title: Katherine Dunham

texts: her choreography. This won international acclaim and is now taught as a modern dance style in many dance schools. By 1957, <mask> was under severe personal strain, which was affecting her health.She decided to live for a year in relative isolation in Kyoto, Japan, where she worked on writing memoirs of her youth. The first work, entitled A Touch of Innocence: Memoirs of Childhood, was published in 1959. A continuation based on her experiences in Haiti, Island Possessed, was published in 1969. A fictional work based on her African experiences, Kasamance: A Fantasy, was published in 1974. Throughout her career, <mask> occasionally published articles about her anthropological research (sometimes under the pseudonym of Kaye Dunn) and sometimes lectured on anthropological topics at universities and scholarly societies. In 1963 <mask> was commissioned to choreograph Aida at New York's Metropolitan Opera Company, with Leontyne Price in the title role. Members of <mask>'s last New York Company auditioned to become members of the Met Ballet Company.Among her dancers selected were Marcia McBroom, Dana McBroom, Jean Kelly, and Jesse Oliver. The Met Ballet Company dancers studied Dunham Technique at Dunham's 42nd Street dance studio for the entire summer leading up to the season opening of Aida. Lyndon B. Johnson was in the audience for opening night. <mask>'s background as an anthropologist gave the dances of the opera a new authenticity. She was also consulted on costuming for the Egyptian and Ethiopian dress. Dana McBroom-Manno still teaches Dunham Technique in New York City and is a Master of Dunham Technique. In 1964, <mask> settled in East St. Louis, and took up the post of artist-in-residence at Southern Illinois University in

masks: Dunham Dunham Dunham Dunham Dunham Dunham


title: Katherine Dunham

type: original

texts: nearby Edwardsville.There she was able to bring anthropologists, sociologists, educational specialists, scientists, writers, musicians, and theater people together to create a liberal arts curriculum that would be a foundation for further college work. One of her fellow professors, with whom she collaborated, was architect Buckminster Fuller. The following year, 1965, President Lyndon B. Johnson nominated <mask> to be technical cultural adviser— a sort of cultural ambassador—to the government of Senegal in West Africa. Her mission was to help train the Senegalese National Ballet and to assist President Leopold Senghor with arrangements for the First Pan-African World Festival of Negro Arts in Dakar (1965–66). Later <mask> established a second home in Senegal, and she occasionally returned there to scout for talented African musicians and dancers. In 1967, Dunham opened the Performing Arts Training Center (PATC) in East St. Louis in an effort to use the arts to combat poverty and urban unrest. The restructuring of heavy industry had caused the loss of many working-class jobs, and unemployment was high in the city.After the 1968 riots following the assassination of Martin Luther King Jr., <mask> encouraged gang members in the ghetto to come to the center to use drumming and dance to vent their frustrations. The PATC teaching staff was made up of former members of <mask>'s touring company, as well as local residents. While trying to help the young people in the community, <mask> was arrested. This gained international headlines and the embarrassed local police officials quickly released her. She also continued refining and teaching the Dunham Technique to transmit that knowledge to succeeding generations of dance students. She

masks: Dunham Dunham Dunham Dunham Dunham


title: Katherine Dunham

texts:
 lectured every summer until her death at annual Masters' Seminars in St. Louis, which attracted dance students from around the world. She established the <mask> Dunham Centers for Arts and Humanities in East St. Louis to preserve Haitian and African instruments and artifacts from her personal collection.In 1976, <mask> was guest artist-in-residence and lecturer for Afro-American studies at the University of California, Berkeley. A photographic exhibit honoring her achievements, entitled Kaiso! <mask>nham, was mounted at the Women's Center on the campus. In 1978, an anthology of writings by and about her, also entitled Kaiso! <mask>nham, was published in a limited, numbered edition of 130 copies by the Institute for the Study of Social Change. Dunham Technique
Dunham technique is a codified dance training technique developed by <mask> in the mid 20th century. Commonly grouped into the realm of modern dance techniques, Dunham is a technical dance form developed from elements of indigenous African and Afro-Caribbean dances.Strongly founded in her anthropological research in the Caribbean, <mask> technique introduces rhythm as the backbone of various widely known modern dance principles including contraction and release, groundedness, fall and recover, counterbalance, and many more. Using some ballet vernacular, <mask> incorporates these principles into a set of class exercises she labeled as "processions". Each procession builds on the last and focuses on conditioning the body to prepare for specific exercises that come later. Video footage of Dunham technique classes show a strong emphasis on anatomical alignment, breath, and fluidity. Dancers are frequently instructed to place weight on the balls of their feet, lengthen

masks:
Katherine
Dunham
Katherine Du
Katherine Du
Katherine Dunham
Dunham
Dunham


title: Katherine Dunham

texts:
 their lumbar and cervical spines, and breathe from the abdomen and not the chest. There is also a strong emphasis on training dancers in the practices of engaging with polyrhythms by simultaneously moving their upper and lower bodies according to different rhythmic patterns. These exercises prepare the dancers for African social and spiritual dances that are practiced later in the class including the Mahi, Yonvalou, and Congo Paillette.According to <mask>, the development of her technique came out of a need for specialized dancers to support her choreographic visions and a greater yearning for technique that "said the things that [she] wanted to say." <mask> explains that while she admired the narrative quality of ballet technique, she wanted to develop a movement vocabulary that captured the essence of the Afro-Caribbean dancers she worked with during her travels. In a different interview, <mask> describes her technique "as a way of life," a sentiment that seems to be shared by many of her admiring students. Many of Dunham students who attended free public classes in East St. Louis Illinois speak highly about the influence of her open technique classes and artistic presence in the city. Her classes are described as a safe haven for many and some of her students even attribute their success in life to the structure and artistry of her technical institution. Dunham technique is also inviting to the influence of cultural movement languages outside of dance including karate and capoeira. Dunham is still taught at widely recognized dance institutions such as The American Dance Festival and The Ailey School.Social activism
The Katherine Dunham Company toured throughout North America in the mid-1940s, performing as well in the

masks: Dunham Dunham Dunham


title: Katherine Dunham

texts: racially segregated South. <mask> refused to hold a show in one theater after finding out that the city's black residents had not been allowed to buy tickets for the performance. On another occasion, in October 1944, after getting a rousing standing ovation in Louisville, Kentucky, she told the all-white audience that she and her company would not return because "your management will not allow people like you to sit next to people like us." She expressed a hope that time and the "war for tolerance and democracy" (this was during World War II) would bring a change. One historian noted that "during the course of the tour, <mask> and the troupe had recurrent problems with racial discrimination, leading her to a posture of militancy which was to characterize her subsequent career." In Hollywood, <mask> refused to sign a lucrative studio contract when the producer said she would have to replace some of her darker-skinned company members. She and her company frequently had difficulties finding adequate accommodations while on tour because in many regions of the country, black Americans were not allowed to stay at hotels.While <mask> was recognized as "unofficially" representing American cultural life in her foreign tours, she was given very little assistance of any kind by the U.S. State Department. She had incurred the displeasure of departmental officials when her company performed Southland, a ballet that dramatized the lynching of a black man in the racist American South. Its premiere performance on December 9, 1950, at the Teatro Municipal in Santiago, Chile, generated considerable public interest in the early months of 1951. The State Department was dismayed by the negative view of American society that the ballet presented

masks: Dunham Dunham Dunham Dunham


title: Katherine Dunham

texts:
 to foreign audiences. As a result, <mask> would later experience some diplomatic "difficulties" on her tours. The State Department regularly subsidized other less well-known groups, but it consistently refused to support her company (even when it was entertaining U.S. Army troops), although at the same time it did not hesitate to take credit for them as "unofficial artistic and cultural representatives". The Afonso Arinos Law in Brazil
In 1950, while visiting Brazil, <mask> Arinos law was passed in 1951 that made racial discrimination in public places a felony in Brazil. Hunger strike
In 1992, at age 83, <mask> went on a highly publicized hunger strike to protest the discriminatory U.S. foreign policy against Haitian boat-people. Time reported that, "she went on a 47-day hunger strike to protest the U.S.'s forced repatriation of Haitian refugees. "My job", she said, "is to create a useful legacy." During her protest, Dick Gregory led a non-stop vigil at her home, where many disparate personalities came to show their respect, such Debbie Allen, Jonathan Demme, and Louis Farrakhan, leader of the Nation of Islam.This initiative drew international publicity to the plight of the Haitian boat-people and U.S. discrimination against them. <mask> ended her fast only after exiled Haitian president Jean-Bertrand Aristide and Jesse Jackson came to her and personally requested that she stop risking her life for this cause. In recognition of her stance, President Aristide later awarded her a medal of Haiti's highest honor. Private life
<mask> married Jordis McCoo, a black postal worker, in 1931, but he did not share her interests and they gradually drifted apart, finally divorcing in 1938. About that time <mask> met and began to work

masks: Dunham Dunhamnso Dunham Dunham Dunham Dunham


title: Katherine Dunham

texts: with John Thomas Pratt, a Canadian who had become one of America's most renowned costume and theatrical set designers. Pratt, who was white, shared <mask>'s interests in African-Caribbean cultures and was happy to put his talents in her service. After he became her artistic collaborator, they became romantically involved.In the summer of 1941, after the national tour of Cabin in the Sky ended, they went to Mexico, where inter-racial marriages were less controversial than in the United States, and engaged in a commitment ceremony on 20 July, which thereafter they gave as the date of their wedding. In fact, that ceremony was not recognized as a legal marriage in the United States, a point of law that would come to trouble them some years later. <mask> and John Pratt married in 1949 to adopt Marie-Christine, a French 14-month-old baby. From the beginning of their association, around 1938, Pratt designed the sets and every costume <mask> ever wore. He continued as her artistic collaborator until his death in 1986. When she was not performing, <mask> and Pratt often visited Haiti for extended stays. On one of these visits, during the late 1940s, she purchased a large property of more than seven hectares (approximately 17.3 acres) in the Carrefours suburban area of Port-au-Prince, known as Habitation Leclerc.<mask> used Habitation Leclerc as a private retreat for many years, frequently bringing members of her dance company to recuperate from the stress of touring and to work on developing new dance productions. After running it as a tourist spot, with Vodun dancing as entertainment, in the early 1960s, she sold it to a French entrepreneur in the early 1970s. In 1949, <mask> returned from international touring with her company for

masks:
Dunham
Katherine Dunham
Dunham
Dunham
Dunham
Dunham


title: Katherine Dunham

texts:
 a brief stay in the United States, where she suffered a temporary nervous breakdown after the premature death of her beloved brother Albert. He had been a promising philosophy professor at Howard University and a protégé of Alfred North Whitehead. During this time, she developed a warm friendship with the psychologist and philosopher Erich Fromm, whom she had known in Europe. He was only one of a number of international celebrities who were <mask>'s friends. In December 1951, a photo of <mask> dancing with Ismaili Muslim leader Prince Ali Khan at a private party he had hosted for her in Paris appeared in a popular magazine and fueled rumors that the two were romantically linked.Both <mask> and the prince denied the suggestion. The prince was then married to actress Rita Hayworth, and <mask> was now legally married to John Pratt; a quiet ceremony in Las Vegas had taken place earlier in the year. The couple had officially adopted their foster daughter, a 14-month-old girl they had found as an infant in a Roman Catholic convent nursery in Fresnes, France. Named Marie-Christine <mask> Pratt, she was their only child. Among <mask>'s closest friends and colleagues was Julie Robinson, formerly a performer with the Katherine Dunham Company, and her husband, singer and later political activist Harry Belafonte. Both remained close friends of <mask> for many years, until her death. Glory Van Scott and Jean-Léon Destiné were among other former Dunham dancers who remained her lifelong friends.Death
On May 21, 2006, <mask> died in her sleep from natural causes in New York City. She died a month before her 97th birthday. She wished her family a happy life. Legacy

