs were in the Romanesque style as this resulted in cost-effective temporary structures with simple outline. Romanesque style was also a good way for Atlanta "to be seen as au courant with America's commercial trends." In addition to designing for the Exposition, he also created vendor buildings for the Southern Railway Company and the Atlantic Coast Line Railroad. The Atlanta Constitution wrote, "The design for the Administration Building and Gateway is one of the handsomest of the entire Exhibition. The design…is a composite design of old baronial castles…these castlelatted turrets, those embattled ramparts, those ancient moats, the old swinging drawbridge, will prove a source of keen enjoyment and profit."<mask> received a gold medal from the Exposition Directors for "the designing and building all of the fifteen principal structures within the limit of time and appropriation." Albemarle Park & Manor Inn

After a family vacation in 1896, William Greene Raoul decided to make Asheville, North Carolina his family's summer home. Getting away from the heat of a Georgia summer may have been one goal, but his son Thomas contracted tuberculosis in 1897, and the mountain air of Asheville was believed to be a cure. Raoul and his son hired <mask> to design Albemarle Park, a park-like resort development on 32-acres just outside of Asheville. <mask> began with a small hotel called Manor Inn, five cottages (Clover, Columbus, Hollyhock, Marigold, and Milfoil), and the Lodge (or Gatehouse) where the Raouls lived at first. To

masks: Bradford Gilbert Gilbert Gilbert


title: Bradford Gilbert

texts:
 suit the mountain setting, <mask> created a "resort with an English inn atmosphere," with grounds designed by landscape architect Samuel Parsons, Jr. This translated to a hybrid of Tudor Revival, Colonial Revival, Dutch Colonial Revival, and Shingle architectural styles, with exteriors that featured shingles, roughcast plaster, and timber framing.Built between 1898 and 1920, Albemarle Park would eventually consist of 42 structures—some designed by other architects—becoming one of America's first planned residential parks. Albemarle Park is now a National Register Historic District. The National Register says, "The Manor and Cottages compose a picturesque small historic district, evocative of Asheville's dramatic turn-of-the-century resort town boom era." English-American Building

In 1897, <mask> designed the English-American Building for Atlanta's English-American Loan and Trust Company—whose president was Rufus Bullock, a former Georgia governor. Located at the junction of Broad and Peachtree Streets, this triangular-shaped building with eleven stories was the second skyscraper in Atlanta. Its style was Neo-Classical and Neo-Renaissance, but the shape was modern. Within a year, the building's tenants included National Cash Register Co., Otis Bros. Co. (elevators), Rand McNally Co., Mutual Life Insurance Co., Southern Bell and many others along with its owners and the Knights of the Ku Klux Klan.Known as the Flatiron Building since 1916 because of it shape, this is the oldest remaining steel-framed skyscraper in Atlanta and one of the few non-railroad buildings by <mask> that survive today. Dr. Elizabeth Lyon says, "The building plays an important role in its urban setting by


title: Bradford Gilbert

texts:
 establishing a sense of dignity and scale and helping to create a visually interesting sequence of spaces and styles in the central business area of the city." South Carolina Inter-State and West Indian Exposition

<mask> was the supervising architect for the South Carolina Inter-State and West Indian Exposition in 1901. Remarkably, he was responsible for all aspects of this Charleston world's fair event, from the buildings to the 250 acre grounds to its infrastructure, including roads, water, sewage and electricity. <mask> designed 20 large buildings, including the 320 foot long Cotton Palace with and its 75 foot tall dome, and the Administration Building, Agriculture Palace, Art Palace, Auditorium, and the Sunken Garden & Conning Tower Sculpture. The main buildings, with their domes, arcades, finials, and brackets, were all painted in off-white, giving the Exposition its name the Ivory City—a play on the White City of the World's Columbian Exposition of 1893

