title: Mary Tyler Peabody Mann

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<mask> (November 16, 1806, in Cambridgeport, Massachusetts – February 11, 1887, in Jamaica Plain, Massachusetts) was a teacher, author, mother, and wife of <mask>, American education reformer and politician. Early life

<mask> was the daughter of Nathaniel and <mask>. Her sisters were <mask>, reformer, educator, and pioneer in establishing kindergarten, and <mask>, painter and wife of Nathaniel Hawthorne. Her three brothers, <mask>, <mask>, and <mask> did not achieve the fame of the sisters. <mask>, her sisters, and her brothers grew up in genteel poverty. Nathaniel and <mask> had been schoolteachers when they married; after the nuptials, the couple set aside a parlor in their house as a schoolroom. Mrs. <mask> urged her husband to become a doctor.He became a dentist, who preferred to experiment, write tracts on the care of teeth, and test herbal remedies to attending patients. As a result, his wife's teaching salary became the main financial support of the family. Growing up in Salem, Massachusetts, <mask> left home at eighteen to teach school in Maine. She moved to Boston to assist her sister Elizabeth in the operation of a school for young children; in their mid-twenties, Elizabeth and <mask> moved into a boardinghouse. The home of Rebecca Clarke, the mother of James Freeman Clarke, also became <mask>'s residence in 1833. Later that year, <mask> accompanied her sickly younger sister Sophia to Cuba; <mask> and <mask> shared a sibling-like closeness and intellectual compatibility that flourished in <mask>'s absence. While in Cuba, <mask> worked as a governess to a Cuban family.The letters she exchanged with Elizabeth contained numerous references to <mask>. Returning to Boston in spring 1835, <mask> moved in with her brother George and found employment tutoring students in Italian. After a short interlude of substituting for Elizabeth at Amos Bronson Alcott’s experimental Temple School, <mask> returned to Salem, where she established a successful school for little children in her home and began to write educational works for children and parents. Meanwhile, in 1837 <mask> was appointed secretary to the Massachusetts board of education and <mask> devoted a great deal of time acting as the underpaid statesman's secretary and assistant. Although the board of education's powers were limited, <mask>, with <mask>'s assistance, shaped public opinion regarding school problems and created public support for increasing the pay of teachers and improving their training through the founding of state normal, or teacher-training, schools. In addition to teaching and helping <mask>, <mask> found time to write. Her children's book, The Flower People: Being an Account of the Flowers by Themselves; Illustrated with Plates, was published in 1838.The horticultural guide, a collection of tales about a little girl named <mask> who makes the acquaintance, one by one, of common garden plants. These imaginary conversations with crocuses, violets, anemones, and geraniums, proved popular with both children and their parents. Most biographers agree that <mask> was smitten with <mask> from the first meeting. In contrast, <mask>, grieving over the death of his first wife and financially responsible for his only brother's debts, did not reveal amorous sentiments for <mask> for close to a decade. On the first of May, 1843, <mask> married <mask> (age 36 years) at the <mask> home in Boston at 11:30 a.m.; at 12:30 p.m. the newlyweds set sail on the Hibernia for Europe. Marriage

Newlyweds Samuel Gridley Howe and Julia Ward joined the <mask>s on their extended honeymoon, which featured visits to prisons, reform schools, insane asylums, and institutions for the blind and the deaf. The trip was part honeymoon and part working holiday for the two reform-minded couples.The <mask>s had three children: <mask> Jr., born February 25, 1844; George Combe <mask> born December 27, 1845; Benjamin Pickman <mask> born April 30, 1848. <mask> resigned as secretary of the board of education in 1848 to take the seat of former President John Quincy Adams in the United States Congress. There he proved himself to be a fierce enemy of slavery. In 1853, he accepted the presidency of Antioch College in Yellow Springs, Ohio, a new institution committed to coeducation, non-sectarianism, and equal opportunity for African Americans. <mask> <mask> filled the role of president's wife and confidant. Just as <mask> devoted himself to running Antioch College and reforming social ills, <mask>, too, joined the ranks of reformers. Overeating was one of the vices that <mask> campaigned to change; her Christianity in the Kitchen: A Physiological Cookbook purported to serve as a moral guide to good eating.It was the housewife's duty, <mask> believed, to educate herself in the latest scientific knowledge in order to keep her family healthy. Citing the research of scientists, she warned her readers against rich and fatty foods and advised moderation in spices and abstinence from alcohol. Widowhood

Following her husband's death in 1859, <mask> and the family returned to Massachusetts. Writing her husband's biography and editing his works helped <mask> through her grief. Life and Works of <mask> contains only one reference to <mask>: "On 1 May 1843, Mr. <mask> was again married, and sailed for Europe to visit European schools, especially in Germany, where he expected to derive most benefit." Less than ten years after she buried her husband, <mask>'s oldest son, <mask> Jr. died at the age of 24 in 1868. As a widow, <mask> also wrote for a variety of periodicals on topics related to education (no matter how obliquely), translated works from the Spanish, supervised the education of her sons, participated actively in philanthropic work, and aided her sister Elizabeth in her kindergarten in Boston.Her essay, "Moral Culture of Infancy," was published in 1863 in a single small volume with <mask>'s "Kindergarten Guide:" Moral Culture of Infancy, and Kindergarten Guide: with Music for the Plays. The collaboration of <mask> and Elizabeth included promoting the speaking career of Sarah Winnemucca Hopkins, the first Native American woman known to secure a copyright and to publish in the English language. In addition, <mask> helped Hopkins with her book, Life among the Piutes: Their Wrongs and Claims (1883). In her eightieth year, <mask> began to write her first novel; Juanita: A Romance of Real Life in Cuba Fifty Years Ago (1887) appeared posthumously. <mask> commented, “The story is fiction; but the principal characters and the most important incidents are real—it was this that made the author keep back the book from publication till all were dead….It was the merest accident that the work was not published before my sister’s death, as she so earnestly desired it should be.”

Death
<mask> <mask> died February 11, 1887, in Boston, Massachusetts. Works

 The Flower People: Being an Account of the Flowers by Themselves; Illustrated with Plates (Boston: Lee and Shepard, 1888, o.p. 1838).1875 ed., illustrated by Mrs. G.P. Lathrop
 Christianity in the Kitchen, a Physiological Cook-Book (Boston: Ticknor and Fields, 1857). with Elizabeth Palmer <mask>, Moral Culture of Infancy, and Kindergarten Guide: With Music for the Plays (Boston: T.O.H.P. Burnham, 1863). Life and Works of <mask> (3 vols. 1865-68; extended edition in 5 vols., ed. by G. C<mask>, 1891)."New Methods for Improving Domestics." Herald of Health (1869). "A Woman's View of Intemperance." Arthur's Lady's Home Magazine (1872). Juanita: A Romance of Real Life in Cuba Fifty Years Ago (D. Lothrop Co., 1887). A Primer of Reading, Spelling, and Drawing (2.Ed., 1851). Notes

References

Further reading
 Megan Marshall, The Peabody Sisters: Three Women Who Ignited American Romanticism (Boston: Houghton Mifflin Company, 2005).Louise Hall Tharp, Until Victory: <mask> and <mask> (Boston: Little, Brown, 1953). Louise Hall Tharp, The Peabody Sisters of Salem (Little, Brown and Company: Boston 1950). Monika M Elbert, Julie E Hall, and Katharine Rodier, eds., Reinventing the Peabody Sisters (Iowa City: University of Iowa Press, 2006). Robert L. Straker, “Thoreau's Journey to Minnesota,” The New England Quarterly 14 (September 1941): 549-555. Lura Rogers Seavey, More Than Petticoats: Remarkable Massachusetts Women (The Globe Pequot Press, 2005). External links
 Portrait of <mask> and Benjy
 Portrait of <mask>
 The Peabody Sisters Dictionary of Unitarian & Universalist Biography
 Mary Peabody Mann
 Peabody Sisters National Women's history Museum
 Juanita:A Romance of Real Life in Cuba Fifty Years Ago

1806 births
1887 deaths
People from Yellow Springs, Ohio
19th-century American women writers
19th-century American writers

masks:
Mary Tyler Peabody Mann
Horace Mann
Mary Tyler Peabody Mann
Elizabeth Palmer Peabody
Elizabeth Peabody
Sophia Peabody Hawthorne
Nathaniel Cranch Peabody
George Francis Peabody
Wellington Peabody
Mary Peabody
Elizabeth Peabody
Peabody
Mary Peabody
Mary
Horace Mann
Mary
Elizabeth Peabody
Horace Mann
Mary
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Horace Mann
Mary
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Mary
Horace Mann
Mary
Mary
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Horace Mann
Mann
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Horace Mann
Mary Peabody
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Mann
Horace Mann
Mann
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Horace Mann
Mary Peabody
Mann
Horace Mann
Mary
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Horace Mann
Mary
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Mary
Horace Mann
Mary
Elizabeth Peabody
Mary
Mary
Mary
Elizabeth Peabody
Mary Tyler
Peabody Mann
Peabody
Horace Mann
. Mann
Horace Mann
Mary Peabody
Mary
Mary


title: Brad Bird

type: original

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<mask> (born September 24, 1957) is an American filmmaker, animator, and screenwriter. He has had a career spanning forty years in both animation and live-action, and is best-known for his films The Incredibles franchise, Ratatouille, The Iron Giant, and Mission: Impossible – Ghost Protocol. <mask> was born in Montana and grew up in Oregon. He developed an interest in the art of animation early on, and completed his first short subject by age 14. <mask> sent the film to Walt Disney Productions, leading to an apprenticeship from the studio's Nine Old Men. He attended the California Institute of the Arts in the late 1970s, and worked for Disney shortly thereafter. In the 1980s, he worked in film development with various studios; he wrote the screenplay for *batteries not included, and developed two episodes of Amazing Stories for Steven Spielberg, including the influential Family Dog.Afterwards, <mask> joined The Simpsons as creative consultant for eight seasons. He directed the 1999 feature The Iron Giant, adapted from a book by poet Ted Hughes; though critically lauded, it was a box-office bomb. He moved to Pixar where he wrote and directed two movies, The Incredibles (2004) and Ratatouille (2007) that were worldwide critical and financial smash hits; both earned <mask> two Academy Award for Best Animated Feature wins and Best Original Screenplay nominations. He transitioned to live-action filmmaking with 2011's similarly successful Mission Impossible: Ghost Protocol, but his 2015 effort Tomorrowland significantly underperformed. He returned to Pixar to develop Incredibles 2, which was released in 2018 and became the second highest-grossing animated picture of all-time. As a filmmaker, <mask> has been considered an auteur; he is known to supervise his projects to a high degree of detail. The bulk of <mask>'s filmography has attracted widespread acclaim; with the exception of Tomorrowland, all of his movies have high aggregate scores from viewers and critics.His films' themes have been subject to interpretation by commentators due to their parallels with novelist Ayn Rand's Objectivism philosophy, an analysis <mask> has dismissed. He is known as an advocate for creative freedom and the possibilities of animation, and has criticized its stereotype as children's entertainment, or classification as a genre, rather than art. Early life