Anthropology
<mask> predated, pioneered, and demonstrated new ways of doing

masks:
Dunham
Dunham
Dunham
Dunham
Dunham
Dunham
Dunham
Dunham
Katherine Dunham


title: Katherine Dunham

texts:
 and envisioning Anthropology six decades ahead of the discipline. In the 1970s, scholars of Anthropology such as Dell Hymes and William S. Willis began to discuss Anthropology's participation in scientific colonialism. This wave continued throughout the 1990s with scholars publishing works (such as Decolonizing Anthropology: Moving Further in Anthropology for Liberation, Decolonizing Methodologies, and more recently, The Case for Letting Anthropology Burn) that critique anthropology and the discipline's roles in colonial knowledge production and power structures. Much of the literature calls upon researchers to go beyond bureaucratic protocols to protect communities from harm, but rather use their research to benefit communities that they work with.Six decades before this new wave of anthropological discourse began, <mask>'s work demonstrated anthropology being used as a force for challenging racist and colonial ideologies. After recovering crucial dance epistemologies relevant to people of the African diaspora during her ethnographic research, she applied anthropological knowledge toward developing her own dance pedagogy (Dunham Technique) that worked to reconcile with the legacy of colonization and racism and correct sociocultural injustices. Her dance education, while offering cultural resources for dealing with the consequences and realities of living in a racist environment, also brought about feelings of hope and dignity for inspiring her students to contribute positively to their own communities, and spreading essential cultural and spiritual capital within the U.S.

Just like her colleague Zora Neale Hurston, <mask>'s anthropology inspired the blurring of lines between creative disciplines and anthropology. Early on

masks:
Katherine Dunham
Dunham


title: Katherine Dunham

texts: into graduate school, <mask> was forced to choose between finishing her master's degree in anthropology and pursuing her career in dance. She describes this during an interview in 2002: "My problem – my strong drive at that time was to remain in this academic position that anthropology gave me, and at the same time continue with this strong drive for motion – rhythmic motion". She ultimately chose to continue her career in dance without her master's degree in anthropology. A key reason for this choice was because she knew that through dance, her work would be able to be accessed by a wider array of audiences; more so than if she continued to limit her work within academia.However, this decision did not keep her from engaging with and highly influencing the discipline for the rest of her life and beyond. As one of her biographers, Joyce Aschenbrenner, wrote: "anthropology became a life-way" for <mask>. Her choreography and performances made use of a concept within Dance Anthropology called "research-to-performance". Most of <mask>'s works previewed many questions essential to anthropology's postmodern turn, such as critiquing understandings of modernity, interpretation, ethnocentrism, and cultural relativism. During this time, in addition to <mask>, numerous Black women such as Zora Neal Hurston, Caroline Bond Day, Irene Diggs, and Erna Brodber were also working to transform the discipline into an anthropology of liberation: employing critical and creative cultural production. Numerous scholars describe <mask> as pivotal to the fields of Dance Education, Applied Anthropology, Humanistic Anthropology, African Diasporic Anthropology and Liberatory Anthropology. Additionally, she was named one of the most influential African


title: Katherine Dunham

texts:
 American anthropologists.She was a pioneer of Dance Anthropology, established methodologies of ethnochoreology, and her work gives essential historical context to current conversations and practices of decolonization within and outside of the discipline of anthropology. Her legacy within Anthropology and Dance Anthropology continues to shine with each new day. Dance
Anna Kisselgoff, a dance critic for The New York Times, called <mask> "a major pioneer in Black theatrical dance ... ahead of her time." "In introducing authentic African dance-movements to her company and audiences, <mask>—perhaps more than any other choreographer of the time—exploded the possibilities of modern dance expression." As one of her biographers, Joyce Aschenbrenner, wrote: "Today, it is safe to say, there is no American black dancer who has not been influenced by the Dunham Technique, unless he or she works entirely within a classical genre", and the Dunham Technique is still taught to anyone who studies modern dance. The highly respected Dance magazine did a feature cover story on Dunham in August 2000 entitled "One-Woman Revolution". As Wendy Perron wrote, "Jazz dance, 'fusion,' and the search for our cultural identity all have their antecedents in <mask>'s work as a dancer, choreographer, and anthropologist.She was the first American dancer to present indigenous forms on a concert stage, the first to sustain a black dance company.... She created and performed in works for stage, clubs, and Hollywood films; she started a school and a technique that continue to flourish; she fought unstintingly for racial justice." Scholar of the arts Harold Cruse wrote in 1964: "Her early and lifelong search for meaning and artistic values for black people, as


title: Katherine Dunham

texts: well as for all peoples, has motivated, created opportunities for, and launched careers for generations of young black artists ... Afro-American dance was usually in the avant-garde of modern dance ... <mask>'s entire career spans the period of the emergence of Afro-American dance as a serious art." Black writer Arthur Todd described her as "one of our national treasures". Regarding her impact and effect he wrote: "The rise of American Negro dance commenced ... when <mask> and her company skyrocketed into the Windsor Theater in New York, from Chicago in 1940, and made an indelible stamp on the dance world... Miss <mask> opened the doors that made possible the rapid upswing of this dance for the present generation." "What <mask> gave modern dance was a coherent lexicon of African and Caribbean styles of movement—a flexible torso and spine, articulated pelvis and isolation of the limbs, a polyrhythmic strategy of moving—which she integrated with techniques of ballet and modern dance." "Her mastery of body movement was considered 'phenomenal.' She was hailed for her smooth and fluent choreography and dominated a stage with what has been described as 'an unmitigating radiant force providing beauty with a feminine touch full of variety and nuance."Richard Buckle, ballet historian and critic, wrote: "Her company of magnificent dancers and musicians ... met with the success it has and that herself as explorer, thinker, inventor, organizer, and dancer should have reached a place in the estimation of the world, has done more than a million pamphlets could for the service of her people." "<mask>'s European success led to considerable imitation of her work in European revues ... it is safe to say that the perspectives of

masks:
Dunham
Katherine Dunham
Dunham
Dunham
Dunham


title: Katherine Dunham

texts: concert-theatrical dance in Europe were profoundly affected by the performances of the Dunham troupe." While in Europe, she also influenced hat styles on the continent as well as spring fashion collections, featuring the Dunham line and Caribbean Rhapsody, and the Chiroteque Française made a bronze cast of her feet for a museum of important personalities." The Katherine Dunham Company became an incubator for many well known performers, including Archie Savage, Talley Beatty, Janet Collins, Lenwood Morris, Vanoye Aikens, Lucille Ellis, Pearl Reynolds, Camille Yarbrough, Lavinia Williams, and Tommy Gomez. Alvin Ailey, who stated that he first became interested in dance as a professional career after having seen a performance of the Katherine Dunham Company as a young teenager of 14 in Los Angeles, called the Dunham Technique "the closest thing to a unified Afro-American dance existing." For several years, <mask>'s personal assistant and press promoter was Maya Deren, who later also became interested in Vodun and wrote The Divine Horseman: The Voodoo Gods of Haiti (1953). Deren is now considered to be a pioneer of independent American filmmaking.<mask> herself was quietly involved in both the Voodoo and Orisa communities of the Caribbean and the United States, in particular with the Lucumi tradition. Not only did <mask> shed light on the cultural value of black dance, but she clearly contributed to changing perceptions of blacks in America by showing society that as a black woman, she could be an intelligent scholar, a beautiful dancer, and a skilled choreographer. As Julia Foulkes pointed out, "<mask>'s path to success lay in making high art in the United States from African and Caribbean sources, capitalizing on a heritage


title: Katherine Dunham

texts:
 of dance within the African Diaspora, and raising perceptions of African American capabilities." Awards and honors
Over the years <mask> has received scores of special awards, including more than a dozen honorary doctorates from various American universities. In 1971 she received the Heritage Award from the National Dance Association. In 1979 at Carnegie Hall, she received the Albert Schweitzer Music Award "for a life's work dedicated to music and devoted to humanity." In 1983 she was a recipient of one of the highest artistic awards in the United States, the Kennedy Center Honors.In 1986 the American Anthropological Association gave her a Distinguished Service Award. In 1987 she received the Samuel H. Scripps American Dance Festival Award, and was also inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in Saratoga Springs, New York. She also received a Candace Award from the National Coalition of 100 Black Women. In 1989 she was awarded a National Medal of Arts, an honor shared by only two other University of Chicago alumni, Saul Bellow and Philip Roth. Dunham has her own star on the St. Louis Walk of Fame. In 2000 she was named one of the first one hundred of "America's Irreplaceable Dance Treasures" by the Dance Heritage Coalition. In 2002 Molefi Kete Asante included her in his book 100 Greatest African Americans.In 2004 she received a Lifetime Achievement Award from Dance Teacher magazine. In 2005, she was awarded "Outstanding Leadership in Dance Research" by the Congress on Research in Dance. Further reading

References

Sources
 Aschenbrenner, Joyce. <mask>: Dancing A Life. USA: University of Illinois Press, 2002. Chin, Elizabeth. "<mask>'s Dance as Public

masks:
Katherine Dunham
Katherine Dunham
Katherine Dunham


title: Katherine Dunham

texts:
 Anthropology."American Anthropologist 112, no. 4 (December 2010): 640–42. https://www.jstor.org/stable/40931251. Chin, Elizabeth. <mask>: Recovering an Anthropological Legacy, Choreographing Ethnographic Futures. Advanced Seminar Series. Santa Fe, NM: School for Advanced research Press, 2014.Biography
 Cruz Banks, Ojeya. "<mask>: Decolonizing Anthropology Through African American Dance Pedagogy." Transforming Anthropology 20 (2012): 159–68. <mask>, <mask>. A Touch of Innocence. Chicago: University of Chicago Press, 1994. <mask>, <mask>.Island Possessed. Chicago: University of Chicago Press, 1994
 Haskins, James, <mask>. New York: Coward, McCann, & Geoghegan, 1982. "Kaiso! : Writings by and About <mask>." Choice Reviews Online 44, no. 01 (2006): 44–0233.https://doi.org/10.5860/CHOICE.44-0233. <mask> on dance anthropology. Video. https://www.loc.gov/item/ihas.200003840/. <mask> on her anthropological films. Video. https://www.loc.gov/item/ihas.200003841/
 Kraut, Anthea, "Between Primitivism and Diaspora: The Dance Performances of Josephine Baker, Zora Neale Hurston, and <mask>," Theatre Journal 55 (2003): 433–50.Long, Richard A., The Black Tradition in American Dance. New York: Smithmark Publications, 1995. Archives

 The <mask>nham Collection and the online Katherine Dunham Collection at the Library of Congress. Guide to the Photograph Collection on <mask>. Special Collections and Archives, The UC Irvine Libraries, Irvine, California. Dunham Collection - Missouri History Museum
<mask>'s oral history video excerpts at The National Visionary Leadership Project
Katherine Dunham Museum in East St. Louis, Illinois

