title: Terri Janke

texts:
<mask> is an Indigenous Australian lawyer of Wuthathi/Meriam heritage. She is considered a leading international authority on Indigenous cultural and intellectual property (ICIP), and is the Solicitor Director of Terri Janke and Company. Early life and education
<mask> was born in Cairns in Queensland, Australia, with Torres Strait Islander (form Mer Island and Aboriginal (Wuthathi) heritage, from Cape York Peninsula in North Queensland. She graduated from the University of New South Wales (BA LLB) in 1995. In 2019, Janke completed a PhD thesis at the Australian National University, entitled True Tracks: Indigenous Culture and Intellectual Property Principles for putting self-determination into Practice. She is also a graduate of the Australian Institute of Company Directors and LEADR Mediators. Career
Janke has worked at the National Indigenous Arts Advocacy Association, where she assisted the legal team in the leading case Milpurrurru v Indofurn.Janke has also completed work as a legal consultant with the World Intellectual Property Organisation (WIPO) on the Pacific Traditional Knowledge Action Plan. Janke is the Solicitor Director of Terri Janke and Company, her wholly Indigenous-owned legal firm founded in 2000. Terri Janke and Company specialises in Indigenous intellectual property, Indigenous cultural and intellectual property and business law, and is the largest and oldest Indigenous law firm in Australia. Janke is respected as one of Australia's leading Indigenous lawyers, and is also considered an expert and international authority on Indigenous cultural and intellectual property (ICIP). She has written the leading protocols ICIP models for various industries including film, arts, museum and archival sectors. Janke has served on the boards of many Indigenous and non-Indigenous organisations and associations, with some of her previous positions including deputy chair of the National Centre of Indigenous Excellence (Deputy Chair), Tourism Australia, National Indigenous Television (Chair) and Ngalaya Indigenous Lawyers Association (Chair), as well as at the State Library of NSW. Recognition
 Highly Commended, Law and Justice Foundation of NSW Award, 2007
Invited by the Prime Minister in April 2008 to be a delegate at the Australia 2020 Summit.NAIDOC Indigenous Person of the Year, 2011
 Australian Attorney-General's Indigenous Legal Professional of the Year, 2012
 Westpac/Australian Financial Review 100 Women of Influence 2013
 Finalist, Telstra NSW Business Women’s Awards, 2015
 Finalist, Indigenous Business, Ethnic Business Awards, 2015
 Finalist, NSW Regional Business Awards, City of Sydney, 2018
 Community Lawyer of the Year, Women Lawyers Association of NSW, 2019
 Indigenous Business Leader of the Year, MyBusiness Awards, 2019
J.G. Crawford Prize at ANU, 2020, for her PhD thesis, True Tracks: Indigenous Culture and Intellectual Property Principles for putting self-determination into Practice. Selected publications
Alongside the leading ICIP protocols and models in various sectors, Janke has many publications on the effect of the law on Indigenous peoples and culture, many of which are commissioned by both government and non-government organisations and institutions. Papers, reports and books

 <mask>, <mask>, True Tracks: Indigenous cultural and intellectual property principles for putting self-determination into practice (Thesis (PhD), 2019)
<mask>, <mask> and Maiko Sentina, ‘Indigenous Knowledge: Issues for protection and management’ (Discussion Paper, IP Australia & Department of Industry, Innovation and Science, 2018). <mask>, <mask> and Sarah Grant, First Peoples: A Roadmap for Enhancing Indigenous Engagement in Museums and Galleries (Australian Museums and Galleries Association, 2018). <mask>, <mask> and Maiko Sentina, Indigenous Joint Ventures Information Guide (Indigenous Business Australia, 6 April 2018). <mask>, <mask> and Lucinda Edwards, Indigenous cultural rights and engagement policy (National Museum of Australia, 2015).Terri Janke and Company, Law Way: Indigenous Business and the Law (2013). <mask>, <mask>, The Mabo Oration 2011: Follow the stars: Indigenous culture, knowledge and intellectual property rights (Anti-Discrimination Commission Queensland, 2011). <mask>, <mask>, Pathways & Protocols: A filmmaker’s guide to working with Indigenous people, culture and concepts (Screen Australia, 2009). <mask>, <mask>, Beyond Guarding Ground: a Vision for a National Indigenous Cultural Authority (Terri Janke and Company, 2009). <mask>, <mask>, Code of Practice for Galleries and Retailers of Indigenous Art (City of Melbourne, 2007). Terri Janke and Company, Protocols for Working with Indigenous Artists (Australia Council for the Arts, 2007). <mask>, <mask>, Minding Culture: Case Studies on Intellectual Property and Traditional Cultural Expressions (World Intellectual Property Organisation, 2003).Mellor, Doreen and <mask> <mask>, Valuing Art, Respecting Culture – Protocols for Working with the Indigenous Visual Arts and Craft Sector (National Association for the Visual Arts, 2001). <mask>, <mask> ‘Our Culture: Our Future – Report on Australian Indigenous Cultural and Intellectual Property Rights’ (Report commissioned by the Australian Institute of Aboriginal and Torres Strait Islander Studies, Michael Frankel & Company, 1998). Journal articles and chapters in books

 <mask>, <mask>, 'The Streets of My Youth' (2018), Growing Up Aboriginal In Australia
<mask>, <mask>, ‘Protecting Indigenous Cultural Expressions in Australia and New Zealand: Two Decades After the Mataatua Declaration and Our Culture, Our Future’ (2018) 114 Intellectual Property Forum 21–30. <mask>, <mask>, ‘From smokebush to spinifex: Towards recognition of Indigenous knowledge in the commercialisation of plants’ (2018) 1 International Journal of Rural Law and Policy 1-27. <mask>, <mask>, ‘Ensuring Ethical Collaborations in Indigenous Arts and Records Management’ (2017) 91(5) Australian Law Journal 375-380. <mask>, <mask>, ‘Guarding ground: A vision for a national Indigenous cultural authority’ in Robert Tonkinson (ed), The Wentworth Lectures: Honouring fifty years of Australian Indigenous Studies (Aboriginal Studies Press, 2015) 258–280. <mask>, <mask> and Sarah Holcombe, ‘Patenting the Kakadu Plum and the Marjarla Tree: Biodiscovery, intellectual Property and Indigenous Knowledge’ in Matthew Rimmer and Alison McLennan (eds), Intellectual Property and Emerging Technologies: The New Biology (Edward Elgar, 2012) 293-319.<mask>, <mask>, ‘Copyright, Connections and Culture: Is there a place in the Australian arts industry for a National Indigenous Cultural Authority?’ in Courageous Conversations (Wilin Centre for Indigenous Arts and Cultural Development, 2010) 11-16. <mask>, <mask>, ‘Looking Out for Culture: Indigenous arts and cultural expression and copyright, trademarks and designs’ (2004) 26 Ngoonjook: Journal of Australian Indigenous Issues 73. <mask>, <mask>, ‘Respecting Indigenous Cultural and Intellectual Property Rights’ (1999) 22(2) University of New South Wales Law Journal 631. References

Year of birth missing (living people)
Living people
Torres Strait Islanders
University of New South Wales alumni
Australian National University alumni
21st-century Australian lawyers
Australian women lawyers
People from Cairns
21st-century women lawyers

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title: Henri Tajfel

type: original

texts:
<mask> (born Hersz Mordche; 22 June 1919 – 3 May 1982) was a Polish social psychologist, best known for his pioneering work on the cognitive aspects of prejudice and social identity theory, as well as being one of the founders of the European Association of Experimental Social Psychology. Biography