<mask> was born in Kalispell, Montana, the youngest of four children to Marjorie A. (née Cross) and Philip Cullen <mask>. His father worked in the propane business, and his grandfather, Francis Wesley "Frank" <mask>, who was born in County Sligo, Ireland, was a president and chief executive of the Montana Power Company. <mask>'s fascination with filmmaking began at an early age. He started drawing at age three, with his first cartoons clear attempts at sequential storytelling.He was particularly enamored with animation after a screening of The Jungle Book (1967), and a family friend who had taken animation classes explained how the medium worked. <mask>'s father found a used camera that could shoot one frame at a time, and helped him setup the device for making films. He began animating his first short subject at age 11; that same year, his family connection introduced him to composer George Bruns, who set him up a tour of Walt Disney Productions in Burbank, California. <mask> met the Nine Old Men—the animators responsible for the studio's most earliest and most celebrated features—and proclaimed he would join them one day. <mask> has characterized his parents as generous and supportive of his interests. His mother once made a rainy drive two hours in each way to the only theater playing a reissue of Snow White and the Seven Dwarfs for <mask>'s education. After two years, <mask> had completed his first short, a fifteen-minute adaption of The Tortoise and the Hare.On his parent's advice, to "start at the top and work your way down", he sent the film to his idols at Disney. The studio responded with an open invitation for <mask> to stop by whenever in town, which led him to make several visits to the studio's California headquarters in the ensuing years. This opportunity—an "unofficial apprenticeship" of sorts—was "never offered" to anyone previously. He worked closely with Milt Kahl, whom he considered a hero. He began another film, titled Ecology American Style, which was more ambitious and in color, but the workload was intense. Instead, <mask> focused on other interests in his high school years, including dating, athletics, and photography. "Animation is the illusion of life, and you can't create that illusion convincingly if you haven't lived it," he later remarked.The family relocated to Corvallis, Oregon in his youth, and he graduated from Corvallis High School in 1975. That year, he was awarded a scholarship by Disney to attend the newly-formed California Institute of the Arts (CalArts) in Valencia, California; <mask> has joked he was a "retired" animator by the time he received this offer. Instead, he considered attending the acting program at Ashland University. After a three-year break, <mask> chose CalArts and moved down south. <mask>'s classmates included prominent future animators such as John Lasseter, Tim Burton, and Henry Selick. Like many students, they were dazed by the special effects in Star Wars (1977); both Lasseter and <mask> agreed these feats were possible in animation. First-year students met in the room labeled A113—a small, sterile classroom with no windows.<mask> later used A113 as an Easter egg in his films; it has since become a fixture of media made by the school's alumni. Career

Initial years

Disney and development deals (1978–1984)
Within two years, <mask> accepted a job as an animator at Walt Disney Productions. <mask> arrived at the studio in the midst of a transition: much of the studio's original creative staff were retiring, leaving the studio to a new generation of artists. What was left of the original staff got along with the newcomers, but <mask> clashed with the middlemen in charge. While animating at Disney, he became a part of a small group of animators who worked in a suite of offices inside the original studio called the "Rat's Nest". There, <mask> openly criticized the state of the studio, and characterized senior leadership as unwilling to take risk. He felt as though he was standing behind the studio's original principles.This volatile attitude prompted his firing by animation administrator Edward Hansen. He left Disney after only two years; he received credits on The Small One (1978) and The Fox and the Hound (1981), and went uncredited on Mickey's Christmas Carol (1983) and The Black Cauldron (1985). <mask> was dispirited with the state of the American animation industry, and he considered his departure from Disney as the end of his long-held love of the form. Still, he pulled together funds to make A Portfolio of Projects, a demo reel of potential animated projects, ones he felt the medium was capable of. <mask> was hopeful of receiving financial backing from other studios, but ended up frustrated by Hollywood's development system: "for every good project I've made, I've got equally good projects that are sitting [un-produced by] various studios," he said in 2018. He relocated to the Bay Area, eager to become a part of its burgeoning film scene, which birthed films like Apocalypse Now and The Black Stallion. He tried for several years to adapt Will Eisner's comic book The Sprit to feature animation, but studios declined, unwilling to take a risk given Disney's dominance.He briefly attempted a computer-animated film at Lucasfilm with Ed Catmull, presaging his later work with Pixar. "He had all these ideas for making animated movies, but he didn’t have a technical bone in his body and he didn’t have any tolerance that you would need to have at the time to put up with some of the awfulness of the early technology," said Alvy Ray Smith. <mask>'s next credit was as an animator on the dark animated drama The Plague Dogs (1982); he was also fired by the film's director, Martin Rosen, during its production. Work with Steven Spielberg (1985–1989)
One piece from his test reel was Family Dog, which attracted the attention of director Steven Spielberg. Family Dog is centered on a pet's perspective of his dysfunctional suburban family, and its original pencil test featured designs by <mask>'s classmate Tim Burton. <mask> had hoped to develop the concept into theatrical shorts, like those from the golden age of American animation, but the market simply no longer existed. Instead, <mask> moved back to Los Angeles and joined Spielberg's Amblin Entertainment, and became involved with his television program Amazing Stories, an anthology series which debuted in 1985.He co-wrote the screenplay for "The Main Attraction", the show's second episode, with Mick Garris. Spielberg enjoyed the script, and invited <mask> to pitch other ideas. <mask> storyboarded another Family Dog segment, which was decided to be adapted into an episode of Amazing Stories. The episode, which aired in 1987, was a ratings success. The experience was exciting for <mask>; "Not only was Steven one of my favorite filmmakers, but he was powerful enough to clear space that allowed us creative freedom," he later remarked. Family Dog was later spun-off into its own half-hour sitcom, against <mask>'s urging and without his involvement, as he felt the idea would not work. He was also perturbed to see Burton's role in designing the characters overshadow his deeper contributions to the concept.He was later brought on to co-write the screenplay for *batteries not included (1987), a comic sci-fi film that stemmed from an Amazing Stories outline. The film opened in fourth place domestically, and was overall a box office hit, generating $65.1 million on its $25 million budget. <mask> also helped with Captain EO, 3-D short film starring Michael Jackson viewed at Disney theme parks. These successes brought <mask> more opportunity, but he continued to spend many years in development hell with studios. He grew irritated with notes from middle management: executives he felt "would analyze your work and dictate everything you'd need to do to make it 'more pleasing to an audience'—and in the process would only make stories smaller and more like everything else," he complained. In his personal life, he wed Elizabeth Canney, an editor on *batteries not included. In 1989, <mask>'s sister Susan, with whom he was very close, was killed by her estranged husband in a murder-suicide.The event was traumatic for <mask>; he felt emotionally "kind of gone in that period. I don't really have a lot of memories from it." He had enough funds to support himself for a time, so he simply rested: "I just kind of didn't do anything," he confessed. Career moves

Work on The Simpsons (1989–1996)
<mask>'s cinematic sense of visual storytelling with Family Dog was uncommon in television animation to that point, mainly due to budgetary restrictions. Most television productions retained a rudimentary style, with frequent abuse of standard close-ups, medium angles, and establishing shots to move the story along. In contrast, <mask> favored using more filmic techniques, utilizing extreme angles, long panning shots, quick camera cuts, pushed perspective, and so on. <mask>'s work on Family Dog caught the eye of producers James L. Brooks and Sam Simon, who with Matt Groening were developing The Simpsons, the first prime time animated sitcom in decades for Fox.In 1989, he was invited to join Klasky Csupo (and later Film Roman), where he served as executive consultant for the show. The role required <mask> oversee the script-to-animation pipeline 2–3 days per week. <mask> worked on the show for its first eight seasons, and directed the episodes "Krusty Gets Busted" (1990) and "Like Father, Like Clown" (1992). He also designed the character Sideshow Bob. In his role, he pushed the show's artists to visualize episodes as miniature films, taking inspiration from the work of Stanley Kubrick and Orson Welles. In the 1990s, <mask> also contributed to other episodic animated sitcoms like The Critic and King of the Hill, both of which took cues from this established template. <mask> called his work at The Simpsons a "golden opportunity," recognizing that the material was more to his sensibility than the work he had done for Disney.On a personal level, the job was deeply fulfilling; he attended weekly read-throughs which he found delightful, and he considered the gig the only bright spot in the years following his sister's passing. His last credit on the show came with the episode "Lisa the Simpson", which aired in 1998. The show's crew hoped to get <mask> to direct its later 2007 film adaption, but he was too busy by that point. The Iron Giant (1997–2000)

Animation had a commercial and creative renaissance in the U.S. during the 1990s, with Hollywood studios eager to capitalize on the success of Disney's The Lion King (1994). <mask> continued to shop around film ideas to studios throughout the decade, but grew frustrated with his lack of progress in his dream of directing a feature. He was momentarily signed to direct a live-action comedy, Brothers in Crime, at New Line Cinema, but it did not pan out. In addition, his growing family gave rise to other concerns."I had anxiety about devoting my energy to work that was meaningful and spending time with my family, which was also meaningful to me. If I did one, would I fail at the other?" he worried. He pored these themes into a screenplay for The Incredibles, which he pitched to studios beginning in 1992. He also developed an original sci-fi feature titled Ray Gunn, with a script co-written by Matthew Robbins. Its futuristic story centered on a private detective in an Art Deco world of humans and aliens. <mask> signed a production deal with Turner Feature Animation in January 1995, but the studio felt Ray Gunn would be too intense for its target demographic of young children.The following year, Turner merged with Time Warner, which contained the last three months of <mask>'s contract. Warner executives set up a meeting, and made it clear they had no interest in Ray Gunn. Instead, they offered <mask> several in-development projects, including a musical version of poet Ted Hughes' book The Iron Man, first envisioned by rocker Pete Townshend. <mask> read the novel and felt "enchanted" by it; he felt drawn to Hughes' rationale for writing the story, which was to comfort his children after the death of his wife, Sylvia Plath. <mask> connected with its themes, relating it to his sister's passing from gun violence. He significantly revised the entire story to center on a central question: "What if a gun had a soul?" Warner leadership was sold and <mask> signed the contract to direct The Iron Giant in December 1996.<mask> penned the screenplay with Tim McCanlies, which centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot  during the Cold War in 1957. He was quickly faced with assembling a team with little time to spare; most big-budget animated films of the era were workshopped for years, whereas <mask> only had two. Adding to the pressure was <mask>'s frequent disagreements with the film's co-producer, Allison Abbate. In a trade-off, the crew received significant creative freedom to make the film they wanted to make, though <mask> occasionally fielded suggestions from executives to make the film more merchandisable or kid-friendly. The film scored highly on test screenings, but Warner neglected to secure prominent promotion for the movie. The Iron Giant opened in August 1999 to rave reviews from critics, but very low ticket sales; theater owners discarded the picture after only a few weeks. Altogether, the movie grossed $31.3 million worldwide against its $50 million budget, which was considered a significant loss for Warner.Upon its arrival on home video, the film took on a cult following.