External links

 "<mask> on Overcoming 1940s Racism". Archival footage of <mask> speaking on June 26, 2002, at a

masks:
Katherine Dunham
Katherine Dunham
Dunham
Katherine
Dunham
Katherine
Katherine Dunham
Katherine Dunham
Katherine Dunham
Katherine Dunham
Katherine Dunham
Katherine Du
Katherine Dunham
Katherine Dunham
Katherine Dunham
Katherine Dunham


title: Katherine Dunham

texts:
 Jacob's Pillow Dance Festival.<mask>nham Centers for Arts and Humanities
 Recalling Choreographer and Activist <mask> - NPR
 "How <mask> Revealed Black Dance to the World" - New York Times
 <mask>, Dance Pioneer, Dies at 96 Playbill
 <mask> and child undated photo, possibly 1936; African Americans at the University of Chicago 1870–1940. FBI files on <mask>

1909 births
2006 deaths
20th-century American actresses
20th-century American musicians
20th-century American women scientists
20th-century anthropologists
African-American activists
African-American choreographers
African-American dancers
African-American female dancers
African-American social scientists
American choreographers
American ethnographers
American female dancers
American film actresses
American jazz dancers
American people of French-Canadian descent
American people of Malagasy descent
American social scientists
American Voodoo practitioners
American women anthropologists
Dancers from Illinois
Hunger strikers
Joliet Junior College alumni
Kennedy Center honorees
Modern dancers
People from Glen Ellyn, Illinois
People of the New Deal arts projects
Songwriters from Illinois
University of Chicago alumni
Writers from Joliet, Illinois
African-American women musicians
20th-century African-American women
20th-century African-American politicians
21st-century African-American people
21st-century African-American

masks:
Katherine Du
Dunham
Katherine Dunham
Katherine Dunham
Katherine Dunham
Katherine Dunham


title: Jacopo Strada

texts:
<mask> (Mantua, 1507 – Prague 1588) was an Italian polymath courtier, painter, architect, goldsmith, inventor of machines, numismatist, linguist, collector, and merchant of works of art. His portrait by Titian has kept his image familiar. Biography
He is supposed to have received early training as a goldsmith in the Mantua workshops of Giulio Romano; drawings of Giulio's Palazzo del Tè and of its painted interiors and those of the Palazzo Ducale at Mantua, datable 1567-68, are attributed to <mask>, intended for his Descrizione di tutta Italia. From 1552 to 1555 he sojourned in Lyon and travelled to Rome in the service of Pope Paul III, and after his death his successor Marcellus II, upon whose sudden death he returned north. From 1556 onwards he settled at Vienna and from 1576 served as an official artist and architect to three successive Habsburg Holy Roman emperors, Ferdinand I, Maximilian II and Rudolph II. He also worked for Albert V, Duke of Bavaria, for whom he conceived the Antiquarium to house the antiquities at the Munich Residenz; the Roman sculptures that he assembled for the Duke may still be seen in the setting he devised there. He also served as the friend and trusted agent of the Augsburg patrician, humanist and book-collector, and a friend and advisor of Albrecht, the immensely rich Jakob Fugger (1516–1557), for whom he scouted works of art in Italy from his headquarters in Mantua.On Fugger's commission he assembled a comprehensive array of coats of arms of Italian nobility, filling fifteen volumes, for Fugger's library. A suite of drawings of ancient coins, that <mask>

masks:
Jacopo Strada
Jacopo Strada
Strada


title: Jacopo Strada

texts: did for Fugger, has found its way into Duke Albrecht's collection and is preserved at Gotha. In 1544 he wed Grafin Ottilia Schenk von Roßberg in Lyon. He moved to Nuremberg in 1546, where he was granted the city's freedom as a goldsmith in 1549. In 1556 he moved to Vienna, taking a house that still stands, now Bankgasse 12, and putting his antiquarian knowledge at the disposal of the Habsburg court, and rewarded with the care of the imperial treasury. He worked as architect to Ferdinand I in the ongoing construction of the Hofburg. In December 1566 he journeyed to Albrecht's court in Munich, to oversee the Antiquarium planned in conjunction and competition with Fugger, returning to Vienna in 1568.For Schloss Bučovice near Brünn he provided plans for the architect Jan Šember von Boskovic. For Schloss Neugebäude, begun from scratch (neu gebäude) as a hunting box by Maximilian II in 1568, no architect is reported in surviving documents, but its advanced integration with gardens makes Strada the most likely candidate; its construction, altered by numerous minute changes, abruptly came to an end with the Emperor's death in 1576. The circumstances surrounding the making of the Titian portrait show <mask> in a less favourable light. He visited Venice in 1567-68 to try and acquire for Albrecht the famous collection of art and antiquities left by Gabriele Vendramin (died 1552, and also now mainly remembered as the subject of a Titian portrait, the Portrait of the Vendramin Family). This entailed breaking the terms of Vendramin's will, and in the end the attempt failed. Another deal was hatched


title: Jacopo Strada

texts: with Titian while the negotiations proceeded; <mask> was to authenticate for the Emperor Maximilian studio repetitions of works that Titian had painted for Philip II of Spain as originals from the hand of the master himself. In return Titian was to paint <mask>'s portrait, and to receive a fur from him; perhaps the one that seems to be falling from his shoulders in the portrait.Knowledge of the deal comes from a letter to Fugger by Nicolò Stoppio, a Venetian dealer who was <mask>'s rival in Fugger's service; this claims Titian disliked <mask>, and thought him a charlatan. Although the brilliant quality of the portrait has always been recognised, art historians agree the depiction of <mask> is not flattering. The pose is taken from a tomb relief of about 1335 that Titian would have known, where a nobleman offers God his soul, represented as a naked baby. However, in his "expensive den", <mask> makes a very different offer to a client: "He manhandles a Venus, whose pudica gesture is wittily cancelled out by his hand clamped on her breast. As a shady character, he has an exceptionally heavy chiaroscuro on his face. His crowning achievement, his works on numismatics (a mixture of erudition and nonsense) are significantly placed above his head. His social ambition is emphasised by Titian's late decision to double the loops of his chain."He quit Albrecht's service about 1570. During 1571–1574 he compiled a catalogue of the surviving literature of Antiquity and compiled a lexicon. In 1574 his wife Ottilia died. At the end of the year, 27 December, he was accorded noble status. He demolished

masks: Strada Strada Strada Strada Strada Strada


title: Jacopo Strada

texts:
 and rebuilt his dwelling, which housed his library of 3,000 volumes and his Kunstkammer. There he lived until his death, the honoured guest of the emperors. His Palais Strada stood as an eminent example of Late Renaissance architecture in the Simmering district of Vienna until it was demolished in 1875 in the rebuilding of the Wiener Burgtheater.In 1577 he published in Frankfurt-am-Main Sebastiano Serlio's seventh book of architecture, with its original Italian text, which exists in manuscript on parchment, and <mask>'s Latin translation. In the introduction <mask> reported that he had received the manuscript from Serlio himself in Lyon in 1550. He died in Prague and is buried in the Church of St. Nicholas in the Malá Strana. His son, Ottavio <mask> (1550–1607), his assistant at the Hofburg, followed in his father's footsteps in the service of the Imperial court as expert in works of art. Ottavio's daughter Katharina was a favourite of Emperor Rudolph II, and bore him six children. Bibliography
 Jansen, Dirk Jacob. Urbanissime Strada : <mask> <mask> and cultural patronage at the Imperial Court.Maastricht, 2015. Doctoral thesis. Lawrence, Sarah. <mask> <mask> (1510 – 1588). Mannerist Splendor: Extravagant Designs for a Royal Table. San Francisco: Serge Sorokko Gallery, 2007. Panofsky, Erwin.Problems in Titian, Mostly Iconographic. New York University Press, 1969. Notes

References

External links

1507 births
1588 deaths
Architects from Mantua
Italian art dealers
Italian goldsmiths
16th-century Italian architects
Italian Renaissance architects
16th-century German architects
Writers from

masks: Strada Strada Strada Jacopo Strada Jacopo Strada


title: Jim Peebles

texts:
<mask>  (born April 25, 1935) is a Canadian-American astrophysicist, astronomer, and theoretical cosmologist who is currently the Albert Einstein Professor of Science, Emeritus, at Princeton University. He is widely regarded as one of the world's leading theoretical cosmologists in the period since 1970, with major theoretical contributions to primordial nucleosynthesis, dark matter, the cosmic microwave background, and structure formation. <mask> was awarded half of the Nobel Prize in Physics in 2019 for his theoretical discoveries in physical cosmology. He shared the prize with Michel Mayor and Didier Queloz for their discovery of an exoplanet orbiting a sun-like star. While much of his work relates to the development of the universe from its first few seconds, he is more skeptical about what we can know about the very beginning, and stated, "It's very unfortunate that one thinks of the beginning whereas in fact, we have no good theory of such a thing as the beginning." <mask> has described himself as a convinced agnostic. Early life
<mask> was born on April 25, 1935 in St. Boniface, in present-day Winnipeg, Manitoba, Canada, the son of Ada Marion (Green), a homemaker, and <mask>, who worked for the Winnipeg Grain Exchange.He completed his bachelor of science at the University of Manitoba. He then went on to pursue graduate studies at Princeton University, where he received his Ph.D. in physics in 1962, completing a doctoral dissertation titled "Observational Tests and Theoretical Problems Relating to the durateston Conjecture That the Strength of the Electromagnetic Interaction May Be Variable" under the supervision of Robert Dicke. He remained at Princeton for his whole career. <mask> was a Member in the School of

masks:
Phillip James Edwin Peebles
Peebles
Peebles
Peebles
Andrew Charles Peebles
Peebles


title: Jim Peebles

texts:
 Natural Sciences at the Institute for Advanced Study during the academic year 1977–78; he made subsequent visits during 1990–91 and 1998–99. Academic career
Most of <mask>' work since 1964 has been in the field of physical cosmology to determine the origins of the universe. In 1964, there was very little interest in this field and it was considered a "dead end" but <mask> remained committed to studying it. <mask> has made many important contributions to the Big Bang model.With Dicke and others (nearly two decades after George Gamow, Ralph A. Alpher and Robert C. Herman), <mask> predicted the cosmic microwave background radiation. Along with making major contributions to Big Bang nucleosynthesis, dark matter, and dark energy, he was the leading pioneer in the theory of cosmic structure formation in the 1970s. Long before it was considered a serious, quantitative branch of physics, <mask> was studying physical cosmology and has done much to establish its respectability. <mask> said, "It was not a single step, some critical discovery that suddenly made cosmology relevant but the field gradually emerged through a number of experimental observations. Clearly one of the most important during my career was the detection of the cosmic microwave background (CMB) radiation that immediately attracted attention [...] both experimentalists interested in measuring the properties of this radiation and theorists, who joined in analyzing the implications". His Shaw Prize citation states "He laid the foundations for almost all modern investigations in cosmology, both theoretical and observational, transforming a highly speculative field into a precision science." <mask> has a long record of innovating the basic ideas, which would be

masks: Peebles Peebles Peebles Peebles Peebles Peebles Peebles


title: Jim Peebles

texts:
 extensively studied later by other scientists.For instance, in 1987, he proposed the primordial isocurvature baryon model for the development of the early universe. Similarly, <mask> contributed to establishing the dark matter problem in the early 1970s. <mask> is also known for the Ostriker–Peebles criterion, relating to the stability of galactic formation. <mask>' body of work was recognized with him being named a 2019 Nobel Laureate in Physics, "for theoretical discoveries in physical cosmology"; <mask> shared half the prize with Michel Mayor and Didier Queloz who had been the first to discover an exoplanet around a main sequence star. <mask> Klein Medal (1997)
 Gold Medal of the Royal Astronomical Society (1998)
 Gruber Prize in Cosmology (2000), with Allan Sandage
 Harvey Prize (2001)
 Shaw Prize (2004)
 Member of the American Philosophical Society (2004)
 Crafoord Prize with James E. Gunn and Martin Rees (2005)
 Hitchcock Professorship (2006)
 Dirac Medal (2013)
 Member of the Order of Manitoba (2017)
 Nobel Prize in Physics (2019)
 Elected a Legacy Fellow of the American Astronomical Society in 2020. Named after him
 Asteroid 18242 Peebles