Early life in Poland

<mask> grew up in Poland. Because of Polish numerus clausus restrictions on Jews in university education , he left Poland to study chemistry at the Sorbonne in France. At the outbreak of World War II, he volunteered to serve in the French army. A year later, he was taken prisoner-of-war by the Germans. He faced a dilemma: whether or not to admit to the Germans that he was a Polish Jew. He claimed to be a French citizen but did not deny his Jewish identity.He reasoned that if he denied being Jewish and if the Germans found out later that he was Jewish, he would certainly have been killed. In the event, Tajfel survived the war in a series of prisoner-of-war camps. On his return home he discovered that none of his immediate family, and few of his friends, had survived the Nazi Holocaust. He was to write later about the profound effect that this had on him and how it led to his later work on the psychology of prejudice and intergroup relations. After the war Tajfel worked for a series of relief organisations including the Œuvre de secours aux enfants (OSE), a Jewish humanitarian organisation. <mask>'s work with OSE involved resettling Jewish children, many of whom were orphans who had lost all their family. <mask> would often say that his work with OSE was the most important achievement in his life and he kept in touch with many of the children whose lives he helped to rebuild.He also worked for the United Nations International Refugee Organisation. Move to Britain
He was granted French citizenship in 1946. However, he was soon to meet his future wife Anna-Sophie Eber (Ann), who had been born in Germany but had moved to Britain before the Second World War. <mask> and Ann set up home in Britain where their two sons, Michael and Paul, were born. <mask> took on British citizenship (for details, see the biography in the Oxford Dictionary of National Biography). In 1951 <mask> began studying psychology at Birkbeck College, University of London. He won a competitive scholarship for mature students with an essay on the subject of prejudice.In 1954 he graduated and worked as a lecturer, first at the University of Durham and then at Oxford. In 1962 he was made a Founding Fellow of Linacre College, Oxford. In his research work at the University of Oxford, Tajfel examined several different areas of social psychology, including social judgement, nationalism, and, most importantly, the cognitive aspects of prejudice. In 1967 he was made Chair of Social Psychology at the University of Bristol. At Bristol he conducted research into intergroup relations and was active in making Bristol University a European centre for social psychology. He retired from Bristol and moved back to Oxford shortly before his death from cancer in 1982. Work in social psychology

Early research
Tajfel's early research at University of Durham and University of Oxford involved examining the processes of social judgement.He believed that the cognitive processes of categorization contributed strongly to the psychological dimensions of prejudice, which went against the prevailing views of the time. Many psychologists assumed that extreme prejudice was the result of personality factors, such as authoritarianism. According to this perspective, only those with personalities that predisposed them to prejudice were likely to become bigots. <mask> believed this was mistaken. He had seen how large numbers of Germans—not just those with particular personalities—had given their support to Nazism and had held extreme views about Jews. Nazism would not have been successful without the support of "ordinary" Germans. Tajfel sought to discover whether the roots of prejudice might be found in "ordinary" processes of thinking, rather than in "extraordinary" personality types.He conducted a series of experiments, investigating the role of categorization. One of his most notable experiments looked at the way that people judged the length of lines. He found that the imposition of a category directly affected judgements. If the lines, which were presented individually, were shown without any category label, then errors of judgement tended to be random. If the longest lines were each labelled A, and the shortest were labelled B, then the errors followed a pattern. Perceivers would tend to judge the lines of each category (whether A or B) as being more similar to each other than they were; and perceivers would judge the differences between categories as greater than they were (i.e., the differences between the longest B line and the shortest 'A' line). These findings have continued to influence subsequent work on categorization and have been replicated subsequently.<mask> viewed these investigations into social judgement as being directly related to the issue of prejudice. Imposing category distinctions on lines (A and B) was like dividing the social world into different groups of people (e.g., French, Germans, British). The results of his experiments showed how cognitively deep-seated it was for perceivers to assume that all members of a certain nationality-based category (for instance, all the French or all the British) were more similar to each other than they actually were, and to assume that the members of different categories differed more than they did (for instance, to exaggerate the differences between the French and the British). In this respect, the judging of lines was similar to making stereotyped judgements about social groups. Tajfel also argued that if the categories were of value to the perceiver, then these processes of exaggeration were likely to be enhanced. The implications of this position were profound. It meant that some of the basic psychological roots of prejudice lay not in particular personality types, but in general, "ordinary" processes of thinking, especially processes of categorising.<mask> outlined these ideas in his article, "Cognitive Aspects of Prejudice", which was first published in 1969 and has been republished subsequently. For this article, <mask> was awarded the first annual Gordon Allport Intergroup Relations Prize by the Society for the Psychological Study of Social Issues. Intergroup relations
Having moved to Bristol University, <mask> began his work on intergroup relations and conducted the renowned minimal groups experiments. In these studies, test subjects were divided arbitrarily into two groups, based on a trivial and almost completely irrelevant basis. Participants did not know other members of the group, did not even know who they were, and had no reason to expect that they would interact with them in the future. Still, members of both groups allocated resources in such a way that showed favouritism for members of their own group in a way that maximized their own group's outcomes in comparison to the alternate group, even at the expense of maximum gains for their own group. Even "on the basis of a coin toss...simple categorization into groups seems to be sufficient reason for people to dispense valued rewards in ways that favor in-group members over those who are 'different'".Social identity theory
Subsequently, <mask> and his student John Turner developed the theory of social identity. They proposed that people have an inbuilt tendency to categorize themselves into one or more "ingroups", building a part of their identity on the basis of membership of that group and enforcing boundaries with other groups. Social identity theory suggests that people identify with groups in such a way as to maximize positive distinctiveness. Groups offer both identity (they tell us who we are) and self-esteem (they make us feel good about ourselves). The theory of social identity has had a very substantial impact on many areas of social psychology, including group dynamics, intergroup relations, prejudice and stereotyping, and organizational psychology. <mask>'s influence
<mask>'s influence on social psychology, especially in Britain and Europe, continues to be significant. His influence has reached beyond his particular views on social identity and social judgement, as he had a wide vision of creating a social psychology that was genuinely social and was engaged with broader issues.Too much social psychology was, in his view, trivial and based on what he called "experiments in a vacuum". <mask> thought that social psychologists should seek to address serious social problems by examining how psychological dimensions interact with historical, ideological, and cultural factors. The influence of his general vision can be seen in the book Social Groups and Identities. This book was a posthumous tribute to Tajfel, containing chapters written by many of his former students. Some of his students went on to develop his theories of social identity and some continued his early work on social judgement. There were also chapters from former students who developed very different sorts of social psychology. However, both those who continued <mask>'s work directly and those who moved in other directions were united in paying tribute to the force of <mask>'s vision for a broad-based, politically important social psychology.Sexual harassment
In 2019, evidence emerged documenting that Tajfel displayed inappropriate conduct toward female members of his lab. Tajfel regularly directed unwanted sexual attention to female colleagues. In his own research, he was uninterested in applying social identity theory to gender. As a consequence, the prestigious Tajfel Award will be renamed by the European Society for Social Psychology. See also

References

Bibliography
<mask>, H. (1959). Quantitative judgment in social perception. British Journal of Psychology, 50, 16–29.<mask>, H. (1969). Cognitive aspects of prejudice. Journal of Social Issues, 25, 79–97. <mask>, H. (1970). Experiments in intergroup discrimination. Scientific American, 223, 96-102 (abstract). <mask>, H., Billig, M., Bundy, R. P. & Flament, C. (1971).Social categorization and intergroup behaviour. European Journal of Social Psychology, Vol. 1, Issue 2, 149-178 (abstract). <mask>, H. (1972). La catégorisation sociale. In S. Moscovici (Ed. ), Introduction à la psychologie sociale (Vol.1). Paris: Larousse. <mask>, H. (1974). Social identity and intergroup behaviour. Social Science Information, 13, 65–93. <mask>, H. (Ed.).(1978). Differentiation between social groups: Studies in the social psychology of intergroup relations. London: Academic Press. <mask>, H. & Turner, J. C. (1979). An Integrative Theory of Intergroup Conflict. In W. G. Austin & S. Worchel (Eds. ), The Social Psychology of Intergroup Relations.Monterey, CA: Brooks-Cole . <mask>, H. (1981). Human Groups and Social Categories. Cambridge University Press, Cambridge. <mask>, H. (1982). Social psychology of intergroup relations. Annual Review of Psychology, 33, 1-39.Tajfel, H. & Turner, J. C. (1986). The social identity theory of inter-group behavior. In S. Worchel & W. G. Austin (Eds. ), Psychology of Intergroup Relations. Chicago: Nelson-Hall

External links
Biography from the European Association of Social Psychology (EASP)
Commentary from Investigating Psychology, Open University

1919 births
1982 deaths
Social psychologists
British psychologists
Group processes
Polish emigrants to the United Kingdom
Academics of Durham University
Academics of the University of Bristol
British people of Polish-Jewish descent
People from Włocławek
20th-century psychologists

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title: Albrecht Dürer

texts:
<mask> (; ; ; 21 May 1471 – 6 April 1528), sometimes spelled in English as Durer (without an umlaut) or Duerer, was a German painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe in his twenties due to his high-quality woodcut prints. He was in contact with the major Italian artists of his time, including Raphael, Giovanni Bellini, and Leonardo da Vinci, and from 1512 was patronized by Emperor Maximilian I.