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Phillip Bradley Bird
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title: Brad Bird

texts:
 <mask> was disappointed by the failure of Giant; he visited multiple cineplexes only to view the film in empty auditoriums. Afterwards, he was briefly attached to direct a Curious George adaptation for Universal, but he instead set his sights toward another animation studio: Pixar. Path to Pixar and beyond

Incredibles and Ratatouille (2000–2008)
In the late 1990s, <mask> reconnected with old friend John Lasseter, who went on to form Pixar, a computer animation studio. The company released the first fully computer-animated feature film, Toy Story, in 1995. <mask> was stunned by the film, and in 1997, the two began to negotiate <mask> joining Pixar. In March 2000, <mask> went to Pixar's Emeryville, California campus and pitched his ideas, including The Incredibles, to Lasseter.The studio announced a multi-film contract with <mask> in May of that year, making <mask> the first outside voice for the studio, which previously required talent to rise through the ranks. He was excited to return to the Bay Area, where had lived intermittently two decades prior. He purchased a home in Tiburon, across the bay from Pixar's Emeryville headquarters. He grew comforted by the "creative and supportive" atmosphere at Pixar, unlike many of the L.A. studios he had worked for; he convinced a core team to join him up north, including artists Tony Fucile, Teddy Newton, and Lou Romano, all of whom had contributed development artwork for The Incredibles for much of the past decade. The Incredibles the film follows Bob (Craig T. Nelson) and Helen Parr (Holly Hunter), a couple of superheroes, known as Mr. Incredible and Elastigirl, who hide their powers in accordance with a government mandate, and attempt to live a quiet suburban life with their three children. Bob's desire to help people draws the entire family into a confrontation with a vengeful fan-turned-foe, Syndrome.<mask> also provides the voice of costume designer Edna Mode. As an inside joke, the character Syndrome was based on <mask>'s likeness (as was Mr. Incredible) and according to him, he did not realize the joke until the movie was too far into production to have it changed. The animation team was tasked with creating computer animation's first an all-human cast, which required creating new technology to animate detailed human anatomy, clothing, and realistic skin and hair. Michael Giacchino composed the film's orchestral score, marking the first in a series of collaboration between the two men. The Incredibles was <mask>'s first global critical and box-office smash, grossing $631.4 million, making it the fourth-highest-grossing film of 2004. <mask> won his first Academy Award for Best Animated Feature, and his screenplay was nominated for Best Original Screenplay.It was the first animated film to win the prestigious Hugo Award for Best Dramatic Presentation. <mask>'s next project was Ratatouille (2007), which follows a rat named Remy, who dreams of becoming a chef and tries to achieve his goal by forming an alliance with a Parisian restaurant's garbage boy. The film was developed by Jan Pinkava, who worked on the concept for many years. By the time the project was slated to enter the animation process, Pixar leadership became concerned it was not ready. <mask> was hired on in July 2005 to assess the mistakes and turn the project around in a short time. He disliked having to take over Pinkva's passion project: "It was a rough position to be in because I always come down on the side of the creator," he later said. However, he was also in position with Pixar as a member of their "brain trust"—a group of individuals who critique and help each other—so he felt the role came naturally.When <mask> took over, much of the design work had been completed, but <mask> wrote an entirely new script that eschewed much of its original dialogue. Giacchino returned to compose the Paris-inspired music for the film. Upon release, Ratatouille was another huge hit for Pixar; the film grossed $623.7 million and earned widespread critical acclaim. It won the Best Animated Feature award at the 2008 Golden Globes; it was also nominated for five Academy Awards, including Best Original Screenplay and Best Animated Feature, which it won. Move to live-action: Ghost Protocol and Tomorrowland (2008–2015)
Midway through the aughts, <mask> was attached to direct an adaption of James Dalessandro's novel, 1906, which chronicles the tumultuous earthquake that struck San Francisco a century prior. Due to the size and scale of such a project, three studios were to finance its making—Pixar, Disney, and Warner Bros.—but the project stalled. He paused when Pixar management asked he take over Ratatouille, and returned afterward.He attempted to re-write 1906 to work within the confines of a feature's length, but struggled. Instead, <mask> helmed the next installment of the action spy series Mission Impossible, starring Tom Cruise. <mask>'s foray into live-action filmmaking after a major career in animation had little precedent, according to critics. Cruise had been impressed by the style and storytelling of Incredibles, and urged <mask> to contact him should he venture into the live-action sphere. The idea of combining the commercial aspects of a franchise—this was the third Mission sequel—and more artistic tones challenged <mask>, who signed on to direct in May 2010. In the picture, Cruise reprises his role of Impossible Missions Force agent Ethan Hunt, who with his team race against time to find a nuclear extremist who gains access to Russian nuclear launch codes. Ghost Protocol was shot on location partially in Dubai, and includes a memorable scene when Cruise scales the newly-erected Burj Khalifa.Upon release in December 2011, it became the highest-grossing film in the series up to that point, with $694 million worldwide. It was the fifth-highest-grossing film of 2011 as well as the second-highest-grossing film starring Cruise. Though he was asked to direct Star Wars: The Force Awakens, <mask> turned down the opportunity to focus on his new project: the sci-fi film Tomorrowland, named for the futuristic themed land found at Disney theme parks. <mask> co-wrote the screenplay with Damon Lindelof. In the film, a disillusioned genius inventor (George Clooney) and a teenage science enthusiast (Britt Robertson) embark to an intriguing alternate dimension known as "Tomorrowland," where their actions directly affect their own world. The film ended up being a box-office bomb, losing Disney $120–150 million, and attracting a mixed critical response. Latest work

Incredibles 2 (2016–2018)
<mask> was long open to the idea of Incredibles sequel, should the story suffice.Over the years, he mentioned its possibility in interviews, and these suspicions were confirmed when an official sequel was announced in 2014. <mask> began writing its screenplay in earnest the next year; he attempted to distinguish the script from the breadth of superhero-related content released since the first film, focusing on the family dynamic rather than the superhero genre. The story follows the Incredibles as they try to restore the public's trust in superheroes while balancing their family life, only to combat a new foe who seeks to turn the populace against all superheroes. Though scheduled for release in 2019, the film was completed on an accelerated production schedule, as it was farther ahead in production than Toy Story 4, which required more development; the two simply swapped years, with Incredibles 2 debuting in theaters in June 2018. Giacchano returned to compose the score. Incredibles 2 was a huge smash hit for Disney/Pixar: it made $182.7 million in its opening weekend, setting the record for best debut for an animated film, and grossed over $1.2 billion worldwide, making it the second-highest-grossing animated film in general, the highest-grossing Pixar film, and the fourth-highest-grossing film of the year. Incredibles 2 was named by the National Board of Review as the Best Animated Film of 2018.The film was nominated for Best Animated Feature at the 76th Golden Globe Awards and 91st Academy Awards, but lost both awards to Spider-Man: Into the Spider-Verse. Recent events (2019–present)
<mask> has expressed interest in developing an animated Western or horror film. In 2019, <mask> announced he was working with frequent collaborator Michael Giacchino on an original musical film that will contain about 20 minutes of animation in it. In 2022, it was announced that <mask> will revive his long-dormant project Ray Gunn for Skydance Animation. Style and themes

<mask> says he was influenced by dozens of filmmakers, singling out early moviemakers Buster Keaton, Charlie Chaplin, and Harold Lloyd, to mid-twentieth century auteurs like David Lean, Alfred Hitchcock, Walt Disney, and Akira Kurosawa. More contemporary directors like Steven Spielberg, Francis Ford Coppola, George Lucas, Hayao Miyazaki, and the Coen brothers have inspired <mask> as well. His passion for the medium was evident even in his college years; friend John Lasseter remembered, "<mask> would hang out all night talking about Scorsese and Coppola and how he could do what they did in animation."<mask>'s career trajectory has been considered somewhat unusual: he did not direct his first film until he was in his forties. <mask> himself has observed that his career was "very long, very delayed and full of disappointment," mainly because he aspired to "lofty" self-set expectations. He has been characterized as controlling with an exquisite attention to detail. His "demanding, often punishing" direction which has prompted some to consider him difficult to work with. <mask> is outspoken about the potential of the art of animation, and has asked the public not refer to his films as cartoons. In the audio commentary for the home release of The Incredibles, <mask> joked he would fight the next person to refer to animated movies as a "genre", as opposed to art form. He has also taken exception to the classification of modern animated fare as solely for children or families; suggesting it discriminatory and belittling.He has expressed a love for hand-drawn animation and its current absence from the industry. Many critics have analyzed his films and suggested they reflect Russian-American novelist Ayn Rand's Objectivism philosophy, which <mask> vehemently denies, suggesting it a monumental misreading of his work. Though he claims he was drawn to Rand's work in his younger years, he offers, "Me being the Ayn Rand guy is a lazy piece of criticism." He stated that a large portion of the audience understood the message as he intended whereas "two percent thought I was doing The Fountainhead or Atlas Shrugged." Tomorrowland plot line—a group of geniuses form a utopia to sequester themselves from the world—has been considered reminiscent of Atlas Shrugged and its Galt Gulch enclave. In The Incredibles, father Bob Parr complains of what he feels is society's increasing celebration of mediocrity, and later in the film, its villain Syndrome asserts that "when everyone's super, no one will be." Analysts suggested these lines a reflection of views shared by German philosopher Friedrich Nietzsche.One writer distilled Ratatouille down to "if you don’t have talent, you should get out of the way of people who do." David Sims at The Atlantic has suggested <mask>'s films are instead "stories about the frustrations of unbridled creativity [...] In each film, there's an indelible recurring image: the frustrated genius, locked away in a dusty closet, obsessing over the talents he has to hide." Likewise, IndieWire's Eric Kohn called <mask> a "pivotal figure in exploring the American dream through the vernacular of popular culture." Personal life
<mask> and his wife Elizabeth (m. 1988) have three sons. One of his sons, Nicholas, was the voice of Squirt in the Pixar film Finding Nemo and Rusty McAllister in The Incredibles. Another son, Michael, voiced Tony Rydinger in The Incredibles and its sequel. <mask> maintains properties in Tiburon, California, and Los Feliz, California.Upon criticism that The Incredibles exhibited a right-wing bias, <mask> demurred, noting, "I'm definitely a centrist and feel like both parties can be absurd." Filmography