Publications
 <mask>, J. P. E. (2009).Finding the Big Bang (1st ed.). Cambridge University Press. <mask>, P. J. E. (1980). Large-Scale Structure of the Universe. Princeton University Press. <mask>, P. J. E. (1992). Quantum Mechanics (1st Printing ed.).Princeton University Press. <mask>, P. J. E. (1993). Principles of Physical Cosmology (n ed.). Princeton University Press. <mask>, P. J. E. (2020). Cosmology’s Century. Amsterdam University Press.References

Footnotes

External links

 Bruce Medalists
 Personal Web page at Princeton University (Photos)
A Discussion on General

masks: Peebles Peebles Peebles Peebles Peeblesskar Peebles Peebles Peebles Peebles Peebles


title: Jim Peebles

texts:
 Relativity by Students of John Wheeler and Bob Dicke, organized by <mask>
Oral History interview transcript with <mask> April 4 and 5, 2002, American Institute of Physics, Niels Bohr Library and Archives
 including the Nobel Lecture on Sunday 8 December 2019 How Physical Cosmology Grew

1935 births
Living people
20th-century American physicists
21st-century American physicists
21st-century Canadian  astronomers
20th-century American astronomers
American astrophysicists
American Nobel laureates
Canadian astrophysicists
20th-century Canadian astronomers
Canadian emigrants to the United States
Canadian Nobel laureates
Canadian cosmologists
Companions of the Order of Canada
Fellows of the American Physical Society
Fellows of the Royal Society
Members of the Order of Manitoba
Foreign associates of the National Academy of Sciences
Members of the United States National Academy of Sciences
Nobel laureates in Physics
People from Princeton, New Jersey
People from Winnipeg
Princeton University alumni
Princeton University faculty
Recipients of the Gold Medal of the Royal Astronomical Society
Scientists from Manitoba
University of Manitoba alumni
Winners of the Dannie Heineman Prize for Astrophysics
Fellows of the American Astronomical Society
American agnostics
Canadian agnostics
Members of the American Philosophical

masks:
Jim Peebles
Jim Peebles


title: Irek Mukhamedov

texts:
<mask> OBE (: ; born 8 March 1960), is a Soviet-born British ballet dancer of Tatar origin who has danced with the Bolshoi Ballet and the Royal Ballet. Born in Kazan, he trained at the Moscow Choreographic Institute under the guidance of Alexander Prokofiev between 1970 and 1978. Upon graduation, he joined the Classical Ballet Company, where he spent three years touring around the world. It was with this company that he first danced Romeo, a role that was to become one of his most acclaimed. In 1981 he won the Grand Prix and gold medal at the International Ballet Competition in Moscow and was immediately invited to join the Bolshoi Ballet as a principal dancer, where he not only became Grigorovich's favourite danseur but went to become the youngest man ever to dance the leading role in Spartacus. After defecting from the Soviet Union in 1990, he became a Senior Principal Dancer with the Royal Ballet in London, remaining with the company for many years and dancing lead roles in the classic ballets as well as the English repertoire. He was appointed an Officer of the Order of the British Empire for services to dance in the 2000 New Year Honours.Career

For nine years he was the Bolshoi's leading male dancer. His repertoire included Ivan the Terrible, Don Quixote, Swan Lake, Romeo and Juliet, Giselle, Raymonda and Legend of Love. Yury Grigorovich created the leading role in The Golden Age for him in 1984. His international tours with the Bolshoi earned him a huge fan-base  and in 1988 he was awarded the Hans Christian Andersen Prize for Best Dancer in the World. In 1990, he defected from the Soviet Union to the United Kingdom, not for artistic or political purposes, but because his wife was pregnant and they wanted a better life for his child. The family were mentored by Tamara Tchinarova and he joined The Royal


title: Irek Mukhamedov

texts: Ballet in London, where he soon became a favourite of resident choreographer Kenneth MacMillan, who helped him to develop his dramatic range. MacMillan created Winter Dreams  (based on Chekhov's The Three Sisters) for him and Darcey Bussell  which was subsequently filmed for television and transmitted on the BBC at Christmas 1992.He appeared on numerous television shows and was subject of a one-hour Omnibus documentary in 1991. <mask> distinguished himself for his wide repertory. At The Royal Ballet he danced the traditional classics such as The Nutcracker, Raymonda Act III, La Bayadère, Swan Lake and Giselle, and he also gave unforgettable performances in more contemporary works. He performed both male leading roles in MacMillan's Manon, danced Colas in Ashton's La Fille Mal Gardée, and in 1992 created the leading male role in Macmillan's The Judas Tree, opposite Viviana Durante, who was widely considered his finest Royal Ballet partner. His 1992 debut in Macmillan's Romeo and Juliet was met with universal acclaim, as also his debut in Mayerling (which was filmed for television). In 1993 he danced in Balanchine's Apollo and in The Prodigal Son. Ashley Page created the lead role in Fearful Symmetries for him (1994), and in 1995 Twyla Tharp was so impressed by his talent that she chose him for one of the lead roles in her first full-length ballet for The Royal Ballet, Mr.Worldly Wise. In 1999, he appeared for the second time with Arc Dance Company where Kim Brandstrup created the leading role in The Return of Don Juan for him. The same year saw him create the role of Peter Quint in William Tuckett's ballet The Turn of the Screw. In 2001 he was invited to make a special guest appearance in Lorka Massine's Zorba with the Ballet of Teatr Wielki in Warsaw. He was voted Dancer of the Year (1992) by the readers of


title: Irek Mukhamedov

texts:
 the prestigious British magazine Dance and Dancers (only the third ever male recipient of the award) and in the same year was voted Dancer of the Year by The Independent On Sunday. Still in the same year he won the London Evening Standard Award for Dance and the Gino Tani Dance Award in Italy. He was also awarded the Prix Benois de la Danse in Paris in 1996, and in 1998 he received the Nijinsky Medal and was invited to become President of the Legat Society.In January 2000 he was awarded the OBE in the New Years Honours List. In April 1992, <mask>ov and Company, which performed in England and Spain. For the London season, <mask> invited Kim Brandstrup and Arc Theatre Company to join him. Kim Brandstrup created a new ballet for Mukhamedov, Othello, in which for the first time he danced with a contemporary dance company. Othello subsequently received the Evening Standard Award for Dance. In 2001, the Ballet of Teatr Wielki, Warsaw premiered his production of Swan Lake, a new conception of this enormously popular ballet which saw the introduction of his own choreography, including a new pas de deux for the Prince and Odette in the last act. <mask> stopped dancing regularly in 2004, but returned to the stage in the mid-2010s.Repertoire

 Franz in Coppélia, Moscow Choreographic School, Moscow, 1978. Tybalt, Romeo and Juliet, Moscow Classical Ballet, 1978–81. Romeo, Romeo and Juliet, Moscow Classical Ballet, 1978–81. Pas de deux, Carnival in Venice (from Santanilla), Moscow Classical Ballet, 1978–81. Diana and Acteon (pas de deux), Esmeralda, Moscow Classical Ballet, 1978–81. Basil, Don Quixote Pas de Deux, Moscow Classical Ballet, 1978–81. Conrad, Le Corsaire Pas de Deux, Moscow Classical Ballet, 1978–81.Colin, Lise and Colin; ou, La Fille mal gardée, Moscow Classical Ballet, 1980. Title role, Spartacus, Bolshoi

masks: Mukhamedovmed Mukhamedov Mukhamedov


title: Timur Bekmambetov

texts:
<mask> ( ; ; born June 25, 1961) is a Russian-Kazakh  film director, producer, screenwriter, and tech entrepreneur. He is best known for the fantasy epic Night Watch (2004) and action thriller Wanted (2008), as well as for pioneering Screenlife films: Unfriended (2015), Searching (2018) and Profile (2021). He founded Baselevs, a production company that earned a spot among the 2021 World’s 10 Most Innovative Companies in Video, according to Fast Company. Early life
<mask> was born on 25 June 1961, in the city of Guryev, now in Kazakhstan. His father, <mask>, worked in management positions with the energy supplier GuryevEnergo. As Timur recollects, he was chief power engineer of Western Kazakhstan. His mother, Mira Bogoslovskaya, was deputy editor leading the party issues department at the regional newspaper Prikaspiyskaya Kommuna.He has Kazakh ancestry on his father's side, and Jews ancestry on his mother's side. After graduation from school, <mask> entered the Moscow Power Engineering Institute in 1979 and left it in 1980, on the eve of the 1980 Summer Olympics. He was deported from Moscow on the grounds of being "unreliable" and moved to Tashkent, Uzbek SSR, to study at the Alexander Ostrovsky Theatrical and Artistic Institute, from which he graduated in 1987 with a degree in theater and cinema set design. Career

Film and television career
<mask> started his career in the late 1980s as a production designer at Ilkhom Theater in Tashkent, Uzbekistan, and at Uzbek national film studio Uzbekfilm. After the demise of the Soviet Union, <mask> moved from Uzbekistan to Moscow, Russia, where he started making commercials for the Russian market. His commercial series World History retelling life episodes of the world’s prominent rulers (from Neron and Tamerlan to Napoleon and the last Russian emperor Nicholas 2d) is still considered the best video advertising in Russia. In 1994, he founded Bazelevs, an advertising and film production company.Its advertising division continues making commercials for big Russian and international brands (in 2021 its commercial featuring Apple’s new iPhone in the Hermitage Museum interiors was nominated for the

masks:
Timur Bekmambetov
Bekmambetov
Nuruakhit Bekmambetov
Bekmambetov
Bekmambetov
Bekmambetov