<mask>'s instructions for this fair were to create a "Southern motif" which seems noticeably lacking in the Italian and Spanish-Revival style he used. However, <mask> gave the exposition a more romantic look than the Atlanta exposition, while also modernizing it with the Mediterranean-style that was, during the 1890s and early 20th-century, in fashion for commercial and residential buildings Rather than Southern plantation architecture, it  seems that <mask> was influenced by the fair's goal of reminding commercial interests of the once lucrative trade route between the West Indies and the port of Charleston.Thus, architect Bruce Harvey concludes "The architecture at Charleston's exposition both reflected and promoted this

masks: Gilbert Gilbert Gilbert Gilbert Gilbert


title: Bradford Gilbert

texts:
 conscious hope for the future." The architectural critic Montgomery Schuyler wrote, "At Chicago they called the style Columbian; at Buffalo they called it Pan-American…in Charleston—the Spanish Renaissance of the Sixteenth Century." <mask>'s layout which divided the fair into sections suggests that he studied that of the widely successful Columbian Exposition. His idea was to split the grounds into areas for the natural and artificial, connect by a "narrow neck" that included the Administration Building. Like Frederick Law Olmsted in Chicago, <mask> used the natural setting—in this case, live oaks and magnolias along the Ashley River—to give structure to his Natural Section that included the Art, Machinery, Negro, various states, Transportation, and Women's Buildings. <mask> wrote that the Natural section "will form a natural park of endless beauty of vista and landscape effect naturalistic [sic. ]…a winding path of 100 feet in width will be carried underneath the overspreading live oaks along the edge of the embankment."The artificial or Art Section was formal with buildings that were architecturally similar: the Palaces of Agriculture, Commerce, and Cotton. <mask> sited this section over the former Washington Race Course, a flat area that was already treeless, allowing him to create "complex geometrical design" for the Court of Palaces which was surround with a sunken garden and connected by a colonnade. After the exposition, the majority of its temporary buildings were razed; the bandstand is the only structure from the event that survives. Personal
In 1872, <mask> married Cora Rathbone, daughter of the late Captain John Rathbone, in Brooklyn, New York. He was 19 and she was seventeen


title: Bradford Gilbert

texts: or eighteen years older. From its beginning, this was an unhappy marriage. <mask> was an elder with the University Presbyterian Church in New York City, and later an elder with the Westminster Presbyterian Church.He was a member of the American Institute of Architects—New York Chapter, the Architectural League of New York, the National Arts Club, the National Sculpture Society, the Quill Club, the Riding Club, and the Transportation Club, as well as the Chicago Club in Illinois. <mask> was a supporter and trustee of the McAuley Water Street Mission (now the New York City Rescue Mission) which was founded in 1887 by missionaries Jerry McAuley and his wife Maria, to give shelter and food to the poor. McAuley and his wife were Christian converts who were previously an alcoholic convict and an alcoholic prostitute, respectively. After her husband's death in 1884, Maria McAuley (née Fahy) became the Matron of the Cremorne Mission which <mask> was a trustee. In 1885, <mask> was secretary of a committee that was raising funds for a public drinking fountain in memory of McAuley. In 1908, <mask> built and outfitted the tugboat Jerry McAuley for use as a floating mission. <mask> separated from his wife in January 1887.In June 1887, he filed for an annulment in Jersey City, New Jersey, on the basis that he was underaged at the time of his marriage, with his wife being seventeen years his senior. On October 13, 1887, <mask> served her husband with divorce papers during the intermission of a prayer meeting at Cremorne Mission. Her claim was on the basis of infidelity, to be heard in the superior court at White Plains. At the same time, she served Maria McAuley with a $50,000 lawsuit for alienation of

masks:
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Cora Gilbert


title: Bradford Gilbert

texts: affections, with allegations that "were numerous and specific." Cora claimed she had been driven from her home, that her husband was abusive, and he "had been paying attention to Mrs. McAuley…nearly to McAuley's death. On October 16, 1887 at the Mission, <mask> made a public announcement saying, "If it did not affect this mission and the noble Christian woman who conducts it, I would remain silent. I suppose you have all read in today's papers…a story reflecting upon Mrs. McAuley and myself.I pronounce it totally false. All those who know me will take my word, and all those who do not know me will see by the result that what I say is true." Standing by <mask> were banker A.S Hatch, real estate agent Sidney Whittemore, Franklin W. Coe, and other ladies and gentlemen associated with McAuley Mission. Hatch also spoke, saying "The very fact that I am on this platform tonight is sufficient for the purpose without saying a word; but I may add that my faith in Mrs. McAuley and Mr. <mask> has not been shaken one jot by what has appeared in print, and I continue to have unwavering confidence in both." McAuley "emphatically denied" the allegations. Later, <mask> said his wife was influenced by would-be blackmailers. In a few years, <mask> obtained a divorce, and Cora withdrew the lawsuit against Maria.Five years later, McAuley's health declined and it was believed she would die. She resigned from her position at Cremorne Mission and moved to Cranford, New Jersey. <mask> discontinued his association with the Mission when McAuley left. On May 12, 1892 in Cranford, <mask> married McAuley "when her health was poor and took care of her." The newspaper announcement said they had courted for five years. He