Feature films

Short films

Documentary featurettes

Television

Video games

Other credits

Unmade projects
 The Spirit, an animated feature <mask> developed with Jerry Rees and producer Gary Kurtz, based on Will Eisner's acclaimed comic strip. The studios they pitched it to liked the script, but were unwilling to take the gamble on an animated feature for the adult audience. Ray Gunn, a project that he was working on at Turner Feature Animation before he got pulled for The Iron Giant and TFA merging with Warner Feature Animation. A script has been made with Matthew Robbins but was never animated. Even though lost, <mask> has expressed interest in resurrecting the project. The Incredible Mr. Limpet, a project that is still in development hell.<mask> was attached to direct at one point but was replaced by Mike Judge and many others. Curious George, wrote a draft of the film at one point, but his script was not used in the produced version. The Simpsons Movie, the crew from The Simpsons including Matt Groening and James L. Brooks were hoping to get <mask> to direct, but was too busy with Ratatouille at the time. David Silverman, who was also working at Pixar at the time and quit his job after finishing work on Monsters, Inc., became the film's director. 1906, a collaborative project from Warner Bros. and Pixar (which could have been their first live-action project), in association with Walt Disney Pictures, where <mask> would have directed. Disney and Pixar left the project in 2012 in development limbo at Warner Bros. due to delays in the film's several planned releases, several rejected scripts were not picked up, and going over budget ($200 million). However , <mask> has expressed interest as to adapt the book as a TV series and the earthquake sequence as a live-action feature film.Star Wars: The Force Awakens, <mask> was on a shortlist of directors to direct the seventh Star Wars film. He passed on the project in favor of Tomorrowland; The Force Awakens was directed by J. J. Abrams. Sonic the Hedgehog, <mask> was featured on a shortlist of writers when the film was still in development at Columbia Pictures. After Jeff Fowler was chosen to direct, Pat Casey and Josh Miller were picked as writers. Critical reception
Critical response to films <mask> has directed:

Accolades
In addition to his Academy Award, BAFTA Award and Saturn Award wins, <mask> holds the record of the most animation Annie Award wins with eight, winning both Best Directing and Best Writing for each of The Iron Giant, The Incredibles and Ratatouille, as well as Best Voice Acting for The Incredibles. His eighth Annie was the 2011 Winsor McCay Award for lifetime contribution to animation. See also
A113
Directors with two films rated A+ by CinemaScore

References

Notes

Citations

Sources

External links

1957 births
Living people
21st-century American male actors
Actors from Manhattan Beach, California
Animators from Montana
Animators from Oregon
American film producers
American feminists
American male voice actors
American people of Irish descent
American male screenwriters
American storyboard artists
American animated film directors
American animated film producers
Animation screenwriters
Annie Award winners
California Institute of the Arts alumni
Corvallis High School (Oregon) alumni
Directors of Best Animated Feature Academy Award winners
Disney people
Walt Disney Animation Studios people
Film directors from Oregon
Male actors from Montana
Male actors from Oregon
Male feminists
People from Corvallis, Oregon
People from Kalispell, Montana
Pixar people
Science fiction film directors
Writers from Montana
Writers from Oregon
Film directors from California
Film directors from Montana
Screenwriters from California
Screenwriters from

masks: Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Brad Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird Bird


title: Tony Petersen

texts:
<mask> (born October 9, 1966) is an American college football coach and former quarterback. He most recently was the offensive coordinator at the University of Illinois. <mask> played college football at Marshall, where he broke school records and won Southern Conference Offensive Player of the Year award as a senior in 1987. Since 1990, <mask> has been an offensive assistant at various college football programs. During his first stint at Marshall from 1991 to 1998, <mask> coached various positions during Marshall's rise from Division I-AA to Division I-A before becoming offensive coordinator in 1998. With <mask> on staff, Marshall won the NCAA Division I-AA national championships in 1992 and 1996 and Mid-American Conference titles in 1997 and 1998. Later in his career, <mask> was offensive coordinator at Minnesota from 2000 to 2006, again at Marshall from 2010 to 2012, and Louisiana Tech from 2013 to 2015, winning six bowl games in those years.Early life and college career
Born and raised in Lodi, California, <mask> graduated from Tokay High School in Lodi in 1984. After high school, <mask> attended San Joaquin Delta College in nearby Stockton. At San Joaquin Delta, <mask> played at quarterback on the football team in 1984 and 1985. <mask> also pitched on the San Joaquin Delta baseball team and was selected by the Kansas City Royals in the 16th round of the January 1986 Major League Baseball Draft. <mask> transferred to Marshall University in Huntington, West Virginia in 1986. He shared starting duties at quarterback on the Marshall Thundering Herd in the 1986 season and started every game in 1987. As a senior in 1987, <mask> led Marshall to its first 10-win season in program history as he threw for 4,902 yards and 35 touchdowns.In the spring of 1988, <mask> was a relief pitcher on the Marshall Thundering Herd baseball team, where he went 5–2 with three saves. <mask> won the Southern Conference Offensive Player of the Year award in football in 1987 and Southern Conference Athlete of the Year award in 1988 for his combined football and baseball performances in 1987–88. In 1989, <mask> went 4–2 with five saves. <mask> set 16 Southern Conference single-season and career records in passing and total offense, to go along with six Marshall single-season school marks. <mask> graduated from Marshall with a Bachelor of Arts in education in 1990. Coaching career

Kentucky graduate assistant and first stint at Marshall (1990–1998)
After signing as an undrafted free agent with the Minnesota Vikings in 1989, <mask> started his coaching career as a graduate assistant at Kentucky in 1990 under Bill Curry. <mask> then returned to Marshall in 1991 in the beginning of an eight-year tenure as assistant coach in various roles.During those years, Marshall qualified for the postseason eight straight times, winning NCAA Division I-AA national championships in 1992 and 1996 and Mid-American Conference titles in both 1997 and 1998 upon moving to Division I-A in 1997. In 1991, <mask> was running backs coach. He moved to coaching wide receivers in 1992, when he helped in the development of future NFL wide receiver and three-time Super Bowl champion Troy Brown during the run to the Division I-AA title. From 1993 to 1995, <mask> was quarterbacks coach. After serving as tight ends coach in the 1996 national championship season, <mask> returned to coaching quarterbacks in 1997 and was promoted to offensive coordinator in 1998. During that time, he coached future NFL quarterbacks Chad Pennington and Byron Leftwich. During his coaching career at Marshall, <mask> completed a Master of Science degree in health and physical education in 1995.Minnesota passing game and offensive coordinator (1999–2006)
From 1999 to 2006, <mask> was an offensive assistant coach at Minnesota under Glen Mason. He was passing game coordinator in 1999 before serving as co-offensive coordinator and quarterbacks coach from 2000 to 2006. <mask> coached record-breaking quarterbacks Bryan Cupito and Asad Abdul-Khaliq. Minnesota also appeared in five bowls including three consecutive wins, the 2002 Music City Bowl, 2003 Sun Bowl, and 2004 Music City Bowl. Iowa State and South Dakota assistant (2007–2009)
From 2007 to 2008, <mask> was quarterbacks coach at Iowa State under Gene Chizik, helping senior quarterback Bret Meyer set school record totals for passing yards and total offense. Then in 2009, <mask> was assistant head coach and wide receivers at South Dakota under Ed Meierkort. Second stint at Marshall (2010–2012)
Under Doc Holliday, <mask> began his second stint as Marshall assistant coach in 2010, as assistant head coach, co-offensive coordinator, and quarterbacks coach.<mask> helped Marshall win the 2011 Beef 'O' Brady's Bowl. In 2012, <mask> coached sophomore quarterback Rakeem Cato, who would lead Division I FBS in completions per game (33.83) and become the first underclass winner of the Conference USA MVP award. Louisiana Tech offensive coordinator (2013–2015)
In 2013, <mask> became offensive coordinator at Louisiana Tech under Skip Holtz. Louisiana Tech won only four games in 2013 but turned around to win two consecutive bowl games, the 2014 Heart of Dallas Bowl and 2015 New Orleans Bowl. Later coaching career (2016–present)
<mask> was offensive coordinator at East Carolina under Scottie Montgomery from 2016 to 2018. However, he was not as successful there as in his previous two stops, as East Carolina won only three games per season. In 2019, <mask> was an offensive analyst at Missouri under Barry Odom.<mask> returned to being an offensive coordinator and quarterbacks coach the following year at Appalachian State under Shawn Clark. In 2021, <mask> was the offensive coordinator at the University of Illinois Urbana-Champaign, under coach Bret Bielema. Both in their first season, <mask> was dismissed after the season. On January 18, 2022, <mask> was named offensive coordinator and wide receivers coach at Illinois State. Personal life
<mask> is married with three children. His grandfather Ike <mask> was a running back in the NFL from 1935 to 1936. References

1966 births
Living people
American football quarterbacks
Appalachian State Mountaineers football coaches
East Carolina Pirates football coaches
Kentucky Wildcats football coaches
Iowa State Cyclones football coaches
Louisiana Tech Bulldogs football coaches
Marshall Thundering Herd baseball players
Marshall Thundering Herd football coaches
Marshall Thundering Herd football players
Minnesota Golden Gophers football coaches
Minnesota Vikings players
South Dakota Coyotes football coaches
People from Lodi, California
Players of American football from California
Baseball pitchers
Delta College Mustangs baseball players
Delta College Mustangs football players
Baseball players from California