title: Timur Bekmambetov

texts: Cannes Lions. <mask>'s directorial debut was Peshavar Waltz (1994) depicting the war fought by the USSR in Afghanistan. The film was dubbed in English as Escape from Afghanistan and released direct-to-video by Roger Corman in 2002. In 1998, Corman invited <mask> to direct his production of The Arena (2001) starring Karen McDougal and Lisa Dergan. The film was a remake of the 1974 gladiator exploitation film The Arena. In 2004, <mask> wrote and directed Night Watch (2004), a Russian fantasy film based on the book by Sergey Lukyanenko. The film was the first Russian production which, after the demise of the Soviet Union, managed to top the domestic box office, making US$16.7 million in Russia alone, thus overtaking The Lord of the Rings: The Fellowship of the Ring.The sequel to Night Watch, Day Watch (2006), was likewise written and directed by Bekmambetov and set a new record for the domestic box office, having grossed more than US$ 26 million in the first two weeks. The Russian blockbuster epic attracted the attention of Fox Searchlight Pictures, which paid US$ 4 million to acquire the worldwide distribution rights (excluding Russia and the Baltic states). In 2010, the tape entered the 100 Best Films of World Cinema by Empire magazine. The film received positive reviews from American directors Quentin Tarantino and James Gunn (Guardians of the Galaxy). <mask>'s Hollywood directorial debut was Universal's action thriller Wanted (2008), an adaptation of the graphic novel series created by Mark Millar and J. G. Jones. Starring Angelina Jolie, James McAvoy and Morgan Freeman, the action film grossed US$ 341 million worldwide, became Universal's highest ever grossing “R” rated film, and earned two Oscar nominations. In 2009, alongside Tim Burton and Jim Lemley, Bekmambetov produced an animation film titled 9 (2009), the story of a rag doll in a post-apocalyptic world, directed by Shane Acker.In 2011, Bekmambetov produced the science fiction thriller Apollo 18, together with The Weinstein Company, and the science fiction film The Darkest Hour  set in Moscow and produced by New Regency. In 2012, Bekmambetov directed and produced the

masks: Bekmambetov Bekmambetov Bekmambetov Bekmambetov


title: Timur Bekmambetov

texts:
 live-action adaptation of Seth Grahame-Smith’s novel – Abraham Lincoln, Vampire Hunter, together with Tim Burton and Jim Lemley. He was awarded the 2012 International Filmmaker of the Year award by the National Association of Theatre Owners. In 2013, Variety (Russian Edition) named Bekmambetov one of the most commercially successful Russian directors of the decade. In 2016, Bekmambetov directed Ben-Hur, the fifth film adaptation of the novel Ben-Hur: A Tale of the Christ by Lew Wallace. At the same time, he produced the action film Hardcore Henry (directed by Nobody’s Ilya Naishuller), using the first-person perspective of a first-person shooter. In 2017, Bekmambetov produced the historical drama The Current War starring Benedict Cumberbatch, Tom Holland and Nicholas Hoult.The film was inspired by the 19th-century war of currents between Thomas Edison and George Westinghouse. In 2021, <mask> directed the WW2 action film V2. Escape from Hell, with its aircraft battle scenes using the War Thunder game engine. The film was released in Russia both theatrically as a feature and on a streaming platform as a smartphone-only vertical series. In 2021, Deadline announced <mask> bringing to the screen a new universe based on the unexploited works in the horror genre by the Marvel Сomics creator Stan Lee. Screenlife filmmaking
<mask> is the pioneer of the Screenlife filmmaking, thus responding to people’s life migrating to the digital world of mobile gadgets. In a screenlife film, viewers see the action play out from the POV of the computers, tablets or smartphones used by the characters.In 2015, <mask>'s debut screenlife production, the teen horror Unfriended, was picked up by Universal, grossing $65 million worldwide with a budget of $1 million; three years later a sequel Unfriended: Dark Web appeared. <mask> followed that up with the 2018 thriller led by John Cho, Searching, grossing more than $75 million worldwide. In 2019, he produced the 10-episode series Dead of Night for Snapchat, with the story revolving around a viral outbreak that turns people into zombies. It scored over 16 million viewers in the first releasing month and got extended

masks: Bekmambetov Bekmambetov Bekmambetov Bekmambetov Bekmambetov


title: Timur Bekmambetov

texts:
 for the second season. In 2020, Universal and Bekmambetov inked a deal to partner on five Hollywood features to be made in the screenlife format in various genres. In 2021, Focus Features released Profile, <mask>'s first directorial feature in the screenlife format, where a female reporter goes online to catch a Jihadi recruiter to get a story on why and how European women join ISIS. Inspired by the 2015 nonfiction bestseller In the Skin of a Jihadist by a French journalist Anna Erelle, Profile won a 2018 Audience Award by Berlin Film Festival.<mask>'s recent screenlife production, R#J, a Gen Z adaptation of Shakespeare's Romeo and Juliet, premiered at Sundance 2021 and won a special prize at SXSW. Invention of the screenlife filmmaking technique brought <mask>’s Bazelevs a spot among Fast Company’s 2021 World’s Most Innovative Companies. Personal life
<mask> is the current owner of the former Walt Disney's mansion in Los Angeles. <mask> is married to the Russian urbanist Natalia Fishman-<mask>a, who worked on the facelift of the Gorky Park in Moscow and the renovation of Kazan. Filmography

Producer only
 9 (2009)
 Black Lightning (2009)
 Lucky Trouble (2011)
 Apollo 18 (2011)
 The Darkest Hour (2011)
 Kikoriki. Team Invincible (2011)
 The Snow Queen (2012)
 Yolki 3 (2013)
 Alisa Knows What to Do! (2013)
 Gorko!(2013)
 Hardcore Henry (2015)
 The Snow Queen 2: The Snow King (2015)
 Unfriended (2015)
 Paws, Bones & Rock'n'roll (2015)
 Hack the Bloggers (ru) (2016)
 Yolki 6 (2017)
 The Age of Pioneers (2017)
 I Am Dragon (2017)
 The Current War (2017)
 Searching (2018)
 Unfriended: Dark Web (2018)
 R#J (2021)
 Searching 2 (TBA)

Music videos
 Yulia Chicherina – Tu-lu-la
 Yulia Chicherina – Zhara
 Linkin Park – Powerless

References

External links
 Portrait of <mask> Bekmambetov

1961 births
Living people
People from Atyrau
Kazakhstani expatriates in Russia
Kazakhstani film directors
Russian film directors
Action film directors
Kazakhstani film producers
Russian film producers
Kazakhstani screenwriters
Russian screenwriters
High Courses for Scriptwriters and Film Directors alumni
Moscow Power Engineering Institute alumni
Advertising

masks: Bekmambetov Bekmambetov Bekmambetov Bekmambetov Bekmambetov Bekmambetov Timur


title: Sylvia Juncosa

texts:
<mask> is an American punk and metal guitarist, singer, songwriter and keyboardist from Los Angeles. Noted primarily for her guitar work, during the 1980s she was among relatively few women with established aggressive rock guitar credibility. She released four solo albums and three albums with her band To Damascus after starting her career as a keyboard player in The Leaving Trains. She was also a member of the band SWA with ex-Black Flag bass player Chuck Dukowski. She was active from 1980 to 1995 before taking a hiatus, then started playing guitar again in 2009. Biography

Early life

<mask> was born and raised in Los Angeles. She started playing piano and composing instrumental pieces when she was six years old.The Leaving Trains was the first band Juncosa joined, as keyboard player, when she was 16 years old. They released the "Bringing Down the House" / "Going Down to Town" 7" single and appeared on the Keats Rides a Harley compilation. She left that band in 1982, citing a preference for guitar over keyboards. However she did accept an opportunity to tour with Clay Allison, playing keyboards and acoustic rhythm guitar. To Damascus

She then started the band, To Damascus, named after a play by August Strindberg. The band
experienced numerous personnel changes over the next three years. They recorded a single at Radio Tokyo studio with producer Ethan James, where the majority of Juncosa's releases would later be recorded.For a very brief period in 1985, she was the guitar player in The Healing Dream, which soon afterward became The Nymphs. When David Winogrond and Tyra von Pagenhardt joined in 1985, To Damascus finally had a more stable line-up and began a busy, productive period that would

masks:
Sylvia Juncosa
Juncosa


title: David Holbrook

texts:
<mask> (9 January 1923 – 11 August 2011) was a British writer, poet and academic. From 1989 he was an Emeritus Fellow of Downing College, Cambridge. Life
<mask> was born in Norwich in 1923. He was educated at City of Norwich School and won a scholarship to study English at Downing College, Cambridge for a year in 1941, where he was a pupil of F. R. Leavis. He is sometimes identified as a Leavis disciple, but their relationship was slighter than this might suggest (and also ended angrily, though this is a lesser indication). <mask> was called up for military service with the British Army in 1942 and served until 1945 as an officer with the East Riding Yeomanry. His novel Flesh Wounds (1966) is a lightly fictionalised account of his D-Day campaign experiences with the East Riding Yeomanry.In 1945 he returned to Downing to complete his degree, which he did in 1947. In 1946 he made a bleak visit to George Orwell on Jura. The actual reason was to see his girlfriend Susan Watson, who was Orwell's housekeeper, but Orwell assumed it was connected with <mask>'s membership of the Communist Party of Great Britain, and gave him a frosty reception. After Cambridge, he became an editor with Edgell Rickword, of the communist cultural periodical Our Time. He then took up teaching positions, for the Workers' Educational Association and then at a secondary school in Bassingbourn, Cambridgeshire. He became a full-time writer in the early 1960s. He also renewed links with the University of Cambridge, becoming a Fellow of King's College, Cambridge in 1961, a Fellow of Downing College, Cambridge in 1981 and an Emeritus Fellow of Downing in 1988.The Associated University Presses marked his seventieth birthday by

masks:
David Kenneth Holbrook
David Holbrook
Holbrook
Holbrook


title: David Holbrook

texts:
 publishing a Festschrift entitled Powers of Being in October 1995. The book of essays is edited by Edwin Webb, Senior Lecturer in English at the University of Greenwich, and held contributions by sixteen academics and teachers from the United Kingdom, Canada, and the United States, including a portrait written by Boris Ford. In over thirty years his range of publications was prodigious: from `English for Maturity' (1961), his first book on teaching English, to `Creativity and Popular Culture' (1994), he wrote about literature, culture, and education, as well as producing his poetry and his novels. His distinguished literary achievements are suitably celebrated. He was a Fellow of the English Association. Works

Novels
<mask> wrote several novels based on his own life and his family history. These were not Romans à clef—most characters were identified by their real names—but they were closely based on real events without the constraints of veracity.The novels were not written in the internal chronological order. His first novel (Flesh Wounds (1966)) told the story of the escapades of Paul Grimmer (<mask>'s fictionalised persona) as a tank officer in the Normandy invasions. The events of Grimmer's adolescent life up to his enlistment were recounted in A Play of Passion (1978), which told of his involvement with the Maddermarket Theatre and its founder Nugent Monck. In Going Off The Rails (2003), <mask> recreates the Edwardian lives of his paternal grandparents in rural Norfolk. His grandfather William built wagons in the Midland and Great Northern Railway workshops at Melton Constable. <mask>'s father worked as a railway booking clerk in North Walsham. He moved to Norwich when he was

masks: Holbrook Holbrook Holbrook Holbrook


title: David Holbrook

texts:
 suspected of theft.His other novels are Nothing Larger Than Life (1987); Worlds Apart (1988); A Little Athens (1990); Jennifer (1992); The Gold in Father's Heart (1992); Even If They Fail (1994); and Getting It Wrong With Uncle Tom (1998). Poetry
Imaginings. London: Putnam, 1960 (Reprinted 1961). Against The Cruel Frost. London: Putnam, 1963. Object Relations. London: Methuen & Co. Ltd., 1967.Old World New World. London: Rapp & Whiting, 1969. Chance of a Lifetime. London: Anvil Press, 1978. Moments in Italy: Poems and Sketches. Richmond, England: The Keepsake Press (An edition of 280 signed and numbered copies). Selected Poems: 1961–1978 London: Anvil Press, 1980.His other books on education are English for the Rejected (1964); English in Australia Now (1964); The Exploring Word (1967); Children's Writing (1967); The Secret Places (1972); Education, Nihilism and Survival (1974); Education and Philosophical Anthropology (1987); and English for Meaning (1980). List of other works
Children's Games (1957)
Imaginings (1961) poems
Lights in the Sky Country: Mary Easter and Stories of East Anglia (1962)
Llareggub Revisited. Dylan Thomas and the state of modern poetry (1962)
Thieves and Angels (1962) editor, school drama
People and Diamonds (1962) editor, school short story anthology
Against the Cruel Frost (1963) poems
Penguin Modern Poets 4 (1963) with Christopher Middleton and <mask>l
English for the Rejected. Training Literacy in the Lower Streams of the Secondary School (1964)
English in Australia Now. Notes on a visit to Victoria and other states (1964)
The Secret Places. : New Perspectives in Philosophy (1990)
A Little Athens (1990) novel
The Skeleton in the Wardrobe: C.S. Lewis's


title: David Holbrook

texts:
 Fantasies: A Phenomenological Study (1991)
Edith Wharton and the Unsatisfactory Man (1991)
Where Lawrence Was Wrong About Woman (1992)
Jennifer (1992) novel
Charles Dickens and the Image of Woman (1993)
The Gold In Father's Heart (1992) novel
Creativity and Popular Culture (1994)
Even If They Fail (1994) novel
Tolstoy, Woman, and Death.A Study of War and Peace and Anna Karenina (1997)
Wuthering Heights: A Drama of Being (1997)
Getting It Wrong With Uncle Tom (1998) novel
Bringing Everything Home (1999) poems
A Study of George MacDonald and the Image of Women (2000)
Lewis Carroll: Nonsense Against Sorrow