masks: Gilbert Gilbert Gilbert Gilbert Gilbert Gilbert Gilbert


title: Bradford Gilbert

texts:
 was 38 and she was 55. The <mask>s lived at 225 Park Place, Brooklyn, New York, and a summer home in the Catskills.They adopted their niece Blossom, the daughter of Maria's sister. Around 1887, <mask> acquired nearly 1000 acres in Roscoe, New York. There, he constructed his summer retreat, Beaverkill Lodge, named for the nearby river. This frame structure was clad in shingles and featured leaded Swiss-style sash windows, gas lighting, running water, and a turret Maria, who was an Irish immigrant, said the Catskill scenery reminded her of Ireland. She named the surrounding hamlet Craig-e-Clair which translates as "beautiful mountainside." The <mask>s sold the property in 1903. In 1907, Beaverkill Lodge was acquired by Ralph Wurts-Dundas who built Dundas Castle or Craig-e-Clair which apparently encapsulated Beaverkill Lodge, based on documentary photos.There is evidence that <mask> and Maria were close, with her joining him on various business trips. While designing the 1895 Cobblestone Church in Schenectady, New York, <mask> donated $800 to build its clock tower in honor of Maria. He incorporated a clock he acquired from the New York Central Railroad. <mask>, who was notoriously against ornamentation, also added Celtic designs to several buildings around the time of his marriage to Maria, including the Mason Stables and the Tower Building. On September 1, 1911 at age 58, <mask> died at his summer house in Accord, New York. According to one source, his last architectural design was for a new Cremorne Mission. Selected works
Many of the surviving buildings by <mask> are on the National Register of Historic Places (NRHP).References

External links

 Bradford Lee Gilbert history site
 Fire

masks: Gilbert Gilbert Gilbert Gilbert Gilbert Gilbert Gilbert Gilbert


title: Bradford Gilbert

texts:
 Engine Company No.258, Hook & Ladder Company No. 115, Landmark Designation Report
 Mason Stable Building, later Dakota Stable and Pyramid Garage, Landmark Designation Report
 Sketch Portfolio of Railroad Stations and Kindred Structures by <mask> (1895). Google Books. 1853 births
1911 deaths
19th-century American architects
Erie Railroad
People from Watertown, New York
Architects from New York (state)
Railway architects
20th-century American architects
Skyscraper


title: Sugar Minott

texts:
Lincoln Barrington "<mask>" <mask> (25 May 1956 – 10 July 2010) was a Jamaican reggae singer, producer and sound-system operator. Biography
After working as a selector on the Sound of Silence Keystone sound system, and then his own Gathering of Youth system, he began his singing career as part of The African Brothers in 1969, along with Tony Tuff and Derrick Howard. The group released several singles in the first half of the 1970s on labels such as Micron and their own Ital label, and were an early example of the Rastafari movement's influence on the Jamaican music scene, taking a clear lead from The Abyssinians. After recording "Mysterious Nature" for producer Rupie Edwards, the group recorded 1974's "No Cup No Broke" for Studio One, breaking up shortly after. <mask> then teamed up with the producer Clement "Coxsone" Dodd, as studio apprentice at Dodd's Studio One, working as a singer, guitarist and percussionist, and soon began recording his own singles. <mask> developed a talent for writing new songs to fit over existing rhythms (which at the time was common when singers performed live, but rare in the studio), often proving more popular than the original songs, pioneering an approach that would be central to the emerging dancehall style. After a number of moderately successful hits for Studio One, such as "Vanity", "Hang On Natty", "Mr. DC", and "Jah Jah Children", his debut LP Live Loving made his name and increased his popularity, and is regarded as pioneering the dancehall style that would dominate the early 1980s.It was followed in 1979 with a second album, Showcase, which included his singles that had been omitted from the first album. The Bittersweet album followed, and then the third album of 1979, Ghetto-ology, which saw a return to roots reggae. Roots Lovers (1980) saw a move towards lovers rock, which was a