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Anthony Robert Petersen
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title: Fred Neil

texts:
<mask> (March 16, 1936 – July 7, 2001) was an American folk singer-songwriter active in the 1960s and early 1970s. He did not achieve commercial success as a performer and is mainly known through other people's recordings of his material – particularly "Everybody's Talkin'", which became a hit for Harry Nilsson after it was used in the film Midnight Cowboy in 1969. Though highly regarded by contemporary folk singers, he was reluctant to tour and spent much of the last 30 years of his life assisting with the preservation of dolphins. Life and career
<mask> was born <mask>., in Cleveland, Ohio, just two weeks after his parents, <mask> and Lura Camp Riggs, married. <mask> later said that he took his stage name from his maternal grandmother, <mask>, the family member of whom he was fondest. While they lived in Ohio, his father installed sound systems for the Automatic Musical Instrument Distribution Company (AMI), which made player pianos and, later, jukeboxes, and then worked for the Triangle Music Company, distributor of Aireon jukeboxes. In 1942, the Morlock family moved to St. Petersburg, Florida, where young <mask> started singing when he was in first grade, coached by his mother, she claimed.Around 1947, when in sixth grade, he started playing guitar. His parents had separated in 1945, divorcing in 1949, and his father returned to Cleveland. At the end of two years of military service in the navy, in 1955 <mask> married Leilani Lee Michaels, a "Fran Malione Dancer" in San Francisco, a "photographers' model," and later a beauty-pageant queen and "Geary Girl." They lived with <mask>'s mother in St. Petersburg, and separated a year later. In August 1958, in New York, <mask> married Elaine Berman after she became pregnant with their son, Kenny. She had worked at Grey Advertising until her pregnancy compelled her to quit her job. Faced with the costs of family life, she worked as a secretary at Southern Music Publishing, while <mask> wrote songs and performed.They separated in 1960. (In 1965, she married Tony Orlando.) In 1963, <mask> and Linda Watson started living together, in Miami, and in time they married, having a son, Christopher. Their marriage ended in 1968. When <mask> moved to Woodstock, New York, in 1969, he met and married Judy Cruickshank, and they lived in a cabin in Saugerties, NY on the same road as Big Pink, home of Rick Danko and other members of The Band. Judy and <mask> had two sons, Justin and <mask>. In the late 1950s, <mask> was one of the singer-songwriters who worked out of New York City's Brill Building, a center for music industry offices and professional songwriters.While composing at the Brill Building for other artists, <mask> also recorded six mostly rockabilly-pop singles for different labels as a solo artist. He wrote songs that were recorded by early rock and roll artists, such as Buddy Holly ("Come Back Baby" 1958, co-credited to Holly's producer, Norman Petty) and Roy Orbison ("Candy Man" 1961, co-written with Beverly Ross). With his 12-string guitar and spectacularly deep baritone voice, <mask> was considered the King of the MacDougal Street/Greenwich Village folksingers. With Lou Gossett, starting in February 1961 he co-hosted an afternoon hootenanny at Cafe Wha?. Bob Dylan recalled that when he arrived at the Village, he was advised to seek <mask> there, and, when he did, <mask> invited Dylan to join him on stage. Photos from July 20, 1961, depict <mask>, Karen Dalton, Mark Spoelstra, and an unidentified conga player, with Dylan on harmonica. In addition to Dalton, early on <mask> also performed alongside Dino Valenti.<mask> met Vince Martin in 1962, and they formed a singing partnership; his first LP, Tear Down The Walls (1964) was recorded with Martin. A New Yorker, Martin had relocated to Florida in 1960, and soon settled in Coconut Grove, where <mask> followed him after their initial musical meeting, and where he returned regularly for years after. During 1965 and 1966 <mask> was joined on many live sets by the Seventh Sons, a trio led by Buzzy Linhart on guitar and vibes. <mask> released Bleecker & MacDougal on Elektra Records in 1965, reissued in 1970 as A Little Bit of Rain. His album <mask>, released in 1967, relaunched in 1969 as Everybody's Talkin''', was recorded during his residencies in Greenwich Village and Coconut Grove, with one session taking place in Los Angeles. After "Everybody's Talkin, <mask>'s best-known songs are "Other Side of This Life", covered by The Lovin' Spoonful on their debut album, Do You Believe in Magic and Jefferson Airplane on their live album Bless Its Pointed Little Head; and "The Dolphins", which was later recorded by several artists, including Linda Ronstadt, It's a Beautiful Day, the The, Billy Bragg, Beth Orton, and Tim Buckley. In particular, Jefferson Airplane considered <mask> a major influence, and he was a frequent visitor to their Haight-Ashbury house at 2400 Fulton Street in San Francisco.<mask> reminded Grace Slick of Winnie the Pooh, and her nickname for him was "Poohneil". The minor Airplane hit "The Ballad of You and Me and Pooneil" was written for <mask>. Sebastian's song "Coconut Grove" from the album Hums of the Lovin' Spoonful was a tribute to <mask>. Blues and folk singer Lisa Kindred credits <mask> with being her mentor in the early 1960s. Interested in dolphins since the mid-1960s, when he began visiting the Miami Seaquarium, <mask>, with Ric O'Barry, founded the Dolphin Research Project in 1970, an organization dedicated to stopping the capture, trafficking and exploitation of dolphins worldwide. Increasingly involved in that pursuit, <mask> progressively disappeared from the recording studio and live performance, with only occasional performances in the rest of the 1970s. Later life and death
<mask> left Woodstock in the mid-1970s and spent his remaining decades on the shores of southern Florida, involved in the Dolphin Project.After a guest appearance with Stephen Stills at New York City's Madison Square Garden in 1971, <mask> began a long retirement, performing in public mostly at gigs for the Dolphin Project in Coconut Grove. He performed with John Sebastian on harmonica, Harvey Brooks on bass, and Peter Childs on guitar at the Montreux Jazz Festival in July 1975. Michael Lang, one of the organizers of the 1969 Woodstock Festival and a habitué of Coconut Grove in the 1970s, tried unsuccessfully to release this as a live LP. In an ensemble called the Rolling Coconut Revue, which included Sebastian, Brooks, Childs, and pianist Richard Bell, <mask> played at the Save the Whales benefit concert in Tokyo, April 8–10, 1977. <mask>'s last public performance was in 1981, at an outdoor concert at the Old Grove Pub in Coconut Grove, where he joined Buzzy Linhart for one song and stayed onstage for the rest of the set. Many of <mask>'s 1970s recordings remain unissued, including a 1973 session with Quicksilver Messenger Service guitarist John Cipollina and some Woodstock recordings with guitarist Arlen Roth. According to Ric O'Barry, <mask> recorded two albums of cover songs in 1977 and 1978 that Columbia Records did not release.O'Barry said he produced the first of the recordings in Miami, and that <mask> was joined by Pete Childs on guitar, John Sebastian on harmonica, and Harvey Brooks on bass. The second album was more fully arranged, with <mask> accompanied by the New York session band Stuff and some old friends, including Slick Aguilar. The songs on these albums were written by Bobby Charles, John Braheny, Bobby Ingram, Billy Joe Shaver, and Billy Roberts (composer of "Hey Joe"). Through the 1980s, <mask> retreated from music and public life, living in Florida. In June 1987, in Miami, he was involved in a tragic accident that killed Christine Purcell, his girlfriend, when she hotwired her camper truck, which had a defective starter, and called for <mask> to start the vehicle. Apparently she had not put it fully into neutral or set a parking brake, and the wheels ran over her, causing "massive blunt trauma." Afterward, <mask> moved from Coconut Grove, visiting New York, travelling to Mexico and Texas, then, by the early 1990s, relocating to coastal Oregon.In 1996, he returned east, to the Florida Keys. In 1998, he remarked on a sore on his face that he claimed was a spider bite. It was the first sign of a later-diagnosed squamous-cell carcinoma, for which he received radiation treatment and surgery. The cancer returned in 2001, and he was scheduled to begin chemotherapy on July 16, but he was found dead on July 7. He was reported to have died of natural causes, and to have left a written will on his nightstand. Vince Martin said that a police officer told him there was also a bottle of Vicodin. Legacy
<mask> gained public recognition in 1969, when Nilsson's recording of "Everybody's Talkin'" was featured in the film Midnight Cowboy; the song became a hit and won a Grammy Award.He was one of the pioneers of the folk rock and singer-songwriter musical genres, his most prominent musical descendants being Tim Buckley, Stephen Stills, David Crosby and Joni Mitchell. In <mask>'s obituary in Rolling Stone, Anthony DeCurtis wrote, "So why is <mask> a hero to David Crosby? Because back when Crosby was an aspiring folkie who just arrived in New York, <mask> bothered to take an interest in him, just as he did for the young Bob Dylan, who backed <mask> on harmonica at the Cafe Wha? in Greenwich Village. 'He taught me that everything was music,' Crosby says." His most frequently cited disciples are Karen Dalton, Tim Hardin, Dino Valenti, Vince Martin, Peter Stampfel of the avant-folk ensemble the Holy Modal Rounders, John Sebastian, Gram Parsons, Jerry Jeff Walker, Barry McGuire, and Paul Kantner (Jefferson Airplane). Some of <mask>'s early compositions were recorded by Buddy Holly and Roy Orbison.He played guitar on the demo version of Bobby Darin's 1958 hit Dream Lover and was a demo singer on a late-1950s Elvis Presley movie soundtrack session. He recorded "One Heart," a song by Doc Pomus and Scott Turner (misidentified by <mask> biographer Peter Lee Neff as "Steve"). According to Turner, the song arrived in Los Angeles too late to be used in the film. In his memoir, Richie Havens recalls first seeing <mask> in a duo with Martin at Cafe Wha?, and that "Tear Down the Walls" was the first protest song he had heard in Greenwich Village, "the first to point me in a clear direction." He also remembers <mask> and Valenti's version of Ray Charles's "What'd I Say?" They would continue performing while making their way out the cafe's back door, then returning through the front, while keeping the song going. "I can still see and hear <mask> and Valenti coming down that center aisle, raising the roof of the Wha?, 'tearing down the walls' that were keeping me from expressing what I needed to do."Discography
1964: Tear Down the Walls (Elektra) with Vince Martin
1965: Bleecker & MacDougal (Elektra), reissued in 1970 as A Little Bit of Rain1966: <mask> (Capitol), reissued in 1969 as Everybody's Talkin' 1967: Sessions (Capitol)
1971: Other Side of This Life (Capitol), live and alternate versions

Compilations
1986: The Very Best of <mask> (See for Miles)
1998: The Many Sides of <mask> (Collectors' Choice)
2003: Do You Ever Think of Me?