Dürer's vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts series are more Gothic than the rest of his work. His well-known engravings include the three Meisterstiche (master prints) Knight, Death and the Devil (1513), Saint Jerome in his Study (1514), and Melencolia I (1514). His watercolours mark him as one of the first European landscape artists, while his woodcuts revolutionised the potential of that medium. Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance.This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective, and ideal proportions. Biography

Early life (1471–1490)

Dürer was born on 21 May 1471, the third child and second son of <mask> <mask> the Elder and Barbara Holper, who married in 1467 and had eighteen children together. <mask> <mask> the Elder (originally <mask> Ajtósi), was a successful goldsmith who by 1455 had moved to Nuremberg from Ajtós, near Gyula in Hungary. He married Holper, his master's daughter, when he himself qualified as a master. One of <mask>'s brothers, <mask>, was also a painter and trained under him. Another of <mask>'s brothers, Endres <mask>, took over their father's business and was a master goldsmith. The German name "Dürer" is a translation from the Hungarian, "Ajtósi".Initially, it was "Türer", meaning doormaker, which is "ajtós" in Hungarian (from "ajtó", meaning door). A door is featured in the coat-of-arms the family acquired. <mask> <mask> the Younger later changed "Türer", his father's diction of the family's surname, to "Dürer", to adapt to the local Nuremberg dialect. Dürer's godfather Anton Koberger left goldsmithing to become a printer and publisher in the year of Dürer's birth. He became the most successful publisher in Germany, eventually owning twenty-four printing-presses and a number of offices in Germany and abroad. Koberger's most famous publication was the Nuremberg Chronicle, published in 1493 in German and Latin editions. It contained an unprecedented 1,809 woodcut illustrations (albeit with many repeated uses of the same block) by the Wolgemut workshop.Dürer may have worked on some of these, as the work on the project began while he was with Wolgemut. Because Dürer left autobiographical writings and was widely known by his mid-twenties, his life is well documented in several sources. After a few years of school, Dürer learned the basics of goldsmithing and drawing from his father. Though his father wanted him to continue his training as a goldsmith, he showed such a precocious talent in drawing that he started as an apprentice to Michael Wolgemut at the age of fifteen in 1486. A self-portrait, a drawing in silverpoint, is dated 1484 (Albertina, Vienna) "when I was a child", as his later inscription says. The drawing is one of the earliest surviving children's drawings of any kind, and, as Dürer's Opus One, has helped define his oeuvre as deriving from, and always linked to, himself. Wolgemut was the leading artist in Nuremberg at the time, with a large workshop producing a variety of works of art, in particular woodcuts for books.Nuremberg was then an important and prosperous city, a centre for publishing and many luxury trades. It had strong links with Italy, especially Venice, a relatively short distance across the Alps. Wanderjahre and marriage (1490–1494)

After completing his apprenticeship, Dürer followed the common German custom of taking Wanderjahre—in effect gap years—in which the apprentice learned skills from artists in other areas; Dürer was to spend about four years away. He left in 1490, possibly to work under Martin Schongauer, the leading engraver of Northern Europe, but who died shortly before Dürer's arrival at Colmar in 1492. It is unclear where Dürer travelled in the intervening period, though it is likely that he went to Frankfurt and the Netherlands. In Colmar, Dürer was welcomed by Schongauer's brothers, the goldsmiths Caspar and Paul and the painter Ludwig. In 1493 Dürer went to Strasbourg, where he would have experienced the sculpture of Nikolaus Gerhaert.<mask>'s first painted self-portrait (now in the Louvre) was painted at this time, probably to be sent back to his fiancée in Nuremberg. In early 1492 Dürer travelled to Basel to stay with another brother of Martin Schongauer, the goldsmith Georg. Very soon after his return to Nuremberg, on 7 July 1494, at the age of 23, <mask> was married to Agnes Frey following an arrangement made during his absence. Agnes was the daughter of a prominent brass worker (and amateur harpist) in the city. However, no children resulted from the marriage, and with <mask> the Dürer name died out. The marriage between Agnes and <mask> was not a generally happy one, as indicated by the letters of Dürer in which he quipped to Willibald Pirckheimer in an extremely rough tone about his wife. He called her an "old crow" and made other vulgar remarks.Pirckheimer also made no secret of his antipathy towards Agnes, describing her as a miserly shrew with a bitter tongue, who helped cause Dürer's death at a young age. One author speculates that <mask> was bisexual, if not homosexual, due to several of his works containing themes of homosexual desire, as well as the intimate nature of his correspondence with certain very close male friends. First journey to Italy (1494–1495)

Within three months of his marriage, <mask> left for Italy, alone, perhaps stimulated by an outbreak of plague in Nuremberg. He made watercolour sketches as he traveled over the Alps. Some have survived and others may be deduced from accurate landscapes of real places in his later work, for example his engraving Nemesis. In Italy, he went to Venice to study its more advanced artistic world. Through Wolgemut's tutelage, Dürer had learned how to make prints in drypoint and design woodcuts in the German style, based on the works of Schongauer and the Housebook Master.He also would have had access to some Italian works in Germany, but the two visits he made to Italy had an enormous influence on him. He wrote that Giovanni Bellini was the oldest and still the best of the artists in Venice. His drawings and engravings show the influence of others, notably Antonio Pollaiuolo, with his interest in the proportions of the body; Lorenzo di Credi; and Andrea Mantegna, whose work he produced copies of while training. <mask> probably also visited Padua and Mantua on this trip. Return to Nuremberg (1495–1505)

On his return to Nuremberg in 1495, <mask> opened his own workshop (being married was a requirement for this). Over the next five years, his style increasingly integrated Italian influences into underlying Northern forms. Arguably his best works in the first years of the workshop were his woodcut prints, mostly religious, but including secular scenes such as The Men's Bath House (ca.1496). These were larger and more finely cut than the great majority of German woodcuts hitherto, and far more complex and balanced in composition. It is now thought unlikely that <mask> cut any of the woodblocks himself; this task would have been performed by a specialist craftsman. However, his training in Wolgemut's studio, which made many carved and painted altarpieces and both designed and cut woodblocks for woodcut, evidently gave him great understanding of what the technique could be made to produce, and how to work with block cutters. Dürer either drew his design directly onto the woodblock itself, or glued a paper drawing to the block. Either way, his drawings were destroyed during the cutting of the block. His series of sixteen designs for the Apocalypse is dated 1498, as is his engraving of St. Michael Fighting the Dragon.He made the first seven scenes of the Great Passion in the same year, and a little later, a series of eleven on the Holy Family and saints. The Seven Sorrows Polyptych, commissioned by Frederick III of Saxony in 1496, was executed by Dürer and his assistants c. 1500. In 1502, Dürer's father died. Around 1503–1505 Dürer produced the first 17 of a set illustrating the Life of the Virgin, which he did not finish for some years. Neither these nor the Great Passion were published as sets until several years later, but prints were sold individually in considerable numbers. During the same period Dürer trained himself in the difficult art of using the burin to make engravings. It is possible he had begun learning this skill during his early training with his father, as it was also an essential skill of the goldsmith.In 1496 he executed the Prodigal Son, which the Italian Renaissance art historian Giorgio Vasari singled out for praise some decades later, noting its Germanic quality. He was soon producing some spectacular and original images, notably Nemesis (1502), The Sea Monster (1498), and Saint Eustace (c. 1501), with a highly detailed landscape background and animals. His landscapes of this period, such as Pond in the Woods and Willow Mill, are quite different from his earlier watercolours. There is a much greater emphasis on capturing atmosphere, rather than depicting topography. He made a number of Madonnas, single religious figures, and small scenes with comic peasant figures. Prints are highly portable and these works made Dürer famous throughout the main artistic centres of Europe within a very few years. The Venetian artist Jacopo de' Barbari, whom Dürer had met in Venice, visited Nuremberg in 1500, and Dürer said that he learned much about the new developments in perspective, anatomy, and proportion from him.De' Barbari was unwilling to explain everything he knew, so <mask> began his own studies, which would become a lifelong preoccupation. A series of extant drawings show Dürer's experiments in human proportion, leading to the famous engraving of Adam and Eve (1504), which shows his subtlety while using the burin in the texturing of flesh surfaces. This is the only existing engraving signed with his full name. Dürer created large numbers of preparatory drawings, especially for his paintings and engravings, and many survive, most famously the Betende Hände (Praying Hands) from circa 1508, a study for an apostle in the Heller altarpiece. He continued to make images in watercolour and bodycolour (usually combined), including a number of still lifes of meadow sections or animals, including his Young Hare (1502) and the Great Piece of Turf (1503). Second journey to Italy (1505–1507)
In Italy, he returned to painting, at first producing a series of works executed in tempera on linen. These include portraits and altarpieces, notably, the Paumgartner altarpiece and the Adoration of the Magi.In early 1506, he returned to Venice and stayed there until the spring of 1507. By this time <mask>'s engravings had attained great popularity and were being copied. In Venice he was given a valuable commission from the emigrant German community for the church of San Bartolomeo. This was the altar-piece known as the Adoration of the Virgin or the Feast of Rose Garlands. It includes portraits of members of Venice's German community, but shows a strong Italian influence. It was later acquired by the Emperor Rudolf II and taken to Prague. Nuremberg and the masterworks (1507–1520)