masks: Sugar Minott Minott Minott


title: Sugar Minott

texts: UK hit. He became a bigger star in the UK than in Jamaica, his self-produced "Hard Time Pressure" being a major UK reggae hit in 1980, leading <mask> to relocate to the UK, where he became a focus for UK reggae. Singles such as "Run Come", "Not for Sale", "African Girl", "Lovers Rock", "In a Dis Ya Time", "Africa" and "Make It with You" (with Carroll Thompson) were hits in the years that followed. "Good Thing Going" (a cover of a song originally recorded by Michael Jackson in 1971) was picked up for distribution by RCA and reached Number 4 in the UK Singles Chart in March 1981, leading to an album of the same name. The Herbman Hustling album saw a return to dancehall and roots reggae.He released an album of recordings from Channel One Studios, With Lots Of Extra in 1983, collecting several hits from his time working with Winston Holness. Returning to Jamaica, his Youth Promotion sound system performed regularly in Kingston's Maxfield Park, featuring Jah Stitch and newcomers who had been nurtured by his organization such as Ranking Joe, Captain Sinbad, and Ranking Dread. His Black Roots label featured his productions of these artists plus others such as Barry Brown, Tenor Saw, Little John, Tony Tuff, Barrington Levy, Horace Andy, and one of his discoveries from England, Trevor Hartley. <mask> also produced early works by Nitty Gritty, Junior Reid, Yami Bolo, Colourman, Daddy Freddy and Garnett Silk. In 1980s he was working with producers in Jamaica including, Mikey Dread, George Phang, Sly & Robbie, Philip "Fatis" Burrell, Channel One, Prince Jammy, and Donovan Germain, as well as recording for United States-based Lloyd "Bullwackie" Barnes (the Wicked A Go feel It album from 1984). His biggest hits included "Herbman Hustling", "No Vacancy", "Jamming in the Street", "Rub A Dub Sound", "Buy Off The Bar", "Rydim", and

masks: Minott Minott


title: Sugar Minott

texts:
 "Devil's Pickney". He linked up with Sly & Robbie for 1984's "Rub a Dub Sound Style" single, which is regarded as a prototype for the ragga style that developed in the mid-1980s.<mask> continued to record on his Black Roots label, Youth Promotion Label and for Major and Independent labels. His albums receive increasingly exciting reviews. He released over 60 albums and hundreds of singles. <mask> is one of the artists who appeared on the (2006) record, Radiodread, released by the Easy Star label, he provided the guest vocals on the song "Exit Music (For a Film)". <mask>'s desire for independence led him to leave Studio One in 1978 and form his own Black Roots Records label and Youth Promotion organization, the latter with the aim of helping young singers from the same ghetto background as himself. <mask> also ran the Youthman Promotion sound-system, giving young performers their first public exposure. Youthman Promotion has new selectors working alongside the veterans of Major Stitch, Ragga Steve and Drifter, Daddy Ants, Mr Shorty and Jimmy Knuckles.The selectors most recently added to the sound are DiGeneral Starry B in 2007, alongside Poochiny and Jr War, who were added in 2012. Ragga Steve has taken full control of the sound with <mask> in the UK. Death
<mask> died on 10 July 2010 at the University Hospital of the West Indies in St. Andrew Parish, Jamaica, after being admitted earlier that day. The cause of death remains undisclosed. He had been affected by a heart condition since early 2009, and cancelled several performances in May 2010 due to chest pains. In May 2012, a charity concert was held at his former home commemorating his birthday, with <mask>'s children (who include daughter Tamar, aka Pashon) joined by Bounty Killer, Sizzla, Beenie Man, Junior Reid, Ken Boothe and John Holt. Proceeds went to the Youthman