Bibliography
<mask>, <mask>. Flesh Wounds (London: Methuen, 1966)
<mask>, <mask>. A Play of Passion (London: W. H. Allen, 1978)  Reprinted Norwich: Mousehold, 2004
<mask>, <mask>. Going Off The Rails (London: Capella, 2003)

References
Notes

Sources
<mask>, <mask>. 'F. R. Leavis', Downing Association Newsletter 1996 (1996) Retrieved 18 April 2005
'<mask>', Downing College Fellows (May 2000) Retrieved 18 April 2005
'Going Off The Rails', Capella Archive Catalogue (2003) Retrieved 18 April 2005
Edwin Webb, editor (1995) Powers of Being: <mask> and His Work

External links

Obituary of <mask>, The Daily Telegraph, 17 October, 2011

English literary critics
1923 births
2011 deaths
Alumni of Downing College, Cambridge
Fellows of Downing College, Cambridge
Fellows of King's College, Cambridge
British Army personnel of World War II
Communist Party of Great Britain members
People educated at the City of Norwich School
Writers from Norwich
East Riding of Yorkshire Yeomanry officers
British male poets
English male novelists
20th-century English poets
20th-century English novelists
Fellows of the

masks:
Holbrook
David
Holbrook
David
Holbrook
David
Holbrook
David
David Holbrook
David Holbrook
David Holbrook


title: Elda Emma Anderson

texts:
<mask> (October 5, 1899 – April 17, 1961) was an American physicist and health researcher. During World War II, she worked on the Manhattan Project at Princeton University and the Los Alamos National Laboratory, where she prepared the first sample of pure uranium-235 at the laboratory. A graduate of the University of Wisconsin, she became professor of physics at Milwaukee-Downer College in 1929. After the war, she became interested in  health physics. She worked in the Health Physics Division of the Oak Ridge National Laboratory, and established the professional certification agency known as the American Board of Health Physics. Early life and education
<mask> was born in Green Lake, Wisconsin, on October 5, 1899, to Edwin A<mask> (born in Wisconsin) and his wife, Lena (née Heller) (born in Germany). <mask> was one of three children.Although she was captivated by numbers at an early age, <mask> actually sought to become a kindergarten teacher. This would shift to an interest in science later, partially due to the influence of her older sister, who was an assistant chemistry instructor. As a whole, although her family had certain lofty

masks:
Elda Emma Anderson
Elda Emma Anderson
. Anderson
Anderson
Anderson


title: Elda Emma Anderson

texts:
 expectations for their younger daughter, they all supported her in her academic endeavors. <mask> earned a Bachelor of Arts (AB) degree from Ripon College in 1922, then a master of arts (AM) in physics from the University of Wisconsin in 1924. From 1924 to 1927, she taught at Estherville Junior College in Iowa, where she was the dean of physics, chemistry and mathematics. In 1929, she became professor of physics at Milwaukee-Downer College (an elite women's college later absorbed into Lawrence University), then head of the physics department in 1934. Career and research

In 1941 <mask> completed her PhD at the University of Wisconsin, writing her thesis on "Low energy levels in the atomic spectra Co VII and Ni VIII".Immediately after finishing her PhD, <mask> requested time off from her position at Milwaukee-Downer College, in order to conduct war research related to the Manhattan Project at the Office of Scientific Research and Development at Princeton University. Not long after, <mask> was recruited to continue her work specifically at Los Alamos Laboratory. At her new location, <mask> studied basic fission parameters, including analyzing

masks: Anderson Anderson Anderson Anderson Anderson


title: Elda Emma Anderson

texts: the time delays associated with the absorption and emission of neutrons. Such work often entailed working upwards of sixteen hours a day. Among other accomplishments at Los Alamos, <mask> prepared the first sample of pure uranium-235 at the laboratory. While there, she lived in a dormitory, and being older than most of the other residents (she was aged fifty), she was put in charge. She often worked at night, wearing jeans and a plaid shirt – not the usual attire for a woman at the time.Following the war, in 1947, <mask> left Los Alamos and returned to teaching at Milwaukee-Downer College, but her involvement in atomic physics led to an interest in the health effects of radiation. In 1949, she left teaching to begin a career in health physics. At the Health Physics Division of the Oak Ridge National Laboratory in Tennessee, which was only five years old when she joined, she became the first chief of education and training. She spent her career helping to establish the new training program in health physics, teaching and advising graduate fellows in health physics from 1949. In 1949, <mask> moved to Oak Ridge, Tennessee to become the first

masks: Anderson Anderson Anderson


title: Elda Emma Anderson

texts: chief of education and training in the Health Physics Division of the Oak Ridge National Laboratory. <mask> also worked with faculty members at Vanderbilt University in Nashville, Tennessee, to create a master's degree program in health physics at that institution. In addition, she was responsible for training military personnel, state and federal officers and university professors who are currently the leaders in health physics.Outside of necessary obligations, <mask> was also known for helping students with problems both academic and personal, lending helpful guidance. In some cases, <mask> was known to have given loans to students, as well share a drink in troubling times. <mask> organized the first international course in her field in Stockholm in 1955; she organized similar courses in Belgium in 1957 and Mumbai in 1958. She supported the establishment of the Health Physics Society in 1955, serving as secretary pro tem and then charter secretary, and eventually as president of the Society from 1959 to 1960. In 1960, she established the professional certification agency known as the American Board of Health Physics. Despite contracting

masks: Anderson Anderson Anderson Anderson


title: Elda Emma Anderson

texts:
 leukemia in 1956, <mask> remained undeterred in her career and maintained her position for several years until her eventual death in 1961. Death and legacy
In 1956, <mask>, who never married and had no children, developed leukemia.She died nearly five years later in Oak Ridge, Tennessee, of breast cancer and leukemia, possibly as the result of her work with radioactive materials, on April 17, 1961. <mask> was buried at Green Lake Cemetery in Green Lake, Wisconsin. She was survived by her sister, Lucille McConnell and niece, Natalie Tarr Millemann. Dr. <mask>'s obituary was well covered in the press and scientific journals. Tributes were written by colleagues and former students. <mask> is honored each year at the annual meeting of the Health Physics Society when the Elda E<mask> Award is presented to a young member of the Society. Select publications
Ph.D. Dissertation: <mask>, <mask> E. (1941).Low Energy Levels in the Atomic Spectra of Cobalt VII and Nickel VIII. University of Wisconsin—Madison. Mack, J. E., & <mask>, E. E. (1944). A 21‐Foot Multiple Range Grazing Incidence Spectrograph. Review of Scientific Instruments. 15(2): 28–36.

masks:
Anderson
Anderson
Anderson
Anderson
Anderson
. Anderson
Anderson
Elda
Anderson


title: Elda Emma Anderson

texts: <mask>, E. E., Lavatelli, L. S., McDaniel, B. D., & Sutton, R. B.(1944). Boron cross sections for neutrons from 0.01 to 1000 eV. Atomic Energy Commission. <mask>, E. E., Lavatelli, L. S., McDaniel, B. D., & Sutton, R. B. (1944). MEASUREMENTS ON THE CROSS-SECTION OF 94 Pu-239 AS A FUNCTION OF NEUTRON ENERGY IN THE RANGE FROM 0.01 eV TO 3.0 eV (No. LA-91).Los Alamos Scientific Laboratory. New Mexico. <mask>, E. E., McDaniel, B. D., Sutton, R. B., & Lavatelli, L. S. (1945). ABSORPTION AND FISSION CROSS SECTIONS OF 94 Pu-239 IN THE NEUTRON ENERGY RANGE 0.01 eV TO 100 eV (No. LA-266). Los Alamos Scientific Laboratory. New Mexico.Sutton, R. B., McDaniel, B. D., <mask>, E. E., & Lavatelli, L. S. (1947). The Capture Cross Section of Boron for Neutrons of Energies from 0.01 eV to 1000 eV. Physical Review. 71(4): 272. McDaniel, B. D., Sutton, R. B., Lavatelli, L. S., & <mask>, E. E. (1947). The Absorption Cross Section of Gold for Neutrons of Energies from 0.01 to 0.3 eV. Physical Review.72(8): 729. Sutton, R. B., T. Hall, E. E<mask>, H. S. Bridge, J. W. DeWire, L. S. Lavatelli, E. A. Long, T. Snyder, and R. W. Williams. (1947). Scattering of Slow

masks:
Anderson
Anderson
Anderson
Anderson
Anderson
. Anderson


title: Elda Emma Anderson

texts: Neutrons by Ortho- and Parahydrogen. Physical Review. 72(12): 1147.Sutton, R. B., T. Hall, E. E<mask>, H. S. Bridge, J. W. DeWire, L. S. Lavatelli, E. A. Long, T. Snyder, and R. W. Williams. (1947). Neutron diffraction studies of NaH and NaD. Physical Review. 72: 1147–56. <mask>, <mask> E. (1950).Manual on Radiological Protection for Civilian Defense (No. M-4514). Oak Ridge National Laboratory. <mask>, E. E. (1952). Units of radiation and radioactivity. Public Health Reports. 67(3): 293.<mask>, E. E. (1954). Education and Training of Health Physicists. Radiology. 62(1): 83–87. Lukens Jr, H. R., <mask>, E. E., & Beaufait Jr, L. J. (1954). Punched Card System for Radioisotopes.Analytical Chemistry. 26(4): 651–652. Kohl, J., Newacheck, R. L., & <mask>, E. E. (1955). Gaseous and Liquid Tracers for Underground Studies. In Proceedings. University of California. Kohl, J., Newacheck, R. L., & <mask>, E. E. (1955).Locating Casing Shoe Leaks with Radioactive Argon. Transactions of the American Institute of Mining and Metallurgical Engineers. 204(12): 213–216. Newacheck, R. L., Beaufait, L. J., & <mask>, E. E. (1957). Isotope Milker Supplies 137Ba from