Despite the regard in which he was held by the Venetians, <mask> returned to Nuremberg by mid-1507, remaining in Germany until 1520.His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists including Raphael. Between 1507 and 1511 Dürer worked on some of his most celebrated paintings: Adam and Eve (1507), Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris

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title: Albrecht Dürer

texts:
 (1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), and Adoration of the Trinity (1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series. The post-Venetian woodcuts show Dürer's development of chiaroscuro modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted. Other works from this period include the thirty-seven Little Passion woodcuts, first published in 1511, and a set of fifteen small engravings on the same theme in 1512. Complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. In 1513 and 1514 Dürer created his three most famous engravings: Knight, Death and the Devil (1513, probably based on Erasmus's Handbook of a Christian Knight), St. Jerome in His Study, and the much-debated Melencolia I (both 1514, the year Dürer's mother died).Further outstanding pen and ink drawings of <mask>'s period of art work of 1513 were drafts for his friend Pirckheimer. These drafts were later used to design Lusterweibchen chandeliers, combining an antler with a wooden sculpture. In 1515, he created his woodcut of a Rhinoceros which had arrived in Lisbon from a written description and sketch by another artist, without ever seeing the animal himself. An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century. In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515 and portraits in tempera on linen in 1516. His only experiments with etching came in this period, producing five between 1515–1516 and a sixth in 1518; a technique he may have abandoned as unsuited to his aesthetic of methodical, classical form. Patronage of Maximilian I

From 1512, Maximilian I became <mask>'s major patron.He commissioned The Triumphal Arch, a vast work printed from 192 separate blocks, the symbolism of which is partly informed by Pirckheimer's translation of Horapollo's Hieroglyphica. The design program and explanations were devised by Johannes Stabius, the architectural design by the master builder and court-painter Jörg Kölderer and the woodcutting itself by Hieronymous Andreae, with <mask> as designer-in-chief. The Arch was followed by The Triumphal Procession, the program of which was worked out in 1512 by Marx Treitz-Saurwein and includes woodcuts by <mask> Altdorfer and Hans Springinklee, as well as Dürer. Dürer worked with pen on the marginal images for an edition of the Emperor's printed Prayer-Book; these were quite unknown until facsimiles were published in 1808 as part of the first book published in lithography. Dürer's work on the book was halted for an unknown reason, and the decoration was continued by artists including Lucas Cranach the Elder and Hans Baldung. Dürer also made several portraits of the Emperor, including one shortly before Maximilian's death in 1519. Maximilian was a very cash-strapped prince who sometimes failed to pay, yet turned out to be Dürer's most important patron.In his court, artists and learned men were respected, which was not common at that time (later, Dürer commented that in Germany, as a non-noble, he was treated a parasite). Pirckheimer (who he met in 1495, before entering the service of Maximilian) was also an important personage in the court and great cultural patron, who had a strong influence on Dürer as his tutor in classical knowledge and humanistic critical methodology, as well as collaborator. In Maximilian's court, Dürer also collaborated with a great number of other brilliant artists and scholars of the time who became his friends, like Johannes Stabius, Konrad Peutinger, Conrad Celtes, and Hans Tscherte (an imperial architect). Dürer manifested a strong pride in his ability, as a prince of his profession. One day, the emperor, trying to show Dürer an idea, tried to sketch with the charcoal himself, but always broke it. Dürer took the charcoal from Maximilian's hand, finished the drawing and told him: "This is my scepter." In another occasion, Maximilian noticed that the ladder Dürer used was too short and unstable, thus told a noble to hold it for him.The noble refused, saying that it was beneath him to serve a non-noble. Maximilian then came to hold the ladder himself, and told the noble that he could make a noble out of a peasant any day, but he could not make an artist like Dürer out of a noble. Cartographic and astronomical works

Dürer's exploration of space led to a relationship and cooperation with the court astronomer Johannes Stabius. Stabius also often acted as Dürer's and Maximilian's go-between for their financial problems. In 1515 Dürer and Stabius created the first world map projected on a solid geometric sphere. Also in 1515, Stabius, Dürer and the astronomer Konrad Heinfogel produced the first planispheres of both southern and northerns hemispheres, as well as the first printed celestial maps, which prompted the revival of interest in the field of uranometry throughout Europe. Journey to the Netherlands (1520–1521)
Maximilian's death came at a time when Dürer was concerned he was losing "my sight and freedom of hand" (perhaps caused by arthritis) and increasingly affected by the writings of Martin Luther.In July 1520 <mask> made his fourth and last major journey, to renew the Imperial pension Maximilian had given him and to secure the patronage of the new emperor, Charles V, who was to be crowned at Aachen. Dürer journeyed with his wife and her maid via the Rhine to Cologne and then to Antwerp, where he was well received and produced numerous drawings in silverpoint, chalk and charcoal. In addition to attending the coronation, he visited Cologne (where he admired the painting of Stefan Lochner), Nijmegen, 's-Hertogenbosch, Bruges (where he saw Michelangelo's Madonna of Bruges), Ghent (where he admired van Eyck's Ghent altarpiece), and Zeeland. Dürer took a large stock of prints with him and wrote in his diary to whom he gave, exchanged or sold them, and for how much. This provides rare information of the monetary value placed on prints at this time. Unlike paintings, their sale was very rarely documented. While providing valuable documentary evidence, Dürer's Netherlandish diary also reveals that the trip was not a profitable one.For example, <mask> offered his last portrait of Maximilian to his daughter, Margaret of Austria, but eventually traded the picture for some white cloth after Margaret disliked the portrait and declined to accept it. During this trip he also met Bernard van Orley, Jan Provoost, Gerard Horenbout, Jean Mone, Joachim Patinir and Tommaso Vincidor, though he did not, it seems, meet Quentin Matsys. Having secured his pension, Dürer returned home in July 1521, having caught an undetermined illness, which afflicted him for the rest of his life, and greatly reduced his rate of work. Final years, Nuremberg (1521–1528)