masks:
Sugar Minott
Minott
Minott
Minott
Earl Minott
Minott
Minott


title: Sugar Minott

texts:
 Promotions Music Centre and other causes helping local poor people.Discography
Live Loving (1977, Studio One) Roots Archives states 1977, Discogs says release year is unknown
Showcase (1978, Studio One, probably a smaller edition in Jamaica by Studio One already 1977,); reissued in US as Showcase (1992, Heartbeat) with different mixing; reissued as Jah Jah Children 2012
Black Roots (1979, Black Roots Records & Gorgon Records in Jamaica; 1979 by Mango for US and 1980 by Island Records for UK and (Germany) with other, shorter names on the 10 songs). The LP-album Black Roots, released for the Jamaican market on Black Roots Records, Gorgon Records and Thunder Bolt is dated 1978, so the album is recorded before the year 1979. Daddy Freddy) (1994, Music of Life)
International (1996, RAS)
Musical Murder (1997, VP)
Good Thing Going (1998, VP)
Easy Squeeze (1999, World)
Simply the Best (2000), World
From the Heart (2000), Blackwacks
Leave Out a Babylon (2005), Discograph
In A Lovers Roots Style (2008), Pinnacle
Tribute to Studio One (2009), Tad's
New Day (2009), Stop Look Listen

Split albums
Rockers Award Winners (1985, Greensleeves) (<mask> Minott & Leroy Smart)
Double Dose (1987, Blue Mountain) (<mask>ott & Gregory Isaacs)
Showdown Volume 2 (Channel One) (<mask>ott & Frankie Paul)

Compilations
With Lots of Extra (1983, Hitbound)
Best of Vol 1 (1988, Black Roots)
Collectors Collection Vol 1 (1996, Black Roots)
RAS Portrait (1997, RAS)
Sugar Minott's Hidden Treasures (1999, Easy Star)
Hard Time Pressure: Reggae Anthology (2011, VP Records)

With the African Brothers

References

External links
Roots Archive discography
Interview by Ray Hurford

1956 births
2010 deaths
Musicians from Kingston, Jamaica
Jamaican reggae singers
Jamaican male singers
Island Records artists
Easy Star Records artists
VP Records artists
Heartbeat

masks:
Sugar
Sugar Min
Sugar Min


title: Carlos "Patato" Valdes

texts:
<mask> (November 4, 1926 – December 4, 2007), better known as Patato, was a Cuban conga player. In 1954, he emigrated from La Habana to New York City where he continued his prolific career as a sideman for several jazz and Latin music ensembles, and occasionally as a bandleader. He contributed to the development of the tunable conga drum which revolutionized the use of the instrument in the US. His experimental descarga albums recorded for Latin Percussion are considered the counterpart to the commercial salsa boom of the 1970s. Tito Puente once called him "the greatest conguero alive today". Nicknames
Like most Cuban musicians, <mask> had several nicknames throughout his artistic career. Early on he was known as "El Toro" (The Bull) as a young dancer and boxer.In school he was known as "Patato" (Potato) due to his short stature; more disrespectfully he was known as "Remache" and "Tampón de bañera" around his neighbourhood. While playing alongside Armando Peraza in Havana's Zombie Club, he was known as "El Zombie", "Zombito" or "Pequeño Zombie" (Little Zombie). Due to his dancing style he was known as "Pingüino" (Penguin). Nonetheless, "Patato" was the name that stuck and he carried this pseudonym to the US, where he was often miscredited as "Potato Valdez". Life

Early life and career
<mask> Galán was born in the neighbourhood of Los Sitios in La Habana on November 4, 1926. His father, <mask> Brito, was a tres player who was part of the seminal coro de clave Los Apaches, and author of the son

masks:
Carlos Valdés Galán
Carlos Valdés
Carlos Valdés
Carlos Valdés


title: Carlos "Patato" Valdes

texts:
 "Maldita timidez" recorded by Sexteto Habanero. The rest of his family included many other musicians and santeros; his cousin was the singer Francisco Fellove aka "El Gran Fellove".<mask> soon followed his father footsteps, learning to play the tres and a wide variety of percussion instruments, including the marímbula, the botija, the shekere, the tambourine, the cajón and the double bass. He became a member of the comparsa Las sultanas in which he played the congas (tumbadoras). He became a master of the instrument at a young age, playing alongside other greats such as Mongo Santamaría, Cándido Camero, Julito Collazo and Armando Peraza. The latter was his neighbour and partner in the Conjunto Kubavana led by Alberto Ruiz. He was only 18 years old when he joined this band in 1944. He left the group in 1947 to join the well-known Sonora Matancera, where he stayed for a year. From 1949 to 1954 he played for the Conjunto Casino, one of the most popular bands in La Habana at the time.In 1952, they toured New York City, where fellow drummer Cándido Camero decided to stay. Patato would make the same decision two years later. Exile
Attracted by New York's thriving jazz scene, Patato left Cuba indefinitely on October 5, 1954. His first full-length recording as a sideman was the notorious LP Afro-Cuban by Kenny Dorham. He went on to perform live alongside Mongo Santamaría and Tito Puente in Harlem. He then joined several ensembles, including those led by Willie Bobo, Machito and Charlie Palmieri. He