masks:
. Anderson
Anderson
Elda
Anderson
Anderson
Anderson
Anderson
Anderson
Anderson


title: Elda Emma Anderson

texts: Parent 137Cs. Nucleonics. 15(5): 122.Beaufait Jr, L. J., <mask>, E. E., & Peterson, J. P. (1958). Development and Preparation of Set of Gamma Spectrometer Standards. Analytical Chemistry. 30(11): 1762–1764. <mask>, <mask> E. (1959). Assignment report on training course for health physicists. Bombay, India.November–December 1958. Zumwalt, L. R., & <mask>, <mask> E. (1960). Xe-133 Release Data Obtained to Date on Various Sample Fuel Bodies (No. GA-P-32-257). General Atomic Division. General Dynamics Corp. San Diego, CA. <mask>, E. E., Gethard, P. E., & Zumwalt, L. R. (October 1961).Use of the King Furnace in Fission-Product Retention Studies of Graphite Reactor Fuels. In Proceedings of the Second Conference on Nuclear Reactor Chemistry. Gatlinburg, Tennessee (pp. 171–192). <mask>, E. E., Gethard, P. E., & Zumwalt, L. R. (1962). Steady-State Release Fraction of Krypton and Xenon Fission Products at High Temperatures from (U, Th) C2-Graphite Fuel Matrix in Out-Of-Pile Experiments (No. GA-3211).General Atomic Div. General Dynamics Corp. San Diego, CA. Zumwalt, L. R., <mask>, E. E., & Gethard, P. E. (1962). Fission Product Retention

masks: Anderson Anderson Elda Anderson Elda Anderson Anderson Anderson


title: Elda Emma Anderson

texts:
 Characteristics of Certain (Th, U) C2-Graphite Fuels. Proceedings. ANS Topical Meeting on Materials and Fuels for High-Temperature Nuclear Energy Applications. 11–13.<mask>, E. E., Wessman, G. L., & Zumwalt, L. R. (1962). Fission Product Trapping—Sorption of Cesium by Activated Charcoal. Nuclear Science and Engineering. 12(1): 106–110. Zumwalt, L. R., Gethard, P. E., & <mask>, E. E. (1963). Fission-Product Release from 'Single-Crystal' UC2 Particles. Transactions of the American Nuclear Society.6(1): 132. <mask>, E. E., Gardner, J. O., Gethard, P. E., Goeddel, W. V., Hooker, J. R., Lonsdale, H. K., ... & Zumwalt, L. R. (1963). Advanced, Graphite-Matrix, Dispersion-Type Fuel Systems. Annual Report. April 1, 1962 – March 31, 1963 (No. GA-4022;(Pt. 1)).General Atomic Division. General Dynamics Corp. San Diego, CA. <mask>, Elda E., & Zumwalt, L. R. (1964). The Diffusion of Barium in Simulated High-Temperature Graphite Fuel Elements. Transactions of the American Nuclear Society. (US). 7.References

External links

1899 births
1961 deaths
20th-century American physicists
Manhattan Project people
Deaths from cancer in Tennessee
Deaths from


title: Valeria Lynch

texts:
María Cristina Lancelotti (January 7, 1952 in Buenos Aires), better known by her stage name <mask>, is an Argentine singer and actress. Named by the New York Times as one of the 5 best voices on the planet. Biography
<mask> was born on January 7, 1952 in the neighborhood of Villa Urquiza, Buenos Aires, Argentina, the first child of the marriage of María Antonia Spano (Tony) and José Julio Lancellotti. At age 14 while studying at the Commercial College Donato Álvarez in the neighborhood of La Paternal, she defined her vocation and began to study singing with Clara Calvo and drama with Dante Gilardoni. In 1969, she debuted on the television show La Botica del Ángel with Eduardo Bergara Leumann, singing "Cuando un amigo se va". The first major production <mask> took, was with producer Alejandro Romay in the adaptation of the musical Hair, held at the Teatro Argentino in 1971 where she put her voice to the song Aquarius-Let The Sunshine In. From this Romay allegedly discovered her talent and suggested that she use a pseudonym.<mask> <mask> formally began performing in the 1970s singing jingles and underground rock in English with a group called Expression. She was also part of the TV TRIBU SRL, with which she recorded two songs for the soundtrack of the program, "I Am A Woman" and "Do Not Be Discouraged" as well as two different versions of the song" Tribu SRL "with the rest of the group, in 1975. In 1976 she married Héctor Cavallero, who had discovered her around 1974 when she was singing in the underground clubs of Buenos Aires. The story goes that Cavallero saw her sing and was so fascinated that he waited in the dressing room and

masks:
Valeria Lynch
Valeria Lynch
Lynch
Valeria
Lynch


title: Valeria Lynch

texts:
 offered to represent her and launch her career as a romantic singer. The couple had two sons, Federico (born 1979) and Santiago Cavallero (born 1986). After eighteen years together, they separated in 1995. Debut and first steps in the music industry

In 1977 she released her first album, <mask> <mask>, and the cover was a drawing of her profile made by her friend Horacio Fontova.Her version of the song Mujer Sola, written by the Italian Mia Martini (Domenica Berté), was the first cut of circulation. Her debut as a pop balladeer was at the nightclub Michelangelo in the barrio of San Telmo. In April 1979, she released the album Mujer and made her first promotional trip to Mexico and Central America. 1980s

During the 1980s, <mask> <mask>'s success spread throughout Latin America. Her visceral singing style, coupled with her strong vocals and the choice of a repertoire that reached for popular taste made the difference with other interpreters of pop ballads. Her songs were not only a success in U.S. and Latin America but their music came to Spain, the Netherlands, Japan, Romania, Italy and the former Soviet Union. In 1980, while performing the musical "Estan tocando nuestra cancion" with Victor Laplace and Cipe Lincovsky in Buenos Aires, she released her third studio album Capricornio.The song Somos Locos del Amor was a favorite of the Argentine public. In 1981, <mask> was in Mexico on a promotional tour and people from her record company suggested she audition for the rock opera Evita, directed by Harold Prince. Mexican producers had chosen the Mexican Rocío Banquels, but Harold Prince was overwhelming in his statement that "in my music

masks: Valeria Lynch Valeria Lynch Valeria


title: Valeria Lynch

texts: I want Valeria," so it was decided that the two were the protagonists. Playing the role of Eva Perón opened the doors to the international level. In repeated statements to the press Harold Prince said: "<mask> <mask> was the best that I got to direct as Evita". In 1982 she released Quiereme, the hit single Mentira, song composed by Chilean Buddy Richard and international success of the Nicaraguan Hernaldo Zúñiga, catapulted her to stardom and the album was promoted throughout the continent. This production won a Grammy Award nomination in the category "Best Latin Album" thanks to the orchestrations included, marking the first time the award was extended to Spanish-language recordings.On this album, the song "Esto llamado amor" involved renowned American singer Jeffrey Osborne, former lead singer of music group "LTD". In 1983 the album Un poco mas de mi, also known as Contigo soy capaz de todo in some countries, was released. The song Amiga Mia, which had been recorded a year before by the Venezuelan singer Miriam Ochoa without commercial success, became a big hit as <mask>'s rendition. In 1984 she signed with RCA Ariola, and started her most successful career point, selling millions of her various recordings. 1985 was the year of the launch of the album Para Cantarle a la vida (To sing to life), with the singles Señor amante, Querido Mio, Que mal elegiste, tu eres el hombre Yo sin el and como una loba making this album one of the best sellers in the entire region. Such was the success that in Buenos Aires, she drew nearly 100,000 spectators in 53 shows with their concert at the Teatro Astros. Also in 1985 she was invited to participate

masks: Valeria Lynch Valeria


title: Valeria Lynch

texts: in the International Festival of Popular Song at Yamaha Budokan hall in Tokyo, Japan.Singing before more than 15,000 people she won the award for Best Performer of the Festival and the Grand Jury Prize, with the song Rompecabezas (Puzzle) that allowed her to overtake the competition La Toya Jackson. Japanese jury chairman Genichi Kawakami said that he chose <mask> for her technique of interpretation, her movement on stage and her mastery of the microphone and said the jury's verdict coincided with the vote of the audience, Valeria getting 91% of votes. That year she was also invited to perform at the Festival de Benidorm, made in Spain. In 1986, she published Sin Fronteras with the singles Amame en Cámara Lenta, Fuera de mi Vida and Muñeca Rota, which went multi-platinum in different countries; the song Y tu no estas was covered by the legendary Cuban singer La Lupe, giving the lyrics of the song a religious twist and was adopted by the Protestant communities of Latin America, being popular to date. That year her song Cada dia mas, was part of the official soundtrack of the film Heroes, the film dedicated to the World Cup 1986, held in Mexico and won Argentina. She was also invited by Barry Manilow to record a duet Even Now that went by the name Hasta Hoy for Manilow's album Grandes Exitos en Español. Towards the end of the year she recorded with Mexican singer Marco Antonio Muñiz, Para no estar triste esta navidad which became number 1 in Mexico; and released Valeria Canta el Tango, becoming the biggest selling album of tango in Argentinian phonographic history, according to CAPIF, until 2009 (the record now held by Julio Iglesias


title: Valeria Lynch

texts: with his album Tango).In 1988, the album A cualquier Precio with a distinctly pop sound and innovative musical sold very successfully. That same year she performed in Carnegie Hall, New York and sold out for two nights. The New York Times chose her as "One of the five best voices in the world". The song "Piensa en Mi" remained for more than three months at the top the album sales charts for much of South America. The tour A cualquier precio ran in the main cities of the continent and made television specials for Puerto Rico, United States, Argentina and Mexico. She participated as the sole guest on the Mexican TV Mala Noche No conducted by Verónica Castro reaching peak audience in prime time, and received the "Latin Music Award (Latin Grammy) in the  Voice of Voices and performed her show at the Desert Inn Hotel in the city of Las Vegas, U.S.. In 1989 she composed and recorded la extraña dama for the TV series of the same name on Channel 9 from Argentina.The song, included on the LP Energia, sold 60,000 copies and features present in 9 shows at the Teatro Gran Rex de Buenos Aires. The album included the song Hay un mañana a duet with Mexican singer José José, "el principe de la cancion." She extensively toured throughout America, was named the "Figure of the Year" by the Association of Entertainment Critics of New York and also presented for the third time in Carnegie Hall, accompanying the singer Marcelo Alejandro as part of a music festival. The high ratings that popularised the soap opera "The Strange Lady" in the almost one hundred countries where televised brought the theme song sung by <mask> <mask> to markets like Italy, Israel,

masks: Valeria Lynch


title: Valeria Lynch

texts:
 Egypt, Romania, Russia, Poland, Hungary, Australia, Greece, the Philippines and Turkey, where their records had not yet been published. Between 1983 and 1989, <mask> <mask> was the Argentinean artist who placed the most songs in the main music sales and charts of Latin America. 1990s