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Fred Neil
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title: Erich Retzlaff

texts:
<mask> (born Reinfeld, Germany 1899, died Dießen am Ammersee, Bavaria, Germany, 1993) was a German photographer who focused primarily on portraits of workers, farmers, peasants and peasant costumes. Early career

Retzlaff served as a machine gunner in the First World War, seeing action and being wounded on the Western Front, Flanders. During the war he received the Iron Cross (second class). After a series of false starts in civilian life after the war, Retzlaff became involved with photography in the mid to late 1920s starting with a small studio on the Königsallee (Düsseldorf) and then moving to larger premises as his business grew. Between 1928 and 1929 Retzlaff worked on a project that would become his first book Das Antlitz Des Alters [The Face of Age] (1930). The Quarterly Review of Biology commented in 1931:

"The viewpoint and the purpose of this beautiful volume are literary and artistic rather than scientific. The superb portraits of some 35 old men and women will, however, be of interest and use to students of human senescence, senility, and longevity."The book cemented a reputation for Retzlaff as an ‘art’ photographer and in a short space of time he went on to produce two further book projects composed primarily of portraits of Germans at work both on the land and in industry; Die von der Scholle [those who till the soil] (1931) and Menschen am Werk [people at work] (1931). When the National Socialists were elected to power in Germany in 1933, Retzlaff was already considered something of a pioneer in his photographic output with regards depictions of the German peasant and proletariat. A reviewer of Retzlaff’s book Die von der Scholle, writing for the University of Oklahoma’s Books Abroad, observed in 1932:

"The art-photographer <mask>ff has assembled two volumes of large full-page photographs which are grippingly real and at the same time strikingly unusual…They are wholesome average members of the laboring classes…presented in their everyday appearance…these collections are both striking and edifying." Impressed by these earlier photographic studies of German ‘Volkdom’, and to coincide with the year of their coming to power, the National Socialists employed Retzlaff to produce portraits of party notables such as Rudolf Hess, Gregor Strasser, Joseph Goebbels and Ernst Röhm; to be published in a special edition Wegbereiter und Vorkämpfer für das neue Deutschland [pioneers and champions of the new Germany] (1933). Agfacolor-Neu

During the 1930s Retzlaff’s profile as a photographer continued to grow and was further enhanced by his use of the new colour photographic materials that were introduced by Agfa in 1936. In addition to his acclaimed repertoire of black and white studies of workers and peasants, Retzlaff was one of the first German photographers to use ‘Agfacolor-Neu’. The American ‘Kodachrome’ process had arrived in 1935 but involved a complex lab-based processing system.‘Agfacolor-Neu’ enabled the photographer to self-process their colour films. Along with contemporaries such as Herbert Voß, Elisabeth Hase, Emil Grimm and Herbert Beyer, Retzlaff’s work was reproduced in a special edition, Agfacolor, das farbige Lichtbild  [Agfacolor, the colour image] (1938). Subsequent books corroborate Retzlaff’s enchantment with the new colour process and his continuing fascination with the image of the peasant. Images from Niederdeutschland - Landschaft und Volkstum  [lower Germany - landscape and 'folkdom'] (1940) are produced with this firmly in mind. In the introduction to this book, Retzlaff states that the images are to show the beauty of the ‘Heimat’ and its integral link with its people and is not intended as an instruction book of colour techniques. He states:

"Without doubt, colour photography is a tremendous asset to the scientist, especially for the 'Heimat' researcher, but also for the ‘Heimat friend’, for through faithful colour reproduction they have a unique educational material to hand…To make visible this harmony between the native people and their homeland, between landscape and ‘Volkstum’, is the intention of this book..."

Post-1945

Although Retzlaff continued to make his living as a photographer after 1945, in a general sense, the photographs are less dynamic than the work made in the 1920s, 30s and 40s; the subjects do not have the drama of the earlier work. The absence of ideology seemed to undermine the sense of purpose that his earlier photography had possessed.Retzlaff died at Dießen am Ammerse, Bavaria, Germany, in 1993. Over the span of his career Retzlaff's entire oeuvre was broad but the outstanding contribution that he made to German photography was his document of people at work, portraits of peasants in traditional costume and, more generally, a depiction of the peasantry of central and eastern Europe. A large collection of <mask>'s work is held in Munich at the Münchner Stadtmuseum. Since 2010 Dr. Christopher Webster van Tonder (Aberystwyth University) has conducted research into <mask>'s work and his place in the history of photography and has published a book <mask>ff: volksfotograf (2013) () with a touring exhibition <mask>ff: volksfotograf, Monday 14 October 2013 – Friday 15 November 2013 (Aberystwyth University, School of Art Gallery & Museum), Tuesday 21 January - Friday 21 March 2014 (German Historical Institute, Bloomsbury, London [GHIL]). <mask>ff in the collection of Aberystwyth University's School of Art Gallery & Museum
With support funding from the V&A Purchase Grant Fund and the ArtFund, Webster van Tonder acquired 30 vintage Retzlaff prints for the collection in 2012. In 2013 the Bettina Retzlaff-Cumming bequest brought a further 38 vintage Retzlaff prints to the collection. In 2014 the Anna-Claudia Guimbous bequest added over 250 vintage Retzlaff prints to the collection.The School of Art Gallery & Museum now holds the largest collection of <mask>'s work outside of Germany. References

External links
 Dr. Christopher Webster van Tonder - research pages on <mask>ff
 The School of Art Gallery & Museum
 Das Münchner Stadtmuseum
 Perfecting Mankind - exhibition 2001

1899 births
1993 deaths
Portrait photographers
Photographers from Schleswig-Holstein
People from Landsberg (district)

masks:
Erich Retzlaff
Erich Retzla
Erich Retzlaff
Retzlaff
Erich Retzla
Erich Retzla
Erich Retzla
Erich Retzlaff
Erich Retzla


title: Adelbert Ames Jr.

texts:
<mask>. (August 19, 1880 – July 3, 1955) was an American scientist who made contributions to physics, physiology, ophthalmology, psychology, and philosophy. He pioneered the study of physiological optics at Dartmouth College, serving as a research professor, then as director of research at the Dartmouth Eye Institute. He conducted important research into aspects of binocular vision, including cyclophoria and aniseikonia. <mask> is perhaps best known for constructing illusions of visual perception, most notably the Ames room and  the Ames window. He was a leading light in the Transactionalist School of psychology and also made contributions to social psychology. Formative years
<mask>. was born in 1880 in Lowell, Massachusetts. His father, <mask>, was a general in the Union Army during the Civil War and Reconstruction Governor and Senator from Mississippi; his mother, <mask>, was the daughter of U.S. General Benjamin F. Butler, a controversial military leader, politician, and unsuccessful candidate for the U.S. presidency.Apart from his military and administrative service, <mask> obtained several U.S. patents for pencil sharpeners and other mechanical devices. <mask>' sister <mask> <mask> was a woman's rights suffragist, and his brother <mask> was a politician and Army officer during the Spanish–American War. His son, <mask> <mask> (1921-2018), was the Charles Anthony Pappas Professor of Neuroscience, Emeritus, at Harvard University. In research papers, <mask> <mask>. is commonly cited as <mask> <mask> II, to prevent his being confused with his father or his son. <mask> attended Philips Academy, Andover, Massachusetts, then went to Harvard College, where he earned a law degree, and where his most influential teachers were George Santayana and William James (whose daughter he was also engaged to, but did not marry). After practicing law for a few years, <mask> abandoned it to become a painter. For several years, while collaborating with his sister, <mask> (who was also a painter), the two of them tried to determine if the quality of visual art could be improved by the scientific study of vision.<mask> set about improving his knowledge of the optical components of the eye, assuming that once he had mastered them, he would return to painting. As it was, his studies mastered him and <mask> made vision his life's work. <mask> went to Clark University in 1914 to study physiological optics, making enough of an impression to be made one of the eighteen founding members of the Optical Society of America in 1916. When the U.S. entered World War I in 1917, he served briefly as a captain in the aviation service, then as the overseer of a machine shop in which prototypes for instruments were developed. While in the army he continued his studies of optics, in part because one of the soldiers in that shop (with whom he became a friend and collaborator) was Charles Proctor, professor of physics at Dartmouth College. Dartmouth College

After the war, <mask> went to Dartmouth College in 1919 to work with Proctor. They decided to construct a large-scale model of the human eye using glass for its various layers, humors, and lens.In 1921, this work led to <mask>' first published scientific paper, the award of an honorary Master of Arts degree, and his election as professor of research in a new department of Physiological Optics. In 1923, <mask> began recruiting staff of what was to become the Dartmouth Eye Institute. From Eastman Kodak Company he recruited lens designer Gordon H. Gliddon. More staff joined the department over the years, including Kenneth N. Ogle, with whom <mask> worked on stereopsis and binocular vision. He was elected a Fellow of the American Academy of Arts and Sciences in 1928. The Dartmouth Eye Institute (DEI)

In 1935 the Department of Physiological Optics became the Dartmouth Eye Institute under the overall directorship of Alfred Bielschowsky, with <mask> serving as its director of research. <mask> garnered support for it from various sources including John D. Rockefeller Jr., the Rockefeller Foundation, and the American Optical Company.The institute at various times employed between thirty and forty staff, including researchers, and clinicians who examined patients' eyes and made eyeglasses. Research at the institute concentrated on binocular vision, including cyclophoria (the tendency of the eyes to rotate in opposite directions in their sockets) and aniseikonia (in which each eye has a differently sized retinal image of the same object). This latter defect could be corrected by lenses that restored the usual equality of image sizes. In 1940, Bielschowsky died unexpectedly. Hermann Burian, an ophthalmologist, worked briefly as acting director, and then was relieved by Walter Lancaster. He was not able to exert the influence he wanted, resigning in 1942. On 10 May 1947 the institute was closed.Scientific achievements and honors

<mask> is perhaps best known for his eponymous room, window, and chair. These were called "equivalent configurations" by Ittelson (1952), defined as "configurations [in which] identical 'incoming messages' can come from different external physical arrangements. In the absence of other information,... equivalent configurations will be perceived as identical, no matter how different they be physically" (p. 55). <mask> also developed the concept of "transactional ambiguity" holding that "mental set" or expectation could materially affect one's perception of visual and other stimuli, as with the <mask> trapezoid. This hypothesis extended the impact of mental set from the widely believed impact on one's conclusions about stimuli (the eyewitness phenomenon) to actual perception of the stimuli itself. If true, it calls seriously into question the value of eyewitness reports even by individuals with no prejudices about their observations. In 1941 <mask> began to make notes in the morning on his transactional analysis of perception.In 1960 his collaborator Hadley Cantril published an edited selection from these notes, with a Preface, and included <mask>' correspondence with John Dewey. In 1954, <mask> was awarded an honorary Doctor of Laws by Dartmouth. In 1955 he won the Tillyer Medal, awarded by the Optical Society of America. <mask> died on July 3, 1955, and was buried at the Dartmouth Cemetery. His name, and that of his siblings, is also inscribed on the gravestone of his parents at the Hildreth family cemetery in Lowell. In the address given on the presentation of the Tillyer Medal, the president of the society listed 38 books and scientific papers <mask> wrote, and 21 patents awarded to <mask>. Publications in psychology
 1946: "Binocular vision as affected by uniocular stimulus patterns in commonplace environments", American Journal of Psychology 59:333–57
 1949: "Architectural Form and Visual Sensations", pages 82–91 in Building for Modern Man, edited by Thomas Creighton, Princeton University Press.1949: (with Hadley Cantril, A. H. Hastorf  & W. H.Ittelson) "Psychology and Scientific Research", Science 110: 461–4, 491–7, 517–22. 1950: Sensations, their Nature and Origin, Transformation 1: 11,2
 1950: (with W. H. Ittelson) "Accommodation, Convergence and their relation to Apparent Distance", The Journal of Psychology 30:43–62. 1951: "Visual Perception and the Rotating Trapezoidal Window", Psychological Monographs 65(7): #324
 1953: "Reconsideration of the Origin and Nature of Perception", in Vision and Action, edited by S. Ratner, Rutgers University Press
 1955: An Interpretive Manual: The Nature of our Perceptions, Prehensions and Behavior