title: Carlos "Patato" Valdes

texts: recorded with jazz drummers Art Blakey, Art Taylor and Max Roach.By the early 1960s, Patato was amongst the most sought-after conga drummers in New York. His association with flautist and bandleader Herbie Mann would last over fifteen years. In 1959, the United States Department of State funded a trip for bandleader Herbie Mann to visit Africa, after they heard his version of "African Suite." The grueling 14-week tour took place between 12/31/1959 to 4/5/1960 featuring Mann (bandleader, flute and saxophone), Johnny Rae (vibraphone and arrangements), Don Payne (bass), Doc Cheatham (trumpet), Jimmy Knepper (trombone), <mask> "Patato" Valdés (congas) and José Mangual (bongos). They toured Sierra Leone, Liberia, Nigeria, Mozambique, Rhodesia, Tanganyika, Kenya, Ethiopia, Sudan, Morocco and Tunisia. Patato accompanied Dizzy Gillespie and Quincy Jones on extended tours throughout Europe. He acted in and composed the title song of The Bill Cosby Show.In 1977 he took part in the recording of Cachao's comeback albums. In 1991, he contributed to the movie soundtrack for The Mambo Kings Play Songs of Love. Patato was the leader of his own band, Afrojazzia, which toured Europe in the spring of 1994. In 1995 he recorded the album "Ritmo y candela" with fellow percussionists Changuito and Orestes Vilató. Similarly, together with Giovanni Hidalgo and Candido Camero he released an album in 2000 entitled The Conga Kings. That year he appeared in the documentary Calle 54. In 2001, Patato was inducted into the


title: Carlos "Patato" Valdes

texts:
 International Latin Music Hall of Fame.Death
A lifetime smoker, Patato had emphysema and died of respiratory failure in Cleveland, Ohio on December 4, 2007. Style and craft
For over 60 years <mask> "Patato" Valdés demonstrated how a musician could combine technical skill with superb showmanship. His conga playing demonstrated the fusion of melody and rhythm. It also reflected his keen understanding of rhythm as a biological constant that is rooted, quite literally, in the human heartbeat. During his performances, Patato even mastered the art of playing his congas while dancing on top of them, to the delight of the audience. Valdés dazzled audiences well into his seventies with his rumba moves. He is also the man who gave Brigitte Bardot a mambo lesson in the film And God Created Woman.Valdés also expressed his understanding of melody through bass and tres. During the late 1940s he helped develop the first tunable congas, as earlier models were tuned by the unwieldy method of heating them with a sterno can. His interest in design, as well as his friendship with LP Founder Martin Cohen, led to the development of the LP Patato Model Congas, one of the top-selling conga drums of all time. Personal life
Valdés was the father of <mask>, better known as Chick Hernández, a sports anchor/reporter for Comcast SportsNet/NBC sports. (Audio Fidelity, 1963)

With Dizzy Gillespie
The Ebullient Mr. Gillespie (Verve, 1959)
Have Trumpet, Will Excite! (Verve, 1959)
Portrait of Jenny (Perception, 1970)
With

masks:
Carlos
Carlos Hernández


title: Carlos "Patato" Valdes

texts:
 Benny Golson
Remembering Clifford (Milestone, 1998)
With Johnny Griffin & Matthew Gee
Soul Groove (Atlantic, 1963)

With Quincy Jones
Quincy Plays for Pussycats (Mercury, 1959-65 [1965])

With the Latin Percussion Jazz Ensemble
Just Like Magic (Latin Percussion Ventures, 1979)
Live at Montreux (Latin Percussion Ventures, 1980)

With Johnny Lytle
Swingin' at the Gate (Pacific Jazz, 1967)