During this decade, <mask> <mask>'s career was more quiet, as she was established in popular taste and adapted to the changing music industry and the market that saw the birth of vinyl gave way to CD and video as primary distribution mode. She remained successful due to her avant-garde sound in the last decade, without continental touring as before.<mask> also returned to musical comedy and was successful with the intelligentsia in Argentina that once did not understand so much success in a clearly popular figure. In 1990 she participated in the Festival of San Remo, Italy, where the critics compared her playing style to that of Mina Mazzini. Her record label BMG RCA- released a compilation album entitled "Mis mejores canciones" as a closure of her stage career full of hit songs. This sold just over 200,000 copies in Argentina alone. Recorded in Rome in 1991, the album hablame de amor had sixteen consecutive performances at the Opera Theater in Buenos Aires, surpassing the record held by the Spanish Julio Iglesias at the same venue. Towards the end of that year she attracted more than 100,000 spectators at the concert at the Avenida 9 de Julio, Buenos Aires, and saw another 150,000 people in her recital at the Apple Festival in the province of Mendoza. She also made a special album for Chilean television.In 1992 she made a new version of " Estan Tocando

masks: Valeria Lynch Valeria Lynch Lynch


title: Valeria Lynch

texts: nuestra Cancion" with her partner and friend Victor Laplace and her CD sin red launched. In the winter of 1993 she performed at the Teatro Opera de Buenos Aires three performances,  with the participation of Jorge Guinzburg, Antonio Gasalla, Mercedes Sosa, Horacio Fontova, Fabiana Bravo and Sandro. This recital was broadcast on Channel 13 of Buenos Aires. 1994 is the year of the launch of "Caravana de Sueños" an album produced by Michael Sembello, producer of Stevie Wonder, Michael Jackson and Donna Summer. This full-length album was a break from the traditional sound of Valeria. Although she had global publishing, production fell short of expected sales. The CD included 4 tracks, with Sembello that had released on her album Caravan of Dreams in 1992.That year, also debuted was the TV program Valeria Dreaming on Channel 13, Argentina; a music program that was attended by Raphael, Simone, Marianne Faithfull, Dionne Warwick, Tony Bennett, Eros Ramazzotti, Roberto Carlos, Ana Belén, Víctor Manuel, Bottom Tap, Lucecita Benitez and Jose Feliciano, among others, with whom she shared interviews and songs as a duo. In November of that year, she was recognized in Peru with the award "Paloma de la Paz." In 1995 came the turn of playing Aurora, the central character in "El beso de la mujer araña", again under the direction of Harold Prince, who was a deciding factor when Argentine producers called him to lead the implementation of the Kiss ... in Buenos Aires, and he inquired about who would be the protagonist, Prince said: "I love <mask> <mask>." In 1996 she released her latest studio work for the label BMG. "De regreso al amor" was an album of


title: Valeria Lynch

texts:
 classic pop ballads and rhythm and blues arrangements. In 1997 she was invited by the Spanish singer Enrique Iglesias in his concert at the River Plate Stadium, Buenos Aires, singing duo the theme "Experiencia religiosa"

In that year she made for HBO special recorded music in the Opera theatre of Buenos Aires, called The Romantics, The Last Appointment with Armando Manzanero, Soledad Bravo and Nana Caymi. In 1998, <mask> <mask>  recorded the theme "Paths of the Soul" next to Kennedy Choirs and with more than 120 Argentine artists under the direction of Instrumental pianist and conductor Nazareno Andorno.That same year, in an end to the 14-year contract with BMG Ariola, her record label, they released a compilation album with dance arrangements in some songs. "Baila Conmigo" was certified gold album and the single was heard in all the clubs in Argentina. During the months of June and September led by American television program "Mas te Vale" that included the participation of guest musicians including recalls María Martha Serra Lima, Jairo, Victor Heredia, Carmen Flores and Claudia Puyo, among others. In January 1999 she debuted as an actress in the telenovela "Salvajes" TV channel Azul Argentina, the strip was part of the tropical music genre, from here would follow the single "Llamas en el corazon"performed by <mask> and after Isabel Pantoja the Spanish version recorded in Flemish. While at night, she starred with Patricia Sosa the musical "Las Hermanas de Carusso"in the Liceo Theatre, also dabbling in classical music, but the public response was not expected, and the season aired only a few weeks. 2000s

In 2000, no longer


title: Valeria Lynch

texts:
 performance at the Gran Rex theatre in Buenos Aires for 5 functions.During the summer of 2010 she was the main attraction of the magazine Star Carnival in the city of Carlos Paz, in the province of Córdoba, Argentina, and led the box office with 60,000 spectators. Her rendition of the song Grande Amore which was a success in the voice of Italian singer Mina, was one of the most celebrated musical shows. In 2011 <mask> <mask> toured shows in Argentina, Paraguay and Uruguay. In August, she launched her fragrance Loba, a name inspired by the song "Como una Loba" (1985). In November of the same year she began a tour of presentations by US, Argentina and Uruguay with her new tour "Loba". During 2012 <mask> participated as a juror of TV shows "Cantando por un Sueño" and "Soñando por Cantar," broadcast on Channel 13. Later in the year, she presented her new show "Valeria Vale" at Teatro Gran Rex, managing to gather more than 15,000 people in 5 functions.In early 2013 she presented at the Teatro Colón in Buenos Aires as part of the show "Las Elegidas" where accompanied by a symphony orchestra she performed her classic "Piensa en mi
By the end of 2013 <mask> is resubmitted at the Teatro Gran Rex in Buenos Aires, with its new show titled "La Elegida" on 9/10/23 and November 24. During the early months of 2014 she toured Argentina, Paraguay and Uruguay taking the month of February in Miami to record the album "Valeria Con Todo" with production of Rafael Vergara and Vicky Echeverry, published by Sony Music Argentina in Latin America, marking her return to a multinational company. The point of note was the song "Un Nuevo Día" which was presented as

masks: Valeria Lynch Valeria Valeria


title: Valeria Lynch

texts:
 a leitmotiv to support Argentina in the World Cup Brazil 2014. This new album included the first theme, "Soy tu angel" establishing her songwriting and won the "Gaviota de Plata", and the Viña del Mar International Song Festival in 2002. In the months of November and December she presented her show "Valeria Con Todo" at the Grand Rex theater in Buenos Aires for four nights and received in the US the Latin Grammy award for Musical Excellence for her contribution to popular music from Latin America, recognizing after 32 years from obtaining the record "Quiereme" a Grammy nomination for orchestrating the song "Cambias mi amor". Discography

According to estimates by the Argentina Chamber of Phonographic Producers (CAPIF), <mask> <mask>zas (2019).Sony Music Argentina. Extraña Dama Del Rock (2017). Sony Music Argentina. Sinfónica (2015). DVD + CD. Sony Music Argentina. <mask> Con Todo (2014).Sony Music Argentina. <mask> Vale (2014). DVD + CD. Leader Music. Loba (2012) DVD + CD. Leader Music. La Máxima (2011) DVD + CD doble.Leader Music. 2010 O Todo O Nada- (Everything Or Nothing)
2007 Víctor Victoria- Victor Victoria, Theatre Show
2006 Víctor Victoria- Victor Victoria, Theatre Show
2006 Nosotras- (Us,)
2004 Vivo por Valeria- (I live for Valeria live recorded album)
2000 Algo Natural- (Something Natural)
2000 Lucía, la Maga- (Lucia, the Magician)

1990s
1999 Las Hijas de Caruso- (1999, Caruso's Daughters)
1996 De Regreso al Amor- (1996, Returning to Love)
1995 El Beso de la Mujer Araña- 1995, Kiss of the Spider Woman
1994 Caravana de Sueños- (1994, Dreams March) produced by Michael Sembello. Her song Me Das Cada Día Más was used for Hero,

masks: Valeria LynchomCabe Valeria Valeria


title: Valeria Lynch

texts:
 the 1986 official FIFA World cup film. Television
Cantando Por Un Sueño (2006/2011, Singing for a dream)
Movete (2002, Move on)
Salvajes (1999, Savages)
Más te Vale (1998, You'd Better!) Vale Valeria (1997, Valeria's Worth It)
Soñando con Valeria (1994, Dreaming with Valeria)
Tribu (1975, Tribe, variety show)
<mask> has participated in other television shows as a special guest. Commercials
Tarjeta Galicia (2009)
Querubin (2004, Querubin Products)
Coca-Cola (2001)
Vinos Termidor (1978, for Termidor Wines)

References

External links
 ValeriaLynch.com.ar (English version of official website)

1952 births
Living people
Singers from Buenos Aires
Argentine people of Italian descent
20th-century Argentine women singers
Winners of Yamaha Music Festival
Latin Grammy Lifetime Achievement Award winners
21st-century Argentine women singers
Women in Latin


title: Scott Drew

texts:
<mask> (born October 23, 1970) is an American college basketball coach who is the head coach of the Baylor Bears. Coaching career

<mask> graduated from Butler University in 1993 with a bachelor's degree in liberal arts. While at Butler he was a member of Delta Tau Delta International Fraternity. Although he never played college basketball at the varsity level, <mask> spent two years as a student assistant for the men's basketball team, and also played on the men's tennis team but did not earn a letter. Afterwards, <mask> assumed an assistant coaching position with the Valparaiso University Crusaders men's team under his father <mask>. He spent nine years in this position, during which he earned a master's degree from Valparaiso and a reputation as one of the best recruiters in the nation. Once the elder <mask> retired, he became the team's head coach for one year.In that year, Valparaiso won the regular-season conference championship, but lost to IUPUI in the Mid-Continent Conference tournament, thus losing the bid to the NCAA tournament. However, the team proceeded to earn an NIT bid. When <mask>. Baylor
On August 22, 2003, <mask> took the head coaching position of the men's team at Baylor University after the resignation of Dave Bliss due to scandal. This was unusually late for a coaching change; practice was only two months away and the season opener was only three months away. <mask> took over a program left in a shambles as a result of the scandal. Nearly every top player from the 2002–03 Bears had transferred after school officials granted a full release to every player on the team.Additionally, Baylor had placed itself on probation until 2005 and withdrawn from

masks:
Scott Homer Drew
Valparaiso Drew
Drew
Drew
Homer Drew
Drew
Drewpo
Drew
Drew


title: Scott Drew

texts: postseason play for the 2003–04 season. <mask> led a decimated roster to an 8–21 record in his first season. Shortly after <mask>'s first season, Baylor extended its self-imposed probation until 2006 and docked itself several scholarships and paid recruiting visits through 2006. The NCAA imposed further sanctions in 2005, extending Baylor's probation until 2010, docking the Bears three paid visits in 2006–07 and banning the Bears from non-conference play in the 2005–06 season. With these handicaps, <mask> led the Bears to 9–19 in the 2004–05 season, and 4–13 in the Big 12 Conference-only 2005–06 season. In the 2007–08 season, <mask> turned around his Bears to finish with a 21–9 regular-season record. They finished fourth in the Big 12 with a 9–7 record.The 21 wins and 9 conference wins were Baylor's best since joining the Big 12 in 1996. It was enough to make the NCAA Tournament for only the fifth time in school history and the first time since 1988. At the end of the regular season, when <mask> made an appearance on the sports show Pardon The Interruption (PTI), host Tony Kornheiser suggested on the air that <mask> be voted "unanimous coach of the year." After the season, <mask> signed a 10-year contract extension to stay the head coach of the Bears. Prior to the 2008–09 season, a Rivals.com writer called <mask> the Big 12 "coach on the rise" due to <mask>'s success in recruiting talent to Baylor. The Big 12 coaches picked <mask>'s squad to finish fourth in the conference. In 2010, after finishing tied for second in the Big 12 with a squad picked to finish tenth in the preseason poll, <mask> was elected the Austin American Statesman's Coach of the Year.That year he

masks:
Drew
Drew
Drew
Drew
Drew
Drew
Drew
Drew
Drew
Drew
Scott Drew