On his return to Nuremberg, Dürer worked on a number of grand projects with religious themes, including a crucifixion scene and a Sacra conversazione, though neither was completed. This may have been due in part to his declining health, but perhaps also because of the time he gave to the preparation of his theoretical works on geometry and perspective, the proportions of men and horses, and fortification. However, one consequence of this shift in emphasis was that during the last years of his life, Dürer produced comparatively little as an artist. In painting, there was only a portrait of Hieronymus Holtzschuher, a Madonna and Child (1526), Salvator Mundi  (1526), and two panels showing St. John with St. Peter in background and St. Paul with St. Mark in the background.This last great work, the Four Apostles, was given by Dürer to the City of Nuremberg—although he was given 100 guilders in return. As for engravings, Dürer's work was restricted to portraits and illustrations for his treatise. The portraits include Cardinal-Elector Albert of Mainz; Frederick the Wise, elector of Saxony; the humanist scholar Willibald Pirckheimer; Philipp Melanchthon, and Erasmus of Rotterdam. For those of the Cardinal, Melanchthon, and Dürer's final major work, a drawn portrait of the Nuremberg patrician Ulrich Starck, Dürer depicted the sitters in profile. Despite complaining of his lack of a formal classical education, Dürer was greatly interested in intellectual matters and learned much from his boyhood friend Willibald Pirckheimer, whom he no doubt consulted on the content of many of his images. He also derived great satisfaction from his friendships and correspondence with Erasmus and other scholars. Dürer succeeded in producing two books during his lifetime."The Four Books on Measurement" were published at Nuremberg in 1525 and was the first book for adults on mathematics in German, as well as being cited later by Galileo and Kepler. The other, a work on city fortifications, was published in 1527. "The Four Books on Human Proportion" were published posthumously, shortly after his death in 1528. <mask> died in Nuremberg at the age of 56, leaving an estate valued at 6,874 florins – a considerable sum. He is buried in the Johannisfriedhof cemetery. His large house (purchased in 1509 from the heirs of the astronomer Bernhard Walther), where his workshop was located and where his widow lived until her death in 1539, remains a prominent Nuremberg landmark. <mask> and the Reformation

Dürer's writings suggest that he may have been sympathetic to Luther's ideas, though it is unclear if he ever left the Catholic Church.Dürer wrote of his desire to draw Luther in his diary in 1520: "And God help me that I may go to Dr. Martin Luther; thus I intend to make a portrait of him with great care and engrave him on a copper plate to create a lasting memorial of the Christian man who helped me overcome so many difficulties." In a letter to Nicholas Kratzer in 1524, Dürer wrote, "because of our Christian faith we have to stand in scorn and danger, for we are reviled and called heretics". Most tellingly, Pirckheimer wrote in a letter to Johann Tscherte in 1530: "I confess that in the beginning I believed in Luther, like our Albert of blessed memory ... but as anyone can see, the situation has become worse." Dürer may even have contributed to the Nuremberg City Council's mandating Lutheran sermons and services in March 1525. Notably, Dürer had contacts with various reformers, such as Zwingli, Andreas Karlstadt, Melanchthon, Erasmus and Cornelius Grapheus from whom Dürer received Luther's Babylonian Captivity in 1520. Yet Erasmus and C. Grapheus are better said to be Catholic change agents. Also, from 1525, "the year that saw the peak and collapse of the Peasants' War, the artist can be seen to distance himself somewhat from the [Lutheran] movement..."

<mask>'s later works have also been claimed to show Protestant sympathies.His 1523 The Last Supper woodcut has often been understood to have an evangelical theme, focusing as it does on Christ espousing the Gospel, as well as the inclusion of the Eucharistic cup, an expression of Protestant utraquism, although this interpretation has been questioned. The delaying of the engraving of St Philip, completed in 1523 but not distributed until 1526, may have been due to Dürer's uneasiness with images of saints; even if Dürer was not an iconoclast, in his last years he evaluated and questioned the role of art in religion. Legacy and influence

Dürer exerted a huge influence on the artists of succeeding generations, especially in printmaking, the medium through which his contemporaries mostly experienced his art, as his paintings were predominantly in private collections located in only a few cities. His success in spreading his reputation across Europe through prints was undoubtedly an inspiration for major artists such as Raphael, Titian, and Parmigianino, all of whom collaborated with printmakers to promote and distribute their work. His engravings seem to have had an intimidating effect upon his German successors; the "Little Masters" who attempted few large engravings but

masks: Dürer Dürer Dürer Albrecht Dürer Dürer Dürer Dürer Dürer


title: Albrecht Dürer

texts:
 continued Dürer's themes in small, rather cramped compositions. Lucas van Leyden was the only Northern European engraver to successfully continue to produce large engravings in the first third of the 16th century. The generation of Italian engravers who trained in the shadow of Dürer all either directly copied parts of his landscape backgrounds (Giulio Campagnola, Giovanni Battista Palumba, Benedetto Montagna and Cristofano Robetta), or whole prints (Marcantonio Raimondi and Agostino Veneziano).However, <mask>'s influence became less dominant after 1515, when Marcantonio perfected his new engraving style, which in turn travelled over the Alps to also dominate Northern engraving. In painting, Dürer had relatively little influence in Italy, where probably only his altarpiece in Venice was seen, and his German successors were less effective in blending German and Italian styles. His intense and self-dramatizing self-portraits have continued to have a strong influence up to the present, especially on painters in the 19th and 20th century who desired a more dramatic portrait style. <mask> has never fallen from critical favour, and there have been significant revivals of interest in his works in Germany in the Dürer Renaissance of about 1570 to 1630, in the early nineteenth century, and in German nationalism from 1870 to 1945. The Lutheran Church commemorates <mask> annually on 6 April, along with Michelangelo, Lucas Cranach the Elder and Hans Burgkmair. The liturgical calendar of the Episcopal Church (United States) remembers him, Cranach and Matthias Grünewald on 5 August. Theoretical works
In all his theoretical works, in order to communicate his theories in the German language rather than in Latin, Dürer used graphic expressions based on a vernacular, craftsmen's language.For example, "Schneckenlinie" ("snail-line") was his term for a spiral form. Thus, Dürer contributed to the expansion in German prose which Luther had begun with his translation of the Bible. Four Books on Measurement

Dürer's work on geometry is called the Four Books on Measurement (Underweysung der Messung mit dem Zirckel und Richtscheyt or Instructions for Measuring with Compass and Ruler). The first book focuses on linear geometry. Dürer's geometric constructions include helices, conchoids and epicycloids. He also draws on Apollonius, and Johannes Werner's 'Libellus super viginti duobus elementis conicis' of 1522. The second book moves onto two-dimensional geometry, i.e.the construction of regular polygons. Here <mask> favours the methods of Ptolemy over Euclid. The third book applies these principles of geometry to architecture, engineering and typography. In architecture Dürer cites Vitruvius but elaborates his own classical designs and columns. In typography, Dürer depicts the geometric construction of the Latin alphabet, relying on Italian precedent. However, his
construction of the Gothic alphabet is based upon an entirely different modular system. The fourth book completes the progression of the first and second by moving to three-dimensional forms and the construction of polyhedra.Here Dürer discusses the five Platonic solids, as well as seven Archimedean semi-regular solids, as well as several of his own invention. In all these, Dürer shows the objects as nets. Finally, Dürer discusses the Delian Problem and moves on to the 'construzione legittima', a method of depicting a cube in two dimensions through linear perspective. He is thought to be the first to describe a visualization technique used in modern computers, ray tracing. It was in Bologna that Dürer was taught (possibly by Luca Pacioli or Bramante) the principles of linear perspective, and evidently became familiar with the 'costruzione legittima' in a written description of these principles found only, at this time, in the unpublished treatise of Piero della Francesca. He was also familiar with the 'abbreviated construction' as described by Alberti and the geometrical construction of shadows, a technique of Leonardo da Vinci. Although Dürer made no innovations in these areas, he is notable as the first Northern European to treat matters of visual representation in a scientific way, and with understanding of Euclidean principles.In addition to these geometrical constructions, Dürer discusses in this last book of Underweysung der Messung an assortment of mechanisms for drawing in perspective from models and provides woodcut illustrations of these methods that are often reproduced in discussions of perspective. Four Books on Human Proportion