With Machito
Kenya (Roulette, 1958)

With Herbie Mann
Flautista! (Verve, 1959)
Herbie Mann's African Suite (United Artists, 1959)
Right Now (Atlantic, 1962)
Brazil, Bossa Nova & Blues (UA Jazz, 1962)
Herbie Mann Live at Newport (Atlantic, 1963)
My Kinda Groove (Atlantic, 1965)
Herbie Mann Plays The Roar of the Greasepaint – The Smell of the Crowd (Atlantic, 1965)
Monday Night at the Village Gate (Atlantic, 1965 [1966])
Latin Mann (Columbia, 1965)
Standing Ovation at Newport (Atlantic, 1965)
Today!(Soul Jazz, 1997)
The Rough Guide to Salsa (World Music Network, 1997)
Diggin' the Crates for Afro-Cuban Funk (Empire Musicwerks, 2001)

References

External links

Cantrell, David & Sánchez Coll, Israel. El legado de Carlos Patato Valdés, Herencia Latina. <mask> "Patato" Valdez, Donald's Encyclopedia of Popular Music. <mask>Patato" Valdés, AllMusic. <mask> "Patato" Valdés, Discogs. <mask> "Patato" Valdés, Rate Your Music. 1926 births
2007 deaths
American entertainers of Cuban descent
Conga players
Cuban emigrants to the United States
Cuban percussionists
Jazz percussionists
Deaths from respiratory failure
Chesky

masks:
Carlos
Carlos "
Carlos
Carlos


title: Peter Christopherson

texts:
<mask> (also known as Sleazy, 27 February 1955 – 25 November 2010) was an English musician, video director, commercial artist, designer and photographer, and former member of British design agency Hipgnosis. He also founded the Industrial Records band Throbbing Gristle (TG). After the disbandment of Throbbing Gristle, he participated in the formation of Psychic TV along with Genesis P-Orridge and Geoff Rushton—Rushton later changed his name to John Balance. After his short time in Psychic TV, <mask> formed Coil with Balance, which lasted for just under 23 years, until Balance died of a fall in the Weston-super-Mare home he shared with <mask>. <mask> participated in the reunification of Throbbing Gristle and, after his relocation to Thailand in 2005, composed an album for his solo endeavour The Threshold HouseBoys Choir. <mask> died in his sleep on 25 November 2010. Early life
<mask> was born on 27 February 1955 in Leeds, Yorkshire, England.His father, Derman <mask>, was a professor of engineering who became master of Magdalene College, Cambridge prior to receiving a knighthood. Following school, <mask> studied computer programming, theatre design and video at the State University of New York at Buffalo (SUNY Buffalo) in New York, United States (US). Music
<mask> was a founding member of Throbbing Gristle, who are credited with creating the industrial music genre before disbanding in 1981. Throbbing Gristle members Chris Carter and Cosey Fanni Tutti formed their own group, while <mask> and the band's other member P-Orridge formed Psychic TV with Balance and other musicians. Balance met <mask> as a Throbbing Gristle fan and the two became intimate partners. <mask> worked on the first two Psychic TV albums, Force the Hand of Chance and Dreams Less Sweet, joined by Balance on the latter. The two performed live several times with Psychic TV prior to forming

masks:
Peter Martin Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson


title: Peter Christopherson

texts: their own project Coil.Coil consisted of <mask> and Balance, while Steven E. Thrower occasionally played bass guitar and drums. Balance was the lyricist and also played Chapman Stick and some keyboards. Over two decades, Coil released myriad recordings, in addition to contributing to the work of other artists. They recorded parts of the album The New Backwards at Nothing Studios in New Orleans, owned by musician Trent Reznor at the time. In the liner notes of the 2008 CD release, <mask> wrote: "Thanks to everyone there, especially Trent Reznor who made it all possible." Despite <mask>'s long and extensive history as a musical artist, he only released two tracks under the name "<mask>". The first, "In My Head A Crystal Sphere of Heavy Fluid", appeared on the compilation Foxtrot, a benefit album for Balance's rehabilitation from alcohol dependence, while the second, "All Possible Numbers", appeared eleven years later on Autumn Blood (Constructions) released on Fourth Dimension Records.In 2005, following the death of Balance, <mask> relocated from England to Bangkok, Thailand and founded the solo project The Threshold HouseBoys Choir. He also released the final Coil CDs—The Remote Viewer, Black Antlers, ...And The Ambulance Died in His Arms and The New Backwards—on the band's own Threshold House label. In addition to the CD releases, <mask> also released a 16-DVD box set following his relocation, entitled Colour Sound Oblivion, that was produced in a wooden box, in which a fifteen-page booklet, the program for Balance's funeral ceremony and a large collection of 6-inch × 4-inch postcards (mainly tour photographs) were also included. Throbbing Gristle also reformed for a few concerts in 2005 and announced a new album called Part Two. The group announced several additional concerts in 2007 for the promotion of the album. In 2007 <mask> released the debut album