Additional information
 <mask> <mask>, Jr. Papers, 1880-1955, Sophia Smith Collection, Smith College. References

Bibliography
 Behrens, R. R. (1987). The Life and Unusual Ideas of <mask> <mask>. "Leonardo: Journal of the International Society of Arts, Sciences and Technology, 20," 273–279. Behrens, R. R. (1994). <mask> <mask> and the Cockeyed Room."Print magazine, 48:2," 92–97. Behrens, R. R. (1997). Eyed Awry: The Ingenuity of <mask>. "North American Review, 282:2," 26–33. Behrens, R. R. (1998). The Artistic and Scientific Collaboration of <mask> <mask> and <mask> <mask> II. "Leonardo, 31," 47–54.Behrens, R. R. (1999). <mask> <mask>, Fritz Heider, and the Chair Demonstration. "Gestalt Theory, 21," 184–190. Behrens, R. R. (2009a). "Adelbert Ames II" entry in Camoupedia: A Compendium of Research on Art, Architecture and Camouflage. Dysart IA: Bobolink Books, pp. 25–26. .
 Behrens, R. R. (2009b)."Ames Demonstrations in Perception" in E. Bruce Goldstein, ed., Encyclopedia of Perception. Sage Publications, pp. 41–44. .
 Bisno, D. C. (1994). "Eyes in the Storm: President Hopkin's Dilemma: The Dartmouth Eye Institute." Norwich, VT: Norwich Press Books. Digital Library at Dartmouth. (ND).Blanche B. Marshall Mclane Bruner papers in the Dartmouth College Library. Hanover NH: Dartmouth College. Retrieved May 20, 2005, from https://web.archive.org/web/20050402231154/http://diglib.dartmouth.edu/library/ead/html/ms768.html
 Digital Library at Dartmouth. (ND). Guide to the Records of the Dartmouth Eye Institute 1917–1952[1930–1945] in the Dartmouth College Library. Hanover NH: Dartmouth College. Retrieved May 20, 2005, from https://web.archive.org/web/20050402230617/http://diglib.dartmouth.edu/library/ead/html/da35.html
 Gliddon, G. H. (1955).Necrology: <mask> <mask>. Journal of the Optical Society of America, 45, 1003. Gregory, R. L. (1987). Analogue transactions with <mask> <mask>. Perception, 16, 277–282. The Optical Society of America. (1955). <mask> <mask>.: Edgar D. Tillyer Medalist for 1955.Journal of the Optical Society of America, 45, 333–337. Wade, N. J., & Hughes, P. (1999). Fooling the eyes: Trompe l'oeil and reverse perspective. Perception, 28, 1115–1119. Wade, N. J., Ono, H., & Lillakas, L. (2001). Leonardo da Vinci's struggles with representations of reality. Leonardo, 34, 231–235.External links
 <mask> <mask>, Fritz Heider and the Ames Chair Demonstration

1880 births
1955 deaths
<mask> family
American physiologists
American psychologists
Clark University alumni
Dartmouth College faculty
American ophthalmologists
Phillips Academy alumni
People from Lowell, Massachusetts
Fellows of the American Academy of Arts and Sciences
Harvard Law School alumni
Vision scientists
20th-century psychologists

masks:
Adelbert Ames Jr
Ames
Adelbert Ames Jr
Adelbert Ames
Blanche Butler Ames
General Ames
Ames
Blanche Ames
Ames
Butler Ames
Adelbert
Ames III
Adelbert
Ames Jr
Adelbert
Ames
Ames
Ames
Blanche Ames
Ames
Ames
Ames
Ames
Ames
Ames
Ames
Ames
Ames
Ames
Ames
Ames
Ames
Ames
Ames
Ames
Ames
Ames
Adelbert
Ames
Adelbert
Ames Jr
Adelbert
Ames
Del Ames
Blanche Ames
Ames
Adelbert
Ames
Adelbert
Ames
Adelbert
Ames Jr
Adelbert
Ames
Adelbert
Ames Jr
Adelbert
Ames
Butler Ames


title: Corina Constantin

texts:
<mask> (born 12 November 1991 in Constanța, Romania) is a retired senior Romanian aerobic gymnast. She is the 2013 World Games Champion in Individual Woman, 2016 World Champion in Individual Woman, 2014 World Champion in Trio and Group, as well as 2015 and 2011 European Champion in Individual Woman. She has been called Romania's most successful aerobic gymnast since Izabela Lăcătuș. Personal life
<mask> was born November 12, 1991, in Constanța, Romania. Outside of Gymnastics, Constantin is a lover of contemporary dance and choreography. In 2016, <mask> was a member of the Romanian Gymnastics and Modern Dance troupe, AEROS which toured in Italy and Switzerland from February to March. She states her most memorable achievement as winning the 2015 European Championships and her greatest ambition being to win gold at the 2016 World Championships.She continues her passion in gymnastics as a gymnastics coach and choreographer, dreaming that one day the gymnasts trained by her would reach the top of the podium just as she did as a gymnast. Gymnastics career

Early career
<mask> began gymnastics at the age of 4 in rhythmic gymnastics. After participating in rhythmic gymnastics for 11 years and reaching a high level, Constantin decided to switch to Aerobic gymnastics after having difficulties with her back. 2011 European Championships
Constantin's first major International event was at the 2011 Aerobic Gymnastics European Championships where she won the gold medal in Individual Women with a 21.500. Here, Romania also placed second in the group with a score of 20.794 by <mask>, Maria Luisa Pavel, Laura Cristache, Delia Lacataru, Anca Surdu, Andreea Bogati, all members of the AEROS troupe. This event led to Constantin being selected as a member of the Romanian team who would be competing at the 2012 World Championships. 2012 World Championships
At the 2012 World Championships, Constantin was a favourite to win the gold medal along with Spain's Sara Moreno.Unfortunately, Constanting scored a 21.100 in the qualifications, which was enough to qualify her into the finals in third place. In the finals Constantin finished a disappointing fourth place with the score of 21.150. In the group, Romania qualified fifth place into the finals with a 20.955 and finished in fifth position in the finals with a 21.105. But she did won a gold medal in team. 2013 World Games
The 2013 World Games was where Constantin's talent was on full display, qualifying second into the Individual final with a 21.050, Constantin beat out first qualifier Aurelie Joly of France to win the gold medal with a 21.450. In Trios, <mask> and partners, Anca Surdu and Andrea Bogati qualified into the finals in second position with a 21.044, in the finals they won the silver medal with a 21.355. The Romanian group of Maria Bianca Becze, Andreea Bogati, <mask>, Diana Cristina Deac and Anca Claudia Surdu qualified in third position, winning the silver medal with a 20.883.2014
Constantin competed well in 2014 winning the gold medal in individual with a 21.400 ahead of teammate Bianca Maria Becze, and the silver medal in trio with teammates Surdu and Bogati at the 2014 Suzuki World Cup. At the 2014 Barovets World Cup, in Bulgaria, Constantin won gold in both Individual and trio competitions scoring a 21.350 and 20.700 respectively in each routine. In Portugal at the 2014 Ponta Delgado World Cup, the Romanian Trio once again won gold with a 21.205. In individual competition <mask>'s winning streak was ended by Austria's Lubov Gazov. Constantin won the silver medal with a 21.600 after qualifying in third position with a mere 20.950. 2014 World Championships and first retirement
In Cancun at the 2014 World Championships <mask> was once again a favourite to win the gold medal along with Austria's Lubov Gazov and France's Aurelie Joly. She qualified into the final in third place with a 20.850 and won the silver medal, behind Gazov with a 22.000.After being victorious at their last two international competitions, the Romanian trio of <mask>, Bogati and Surdu was victorious and won the gold medal with a 21.541 after qualifying into the final in a disappointing third place. The Romanians continued to build on their success and the group of <mask>, Bogati, Surdu, Becze and new senior Bianca Gorgovan won the gold medal in the group finals ahead of France with a 21.705. After a very successful World Championships and two gold medals, a tired and injured Constantin decided to walk away from the sport and take and extended break. "Over the years I had always a very tight schedule and those things accumulated. I always put first gymnastics against other things and I felt tired, so I decided at that time to stop my sports activity. I felt like I needed more than a few months break, I needed a break to do something else besides gymnastics." Constantin stated to the European Gymnastics Union.2015

Coming out of retirement
After a year long break, <mask> announced she was coming out of retirement with hopes to win the gold medal in Individual at the 2016 World Championships. "It is the only thing missing." Constantin said. 2015 European Championships
The 2015 European championships, held in Elvas, Portugal were Constantin's first competition since her retirement. In qualifications, Constantin scored a 21.350 placing her into the final .100 ahead of leader, Dora Hegyi of Hungary. In the finals she won the individual women's title ahead of Hegyi, who scored a 21.650, with a 21.750. This title further fuelled Constantin's goal to win the 2016 World Championships.2016
Constantin's 2016 season started off with the Cantanhede World Cup in Portugal where she won the gold medal in individual women with a 21.900, placing ahead of teammate Bianca Gorgovan and Hungary's Dora Hegyi who scored 21.425 and 21.150 respectively. 2016 World Championships
At the 2016 World Championships Constantin walked in hungry. In trio qualifications, Constantin, Surdu and Bogati, who also came out of retirement, placed 11th with the score of 20.113, missing out on the finals. Eager to win the individual gold medal, Constantin qualified into the individual women final in second place behind China's Yu Yangyang. Scoring a 21.800 in qualifications, Constantin won the gold medal with a massive score of 22.050, 0.3 ahead of Yu Yangyang. Second Retirement
In January 2017, Constantin announced her second retirement, having accomplished all she wanted to in the sport. "At my last world championships, I won silver", Constantin said, "and [in Korea], I took my revenge."Life After Gymnastics

2014
After retiring in 2014, Constanin worked as an pilates instructor and as a gymnastics coach. 2017
Since retiring from Gymnastics, <mask> continues to be an active member of the Romanian gymnastics community, coaching aerobic and artistic gymnastics, and continues to be a member of the AEROS troupe. At the 2017 European Artistic Gymnastics Championships in Cluj-Napoca, Romania, Constantin performed in the opening ceremonies. References

External links
 Federation Internationale de Gymnastique Profiles: Oana <mask> Constantin