Dürer's work on human proportions is called the Four Books on Human Proportion (Vier Bücher von Menschlicher Proportion) of 1528. The first book was mainly composed by 1512/13 and completed by 1523, showing five differently constructed types of both male and female figures, all parts of the body expressed in fractions of the total height. Dürer based these constructions on both Vitruvius and empirical observations of "two to three hundred living persons", in his own words. The second book includes eight further types, broken down not into fractions but an Albertian system, which Dürer probably learned from Francesco di Giorgio's 'De harmonica mundi totius' of 1525. In the third book, Dürer gives principles by which the proportions of the figures can be modified, including the mathematical simulation of convex and concave mirrors; here Dürer also deals with human physiognomy. The fourth book is devoted to the theory of movement.Appended to the last book, however, is a self-contained essay on aesthetics, which Dürer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Dürer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on variety. Nonetheless, Dürer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code. In 1512/13 his three criteria were function ('Nutz'), naïve approval ('Wohlgefallen') and the happy medium ('Mittelmass'). However, unlike Alberti and Leonardo, Dürer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images. Between 1512 and the final draft in 1528, Dürer's belief developed from an understanding of human creativity as spontaneous or inspired to a concept of 'selective inward synthesis'. In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things.Dürer's belief in the abilities of a single artist over inspiration prompted him to assert that "one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year". Book on Fortification
In 1527, Dürer also published Various Lessons on the Fortification of Cities, Castles, and Localities (Etliche Underricht zu Befestigung der Stett, Schloss und Flecken). It was printed in Nuremberg, probably by Hieronymus Andreae and reprinted in 1603 by Johan Janssenn in Arnhem. In 1535 it was also translated into Latin as On Cities, Forts, and Castles, Designed and Strengthened by Several Manners: Presented for the Most Necessary Accommodation of War (De vrbibus, arcibus, castellisque condendis, ac muniendis rationes aliquot : praesenti bellorum necessitati accommodatissimae), published by Christian Wechel (Wecheli/Wechelus) in Paris. The work is less proscriptively theoretical than his other works, and was soon overshadowed by the Italian theory of polygonal fortification (the trace italienne – see Bastion fort), though his designs seem to have had some influence in the eastern German lands and up into the Baltic States. Fencing
Dürer created many sketches and woodcuts of soldiers and knights over the course of his life. His most significant martial works, however, were made in 1512 as part of his efforts to secure the patronage of Maximilian I.Using existing manuscripts from the Nuremberg Group as his reference, his workshop produced the extensive Οπλοδιδασκαλια sive Armorvm Tractandorvm Meditatio Alberti Dvreri ("Weapon Training, or <mask> <mask>'s Meditation on the Handling of Weapons", MS 26-232). Another manuscript based on the Nuremberg texts as well as one of Hans Talhoffer's works, the untitled Berlin Picture Book (Libr.Pict.A.83), is also thought to have originated in his workshop around this time. These sketches and watercolors show the same careful attention to detail and human proportion as <mask>'s other work, and his illustrations of grappling, long sword, dagger, and messer are among the highest-quality in any fencing manual. Gallery

List of works
 List of paintings by <mask> <mask>
 List of engravings by <mask> <mask>
 List of woodcuts by <mask> <mask>

References

Notes

Citations

Sources
Bartrum, Giulia. <mask> <mask> and his Legacy. London: British Museum Press, 2002. Brand Philip, Lotte; Anzelewsky, Fedja."The Portrait Diptych of <mask>'s parents". Simiolus: Netherlands Quarterly for the History of Art, Volume 10, No. 1, 1978–79. 5–18
Brion, Marcel. Dürer. London: Thames and Hudson, 1960
Harbison, Craig. "Dürer and the Reformation: The Problem of the Re-dating of the St. Philip Engraving".The Art Bulletin, Vol. 58, No. 3, 368–373. September 1976
Koerner, Joseph Leo. The Moment of Self-Portraiture in German Renaissance Art. Chicago/London: University of Chicago Press, 1993. Landau David; Parshall, Peter.The Renaissance Print. Yale, 1996. Panofsky, Erwin. The Life and Art of <mask> Dürer. NJ: Princeton, 1945. Price, David Hotchkiss. <mask> <mask>'s Renaissance: Humanism, Reformation and the Art of Faith.Michigan, 2003. .
Strauss, Walter L. (ed.). The Complete Engravings, Etchings and Drypoints of <mask> Durer. Mineola NY: Dover Publications, 1973. Borchert, Till-Holger. Van Eyck to Dürer: The Influence of Early Netherlandish painting on European Art, 1430–1530. London: Thames & Hudson, 2011.Wolf, Norbert. <mask> <mask>. Taschen, 2010. Hoffmann, Rainer. Im Paradies - Adam und Eva und der Sündenfall - <mask> Dürers Darstellungen, Böhlau-Verlag, 2021, ISBN 9783412523852

Further reading
Campbell Hutchison, Jane. <mask> Dürer: A Biography. Princeton University Press, 1990.Demele, Christine. Dürers Nacktheit – Das Weimarer Selbstbildnis. Rhema Verlag, Münster 2012,
<mask>, <mask> (translated by R.T. Nichol from the Latin text), Of the Just Shaping of Letters, Dover Publications. Hart, Vaughan. 'Navel Gazing. On <mask> <mask>'s Adam and Eve (1504)', The International Journal of Arts Theory and History, 2016, vol.12.1 pp. 1–10  https://doi.org/10.18848/2326-9960/CGP/v12i01/1-10
Korolija Fontana-Giusti, Gordana."The Unconscious and Space: Venice and the work of <mask> <mask>", in Architecture and the Unconscious, eds. J. Hendrix and L.Holm, Farnham Surrey: Ashgate, 2016. pp. 27–44,  . Wilhelm, Kurth (ed.). The Complete Woodcuts of <mask> Durer, Dover Publications, 2000. External links

The Strange World of <mask> <mask>  at the Sterling and Francine Clark Art Institute. 14 November 2010 – 13 March 2011
Dürer Prints Close-up.Made to accompany The Strange World of <mask> <mask> at the Sterling and Francine Clark Art Institute. 14 November 2010 – 13 March 2011
<mask> Dürer: Vier Bücher von menschlicher Proportion (Nuremberg, 1528). Selected pages scanned from the original work. Historical Anatomies on the Web. US National Library of Medicine. "<mask> Dürer (1471–1528)". In Heilbrunn Timeline of Art History.New York: The Metropolitan Museum of Art

 <mask> Durer, Exhibition, Albertina, Vienna. 20 September 2019 – 6 January 2020

1471 births
1528 deaths
15th-century engravers
15th-century German painters
16th-century engravers
16th-century German painters
Animal artists
Artist authors
Artists from Nuremberg
Catholic decorative artists
Catholic draughtsmen
Catholic engravers
Catholic painters
German draughtsmen
German engravers
German Lutherans
German male painters
German people of Hungarian descent
German printmakers
German Renaissance painters
German Roman Catholics
Heraldic artists
Manuscript illuminators
Mathematical artists
People celebrated in the Lutheran liturgical calendar
Renaissance engravers
Woodcut