masks:
Christopherson
Christopherson
Christopherson
Peter Christopherson
Christopherson
Christopherson
Christopherson


title: Peter Christopherson

texts: of The Threshold HouseBoys Choir. The album, Form Grows Rampant, consists of five "parts" or songs, and includes a DVD of the album set to video footage of Thai rituals in Krabi, Thailand.One tour promoter who organized a Threshold HouseBoys Choir concert described it as "easily the most shocking thing I have ever experienced". In 2008 <mask> and Ivan Pavlov (aka CoH) started a new project called Soisong. The band officially premiered in Tokyo on 9 March 2008 and later performed several shows in Europe, having self-released their debut EP. As part of the tour, Soisong performed a live soundtrack to Derek Jarman's film Blue in Rovereto, Italy. In April of the same year, <mask> and Pavlov, alongside David Tibet, Othon Mataragas and Ernesto Tomasini, also performed a live soundtrack for The Angelic Conversation in Turin, Italy. In 2009 Soisong recorded their first full-length album xAj3z, the release of which was followed by a European Reunion Tour and a worldwide campaign in search of the band's missing virtual vocalists featured on the record. In 2010 Soisong declared a "Split Phase 2010", during which all of the members would concentrate on their personal work; however, two independently recorded solo EPs, both entitled Soisong, were scheduled for release.<mask> never finalized his work for the release, but Soisong Split was eventually published in September 2012, nearly two years after <mask>'s death. The release consists of a CoH Soisong EP by Pavlov, originally recorded in 2010, and a collection of four unpublished sketches by <mask> that were made available on the band's website. In 2010 <mask> started collaborating with Hirsute Pursuit, featuring Harley Phoenix and Bryin Dall, via email. They finished two songs together, "One Sleazy Night in Bangkok" and "One Sleazy Night in New Orleans", for the album Tighten That Muscle Ring. The album was signed to

masks: Christopherson Christopherson Christopherson Christopherson Christopherson Christopherson


title: Peter Christopherson

texts:
 Cold Spring Records, but <mask> died prior to its release. Writing for the Quietus online publication, Luke Turner claimed that the album was "the most sexy and perverted album of 2012". Also in 2010, <mask> was sent an iPad by musician Trent Reznor that contained music for a potential collaboration.Reznor had asked for his blessing to use the moniker "How to Destroy Angels" for a musical project that Reznor was creating with his wife (<mask> had used the phrase in 1982, as the title of the first recording released by Coil). <mask> responded amenably, suggesting that they could potentially collaborate as part of the project. <mask> explained that Reznor was a "perfect gentleman" in regard to the way in which the matter was negotiated; however, <mask> died before he was able to resend the iPad back to Reznor with his contribution. The final music that was ever recorded by <mask> occurred in Bangkok, Thailand with a project named "Electric Sewer Age" that also involved musician Danny Hyde. The original intention of the recordings was to complete a series of releases called "Moons Milk", but an album called In Final Phase was eventually released in 2013, with only 999 numbered CD copies made available. The CD is packaged in record sleeve-style thickened cardboard, and each copy is numbered from 1 to 999, while the insert sleeve displays a picture of <mask> in his Bangkok studio that was taken at the moment that the recording was completed. Musical innovator

Writing for The Guardian, Dave Simpson credited <mask> with using digital samplers on-stage before the Fairlight CMI popularised sampling.Also writing for The Guardian, Alexis Petridis described Carter and <mask> as "pioneers in technology", and noted a sampler that Carter had custom-built for <mask> a number of years before sampling became popular. <mask> explained Carter's construction and musical

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