1991 births
Living people
Sportspeople from Constanța
Romanian aerobic gymnasts
Female aerobic gymnasts
World Games gold medalists
World Games silver medalists
Competitors at the 2013 World Games
Medalists at the Aerobic Gymnastics World Championships

masks:
Oana Corina Constantin
Oana Corina Constantin
Constantin
Constantin
Constantin
Constantin
Constantin
Constantin
Constantin
Constantin
Constantin
Constantin
Constantin
Corina


title: Matthew Dear

texts:
<mask> (born April 4, 1979) is an American music producer, DJ and electronic avant-pop artist. History
Texas-born <mask> moved to Michigan as a teenager, where he was inspired by the sound of Detroit Techno. <mask> met Sam Valenti IV at a party while attending the University of Michigan, after which the two started the record label, Ghostly International, based on a shared love of electronic music. <mask>'s first single was 1999's "Hands Up For Detroit" (co-produced by ghettotech pioneer Disco D, who performed under the name Daisha). Successive singles, such as "Stealing Moves" and the chart-topping "Mouth to Mouth" (as Audion) were issued on Spectral Sound, Ghostly's offshoot that focuses on dancefloor music. <mask>'s first album Leave Luck to Heaven appeared in 2003 and was praised widely as a seminal fusion of pop and minimal techno. The album's single "Dog Days" became one of Spectral's best sellers and a favorite of international DJs like Richie Hawtin.<mask> followed the album with Backstroke in 2004 and has also begun working under the harder-edged Audion alias, apart from additional monikers False and Jabberjaw. In 2007, <mask> released his sophomore full-length, Asa Breed. <mask> and his band, <mask>'s Big Hands, then began a US promotional tour and a European tour as the opening act for Hot Chip. 2008 saw the re-release of Asa Breed as the Asa Breed Black Edition. This re-release added 5 new songs, including a remix of Don and Sherri from Hot Chip and the video for the song, shot in downtown New York City. In 2011, <mask> opened for Interpol, performing on their first three dates in the UK. <mask>'s fourth album, Black City, was released on August 17, 2010.It conceptualizes a futuristic metropolis that never sleeps. <mask> describes 'Black City': "Well, there's a kind of timelessness to it in the sense that I don't want things to run on a 24-hour clock. It seems like a city that's always awake, maybe always dialed in electronically, and cannot be turned off. It's this imaginary weird never-sleeping town. But yeah it's full of lust, and love, and dark shadows. Weird things around the corner…" Black City was met with near-unanimous critical praise, earning top marks from Mojo, Uncut, Q, URB, and the Village Voice, ending up on countless year-end lists, and earning Pitchfork's Best New Music nod. A worldwide tour followed.On stage, <mask> performs with a multi-pieced live band. They have supported Interpol, Hot Chip and Depeche Mode on their world tours. <mask> revived his Audion alias in 2013, celebrating the tenth anniversary of the first Audion release with a compilation, Audion X, and a series of new singles and DJ performances leading up to the release of the second Audion album, Alpha, in 2016. In early 2017 he released an entry into the well-regarded DJ-KiCKS mix series, along with his first single under his own name in five years, "Wrong With Us". The song was produced during a writing and recording session with the English duo Simian Mobile Disco, which also yielded several other songs. In June, he released "Modafinil Blues", the first single from his upcoming album, and announced tour dates, where he will be performing without a band for the first time. Influences
<mask> has listed Talking Heads, David Bowie, Adonis, Nitzer Ebb, and Roman Flügel as inspirations.When asked who he is influenced by <mask> replied, "Definitely I'm influenced by Brian Eno and a lot of his work. I've said it before but he is one that is so interesting to listen to on all formats whether it be his production with other bands, whether it's his solo work or whether it's his collaboration work with other artists. He's probably the number one." Discography

As <mask> Breed (Ghostly International)
2008 Asa Breed Black Edition (Ghostly International)
2010 Black City (Ghostly International)
2012 Beams (Ghostly International)
2018 Bunny (Ghostly International)

EPs
2003 EP1 (Spectral Sound)
2003 EP2 (Spectral Sound)
2007 Don and Sherri (Ghostly International)
2012 Headcage

Singles
2000 Irreparably Dented (Spectral Sound)
2001 Stealing Moves (Spectral Sound)
2003 Dog Days (Spectral Sound)
2004 Anger Management / Future Never Again (Spectral Sound)
2007 Deserter (Ghostly International)
2008 Free To Ask (Get Physical)
2008 Pom Pom (Ghostly International)
2013 Pale Shelter [with Tegan and Sara]
2017 Wrong With Us (DJ-KiCKS) [with Simian Mobile Disco] (!K7)
2017 Modafinil Blues (Ghostly International)
2017 Bad Ones [feat Tegan and Sara]

Compilations
2008 Beginning of the End: Spectral Sound Singles (Spectral Sound)

Mixes
2008 Body Language Vol. 7 (Get Physical)
2008 BBC Essential Mix (BBC)
2012 RA.306 (Resident Advisor)
2017 DJ-Kicks (!K7)

Tracks featured on
1999 Hands Up For Detroit (Ghostly International)
2003 Idol Tryouts: Ghostly International Vol. 1 (Ghostly International)
2003 State of the Union EP (Spectral Sound)
2005 Spectral Sound Vol. 1 (Spectral Sound)
2006 Idol Troyouts: Ghostly International Vol.

masks:
Matthew Dear
Dear
Dear
Dear
Dear
Dear
Dear
Matthew
Matthew Dear
Dear
Dear
Dear
Dear
Dear
Dear
Dear
Matthew Deara


title: Jeffrey Sprecher

texts:
<mask> (, , born February 23, 1955) is an American businessman, the founder, chairman, and CEO of Intercontinental Exchange, and chairman of the New York Stock Exchange. Early life
Sprecher was born in Madison, Wisconsin, the son of insurance broker Peter Sprecher and medical technologist Phyllis (née Willingham). His sisters are the filmmakers Karen and Jill Sprecher. He attended Madison's James Madison Memorial High School, and was initiated to the Wisconsin Alpha Chapter of Sigma Alpha Epsilon. Sprecher received a bachelor's degree in chemical engineering from the University of Wisconsin–Madison in 1978 and a Master of Business Administration from Pepperdine University in 1984. Career
Sprecher's first job was at Trane, where he met William Prentice who was developing power plants following deregulation. Prentice offered him a job at Western Power Group in 1983.The Energy Policy Act of 1992 passed and deregulation in the electric industry began. Those working in the "electric industry realized the need for real-time, continentwide transactions", made possible by "Continental Power Exchange" technologies whereby "individual businesses and consumers may one day be able to select an energy provider in the same way that individuals shop for long-distance telephone service." In 1996 he bought the Continental Power Exchange in Atlanta from MidAmerican Energy Holdings Company for $1 plus the assumption of debt, which became the foundation for Intercontinental Exchange (ICE). In the 1990s energy trading was handled manually by "Continental Power Exchange, an electronic energy trading company. By 1997 Continental Power Exchange CPEX had "a federated software structure in place, CPEX... ready to expand to more servers as growth demands. CPEX's hardware and server architecture [were] capable of supporting foreseeable changes that may be necessary when the client load arrives. Continental [intended] to stay at least one step ahead of the marketplace."Sprecher started Intercontinental Exchange (ICE) in 2000 as an online marketplace for energy trading in Atlanta. Shortly after the company approached Enron to be a client, Enron started its own competing electricity trading platform, which dominated the market. Enron's market model was to buy from every seller and sell to every buyer. Wall Street bankers, particularly Goldman Sachs and Morgan Stanley backed him and he launched ICE in 2000 (giving 80 percent control to the two banks who, in turn spread out the control among Shell, Total, and British Petroleum). When Enron's exchange collapsed in 2001 in the Enron scandal, ICE's business exploded. Since then the company has expanded including the following acquisitions:
 International Petroleum Exchange in 2001
 New York Board of Trade in 2006
 Creditex in 2008
 The Clearing Corporation in 2009
Climate Exchange in 2010
 NYSE Euronext in 2013
In November 2013, ICE announced its acquisition of Singapore Mercantile Exchange
 SuperDerivatives in 2014
 Interactive Data Corporation in 2015

Bakkt
In 2018, Intercontinental Exchange formed Bakkt, “a pioneering marketplace in digital currency futures.” In January 2021, the company announced that “Bakkt’s being absorbed into a special purpose acquisition company (SPAC) sponsored by Chicago investment fund Victory Park Capital.” Sprecher was quoted in Fortune that “the lofty costs of processing payments by credit card [are] one of the prime targets for disruption in financial services. Bakkt .. . could play a central role in wrestling down costs.”

Stock sales during COVID-19 pandemic
On March 19, 2020, the public release of federal financial-disclosure documents revealed that Sprecher and his wife, interim U.S. Senator Kelly Loeffler sold millions of dollars of stock the couple owned in companies vulnerable to the COVID-19 pandemic. The sales began the same day Loeffler and other senators received a private briefing from federal officials about the looming crisis. The documents also showed that the couple purchased stock in a company that would potentially benefit from the shelter-in-place orders that have since been implemented throughout the United States to prevent the spread of the virus. The company, Citrix, specializes in teleworking software. At least some of the stocks that Loeffler sold were owned jointly with Sprecher and would have required his knowledge and authorization to sell, documents show. On March 20, 2020, the consumer advocacy group Common Cause filed complaints against Sprecher and Loeffler with the Securities and Exchange Commission, the United States Senate Ethics Committee, and the United States Justice Department, requesting from the latter a criminal investigation of the couple for violations of the STOCK Act.On March 20, 2020, also reported by CNBC in the same article referenced above, Intercontinental Exchange said in a statement that the nearly 30 transactions involving the couple were “in compliance” with company policies. “Mr. Sprecher and Senator Loeffler have made clear that those transactions were executed by their financial advisors without Mr. Sprecher’s or Senator Loeffler’s input or direction.”

On June 16, 2020, it was reported that the Senate Ethics Committee ended its investigation into Sen. Kelly Loeffler's stock trades. The news comes three weeks after Sen. Loeffler's office said the Justice Department had also dropped its probe into her stock trades. Deborah Sue Mayer, the Ethics Committee's chief counsel and staff director, wrote in the letter that the panel examined stock transactions made by both Loeffler and her husband <mask>, chairman of the New York Stock Exchange. Personal life
Sprecher has been married to former U.S. Senator Kelly Loeffler since 2004.They reside in Tuxedo Park, Atlanta in a $10,500,000, 15,000 square foot estate named Descante, though the property was later reappraised for around $4 million, resulting in far lower property taxes. During the COVID-19 pandemic, Sprecher and his wife donated $1 million to the Phoebe Foundation's COVID-19 Relief Fund of the Phoebe Putney Health System for personal protective equipment for Phoebe care team members. References

External links

1955 births
Living people
Businesspeople from Atlanta
Businesspeople from Madison, Wisconsin
University of Wisconsin–Madison College of Engineering alumni
Pepperdine University alumni
New York Stock Exchange people
Intercontinental Exchange
20th-century American businesspeople
21st-century American businesspeople
Sigma Alpha Epsilon

masks:
Jeffrey Craig Spcher
Jeffrey Spcher