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title: Jack Gelber

texts:
<mask> (April 12, 1932 – May 9, 2003) was an American playwright best known for his 1959 drama The Connection, depicting the life of drug-addicted jazz musicians. The first great success of the Living Theatre, the play was translated into five languages and produced in ten nations. Gelber continued to work and write in New York, where he also taught writing, directing and drama as a professor, chiefly at Brooklyn College, City University of New York, where he created the MFA program in playwriting. In 1999 he received the Edward Albee Last Frontier Playwright Award in recognition of his lifetime of achievements in theatre. Early life and education
<mask> was born April 12, 1932 in Chicago, the first of three sons of Molly (Singer) and <mask>, a Jewish American couple of Russian and Romanian descent. Harold was a sheet metal worker, a trade the younger Gelber would briefly adopt to finance his education at the University of Illinois. While at the university, he developed an interest in fiction and began to write short stories.After graduating with a B.S. in Journalism in 1953, <mask> traveled to San Francisco, where he found work as a shipfitter's helper. Career
In New York, <mask> first worked as a mimeograph operator at the United Nations headquarters. He began writing his first play, The Connection, in late 1957. Two years later, he offered the script to Judith Malina and Julian Beck of the Living Theatre. Malina directed the production, Beck designed it, while Gelber was part of casting, directing rehearsals, and selling tickets. Opening in July 1959, the play was then controversial.Several theatre critics, particularly those writing for the daily newspapers, objected to the play's graphic depiction of heroin addiction and its performance style. The play also attracted prominent supporters, such as the drama critics Kenneth Tynan and Henry Hewes, the poet Allen Ginsberg, the writer Norman Mailer, director Harold Clurman, and Jerry Tallmer, who lauded what they perceived as its innovative style, authentic language, and realism. The Connection became the Living Theatre's first great success. It brought publicity to both Gelber and the Living Theatre as significant in American theatre. It won the Obie Awards of the Village Voice for Best New Play, Best Production, and Best Actor (Warren Finnerty in the role of Leach) of the 1959-1960 season. Gelber also received the Vernon Rice Award (now known as the Drama Desk Award). In 1961 the Living Theatre took its production to Europe, where it earned the Grand Prix at the Théâtre des Nations Festival in Paris.Ultimately the Living Theatre performed The Connection a total of 722 times in the first years of the 1960s. The Connection has since been translated into five languages and performed in ten countries, as well as throughout the United States. The film version of the play, produced by Lewis Allen and directed by Shirley Clarke in 1961, was also controversial at the time. <mask> never achieved the same success with his later plays, but he enjoyed a long and active career writing, directing, and teaching drama. His second play, The Apple, opened at the Living Theatre in 1961, but it was the last of <mask>'s works produced by the company. Not long after that production, the company moved overseas. In 1963 the Guggenheim Foundation awarded <mask> a fellowship (which it renewed three years later) to support his writing, and in 1964 he published his novel On Ice.In 1965 he became writer-in-residence at the City College of New York. His third play, Square in the Eye (1965) (also known as Let's Face It) was produced by the Establishment Theatre Company at the Theatre De Lys soon eafter. <mask> earned his first directing credit in the 1966 production of Arnold Wesker's The Kitchen. In 1967 Columbia University appointed <mask> as a part-time adjunct professor of drama. In 1968 he completed the script for, and directed a production of, his fourth play The Cuban Thing. This work drew upon his travels as a journalist in Cuba  during the 1950s, along with more recent visits in 1964 and 1967. He portrayed a middle-class family's experience of the 1959 revolution.Produced at Henry Miller's Theatre, the play was controversial for what some believed was a favorable portrayal of the communist leader Fidel Castro, when the Cold War was going strong. This interpretation sparked large and sometimes violent protests by Cuban exiles and others against the production, and the play ended its run after only one night. He appears as himself in the 1968 Cuban film Memories of Underdevelopment. In 1968, <mask> signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War. In 1972 the Rockefeller Foundation awarded <mask> a fellowship for a residency at the American Place Theatre, where his next play, Sleep, was performed. That same year <mask> become a full-time Professor of English at Brooklyn College of the City University of New York. He created the College's MFA program in playwriting, which he would run until his retirement from CUNY in the late 1990s.In the roughly thirty years he spent at Brooklyn College, he balanced his teaching career with directing professional and student productions and teaching theatre workshops. He received the Obie Award for Distinguished Direction in 1973 when he oversaw the American Place Theatre's production of The Kid by Robert Coover. <mask>'s writing was also supported by a grant from the National Endowment for the Arts and a CBS Fellowship from Yale University. In 1973 the New York Shakespeare Festival produced Barbary Shore, <mask>'s adaptation of a 1951 novel written by Norman Mailer. His next production, entitled Farmyard and staged by the Yale Repertory Theatre in 1975, was an adaptation of Franz Xaver Kroetz' 1971 play Stallerhof. <mask> returned to creating original plays, directing a 1976 production of his drama <mask>'s New Play: Rehearsal at the American Place Theatre, and Starters at the Eugene O'Neill Theatre Center in 1980. It was eight years before he had his tenth play, Big Shot, produced at Wildcliff Theatre by the East Coast Arts company.In the 1990s, three more of <mask>'s plays were produced: Magic Valley (1990), and Rio Preserved and Chambers (1998). In the mid-part of the decade, he became an adjunct professor at the Actors Studio Drama School at the New School University, a position he would hold until his death. <mask>'s last play to be produced was Dylan's Line. <mask> completed the script in 2000 and performed a portion of it at the Last Frontier Theatre Conference in Valdez, Alaska that same year. It premiered at the McCarter Theatre in Princeton, New Jersey during 2003. This was not long after <mask> died on May 9, 2003 in New York, due to Waldenström's macroglobulinemia, a cancer of the blood. "I was so affected [as a young man] and energized by The Connection", [the playwright] Edward Albee said after his death."It was exciting, dangerous, instructive and terrifying - all things theater should be." Private life
In San Francisco, <mask> met Carol Westenberg, and they married on December 23, 1957, in New York City. They had two children.

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title: Beenie Man

texts:
Anthony Moses Davis (born 22 August 1973), better known by his stage name <mask>, is a Jamaican dancehall deejay. Biography
Davis was born in the Waterhouse district of Kingston in 1973. He was involved in the music industry from a young age, started toasting at the age of five, and was encouraged by his uncle Sydney Knowles, who played drums for Jimmy Cliff. He won the Tastee Talent contest in 1981, and Radio DJ Barry G introduced him to local sound system operators, who helped to establish the popularity of the young deejay, who became known as <mask>. He recorded his debut single, "Too Fancy", with record producer Henry "Junjo" Lawes in 1981, with Lawes also including him on the 1983 album Junjo Presents Two Big Sounds alongside established stars such as Dillinger, Fathead, and Ringo. His debut album, The Invincible Beenie Man: The Ten Year Old DJ Wonder was produced by Bunny Lee and released in 1983, his first hit single following the same year with the Winston Holness-produced "Over the Sea". In 1984 Beenie <mask> recorded some material with Barrington Levy (released ten years later), but his music career was put on hold while he finished school, and spent time travelling to the United Kingdom, United States, and Canada.1990s return
<mask> <mask> continued performing and honed his craft beside the then dominant dancehall figures including Ninjaman, Admiral Bailey and Shabba Ranks. He found his artistic home at the Shocking Vibes studio where he continued to record singles with only moderate success in the early 1990s. His career gained momentum after a performance at the Reggae Sunsplash festival in 1992, and a rivalry with Bounty Killer began the following year after <mask> <mask> was accused of stealing Bounty Killer's style and catch phrases. The rivalry was captured on the 1994 album Guns Out, with the two artists settling the feud with a soundclash. <mask> <mask> had his first number one single in Jamaica in 1993 with "Matie" (Produced by Ephraim Barrett, Donovan and Dave Mills on the Shelly Power Records label) and he won the DJ of the Year Award the same year, the first of eight consecutive awards. International stardom
Partially as a result of prodding from his producers, Sly and Robbie, with whom he recorded cover versions of Bob Marley's "Crazy Baldhead" and "No Woman No Cry" in 1994, the latter a Jamaican chart-topper, <mask> <mask> converted to the Rastafari movement, as did several of his contemporaries at the time, although in 2005 he stated "I have not converted. I was baptised an Ethiopian Orthodox and at the age of 10 I became a Judah Coptic."In 1994, he was signed by Island Records and released the critically acclaimed album Blessed, which established his reputation internationally. In 1995 he toured the UK and joined up again with Barrington Levy to record an updated jungle version of Levy's "Under Mi Sensi". In 1995, <mask> <mask> collaborated with Dennis Brown and Triston Palma to release Three Against War and Mad Cobra and Lieutenant Stitchie on Mad Cobra Meets Lt. Stitchie & Beenie <mask>. He also collaborated with Lady Saw on "Healing", Sanchez on "Refugee", and Michael Prophet on "Gun 'n' Bass", further establishing his reputation. He took another step up the ladder in 1996, releasing the seminal Maestro, produced by Patrick Roberts and shot him to UK fame. During the period from the mid to late 1990s, <mask> <mask> dominated the Jamaican charts to the extent that he perhaps had a good claim to the crown of "Dancehall King", a title only bestowed previously on Yellowman in the early 1980s. <mask> <mask>'s first real break into the United States came in 1997.He heard an instrumental rhythm by an unknown producer named Jeremy Harding, and demanded to add his voice to the rhythm. So this was the birth of his first international hit; he recorded "Who Am I" and the single quickly went Gold. It opened the doors for the world to see a new reggae star in the pages of Newsweek and other major media outlets. The same year, <mask> <mask> topped the Jamaican singles chart with seven different singles. <mask> <mask> appeared as himself in the 1997 film Dancehall Queen. In 1998, <mask> <mask> headlined Reggae Sunsplash and signed to Virgin Records to release albums in the United States. His first American offering was The Doctor (1998).During the late 1990s, <mask> <mask> began his conquest of America with the hits, "Romie", "Who Am I", and "Girls Dem Sugar", which featured American R&B singer, Mýa. During this time he received an impressive number of international music awards including a MOBO Award for Best International Reggae Act in 1998,<ref name="Rodgers">Rodgers, Jennifer (1998) "Music: Toasting the many moods of <mask> <mask>", The Independent, 6 February 1998</ref> while remaining at the top of the local charts. In 2000, Beenie <mask> released Art & Life, which featured Arturo Sandoval and Wyclef Jean (The Fugees), for which received a Grammy Award for Best Reggae Album. In the same year he co-produced (with Wyclef Jean) the debut album by actor Steven Seagal. Beenie <mask>, like many dancehall artists, is outspoken on a number of social issues, as exemplified by songs such as "Steve Biko" and "Murderer". "Beenie <mask> blames government for problems". 31 October 2007.In 2002, he had a sizeable hit with a duet with Janet Jackson called "Feel It Boy", but his biggest break in America came in early 2004 with the release of a remix of "Dude", featuring guest vocals by fellow Jamaican Ms. Thing as well as rhymes by Shawnna. He thus cemented his fan base on both sides of the Atlantic. He had hits in the UK in 1998 with "Who am I" (#10), in 2003 with "Street Life" (#13) and "Feel It Boy" (UK #9), a duet with Janet Jackson, and in 2004 with "Dude" (#7) and "King of the Dancehall" (#14). Also in 2004, The Associated Press observed that <mask> <mask> had "become a name-brand artist worldwide" and called him "king of the dancehall reggae scene". He was also a judge for the 6th annual Independent Music Awards to support independent artists' careers. In April 2008, it was announced that <mask> <mask> was to co-write and star in the film Kingston. In October 2010, <mask> <mask> came out with the EP I'm Drinking Rum and Red Bull, which included four songs, "Im drinking Rum and Red Bull", "I'm Okay", and two versions of "Stack and Pile".He later released the full album on 28 February 2011. "Im Drinking Rum and Red Bull" features Future Fambo. In September 2008, <mask> <mask> was cleared of charges of tax evasion. "Beenie <mask> cleared of tax evasion", BBC, 1 October 2008

In April 2009, Beenie <mask> signed with Brookland Entertainment, a new record label formed by Eric Nicks and The Trackmasters, in preparation to release his new album The Legend Returns, the music video for the release of his new single "Gimme Gimme" being shot in Canada on 18 April 2009. The song "Let's Go" was released on the Overproof Riddim compilation album in 2011. In 2014, Beenie <mask> and long-term rival Bounty Killer put aside their differences and recorded a single together, "Legendary". The two performed a well-received Verzuz battle together on Instagram during the COVID-19 pandemic quarantine on May 23, 2020.Around that time, Vibe described them as "two of the most legendary icons in dancehall." Personal life
<mask> <mask> married Michelle "D'Angel" Downer on 22 August 2006. In June 2007, <mask> <mask> separated from his wife. In March 2010, they released a duet single entitled "You Are My First", although at the time they were separated. The couple divorced in 2011. Controversy
Anti-gay lyrics
The lyrics to some of his songs have been criticised for inciting the murder of homosexuals. He was removed from the 2004 MTV Video Music Awards after protests by gay-rights activists.That same year, <mask> <mask> was stopped by police at Heathrow Airport in London, after the cancellation of a concert in the United Kingdom. He then issued an apology for the lyrics through his record company. In 2005, gay rights group OutRage! suspended their opposition to <mask> <mask> after he agreed not to play songs featuring homophobic lyrics, and he performed in London that year. The following year, he claimed his lyrics were anti-paedophilia, not against consensual homosexual relationships. In 2007, it was reported that <mask> <mask>, along with several other artists, had signed the Reggae Compassionate Act, an agreement to cease performances of anti-gay material. He later denied that he had signed the act.As of 2010, protests have continued to cause cancellations of his concerts in some countries, including New Zealand, Belgium and the Netherlands.Na Snoop ook geen Beenie <mask> op Parkpop. De Telegraaf. 21 June 2010. In 2012, Beenie <mask> apologized to the gay community for his earlier homophobic lyrics: "Let me make this clear and straight. I have nothing against no one. I respect each and every human being, regardless of which race or creed, regardless of which religious belief you believe in, and regardless of which sexual preference you are, including gays and lesbian people. I respect all human...Please I am begging you do not have me up for some songs I wrote a long time ago.I love each and every one and am just begging each and everyone to do the same." In other interviews, however, he was quoted making statements such as "I never apologized" and "I told them to leave us alone, to try to understand where we are coming from." In 2015 prior to coming to New Zealand for a concert, GayNZ.com news site asked <mask> <mask> about the homophobic lyrics in his earlier songs. He hung up the telephone without answering. Yellowman feud
In 2006, veteran deejay Yellowman publicly chastised <mask> <mask> for his hit "King of the Dancehall". Known as "King Yellowman" since the 1980s, the deejay took exception to <mask> <mask> proclaiming himself "king", as well as comments <mask> made regarding his appearance. Regarding the title of "king", Yellowman stated: "Him trying to make people feel like him was here before me, but him never deh here before me, because dem planning to do dem official crowning them claim say is an official crowning but dem a use some a di media as some of them organisation ...".Beenie <mask> made comments later that year in German-based Riddim Magazine, comparing Bounty Killer to Yellowman in appearance: "Bounty Killer is a great artiste and he's ugly, too. He's got a rough thing about him, Jamaicans like that from the Shabba Rankin' days and the King Stitt days and the Yellowman days. They like ugly people." Yellowman responded, "Him can diss me all him like, but him caan diss the Jamaican public. What kinda ting that him say inna Riddim magazine? If me ugly, him pretty, me know say me wear shirt, him wear blouse, me wear pants, him wear skirt." Legal Issues

 Court Case
On January 1, 2021, <mask> <mask> was charged for breaches of the Disaster Risk Management Act (DRMA) and the Noise Abatement Act after he held an event in Jamaica in violation of measures to combat the COVID-19 pandemic.Discography

Notes

References

Further reading
Wray, Milton: Who Am I? : The Untold Story of Beenie Man'', 2008, Great House/Omnimedia, Kingston, Jamaica,

External links
 Official website

1973 births
Musicians from Kingston, Jamaica
Virgin Records artists
Island Records artists
Jamaican dancehall musicians
Reggae fusion artists
Grammy Award winners
Jamaican reggae musicians
Living people
Sony Music Publishing artists
VP Records artists
Greensleeves Records artists

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title: Will Johnson (musician)

texts:
<mask> (born March 23, 1971) is an American musician, singer-songwriter, author and painter who is the lead singer of the bands Centro-matic and South San Gabriel. Called "one of the most prolific artists in American indie rock", <mask> has also released solo records, and is a member of the bands Monsters of Folk, New Multitudes and Overseas, and has also performed as part of the Undertow Orchestra. Early life
<mask> was born in Kennett, Missouri. When he was 11 years old, his mother remarried and the family moved to Killeen, Texas. <mask> attended the University of North Texas, where he was involved in Denton's active music scene. He double-majored in English and elementary education. Music career

Early music
<mask> began playing drums, piano and sang in his church choir at an early age.After moving to Killeen, Texas, from Kennett, Missouri, he was a founding member and drummer for the jangle-rock band The Benjamins. They released two cassettes in 1988 and 1989 before <mask> left to attend the University of North Texas. While there, <mask> played in bands such as Polyester, Salt Lick, The Dooms UK, and was a founding member of Baboon. Funland
On Super Bowl Sunday 1991, <mask> joined Peter Schmidt and Clark Vogeler to form the band Melt, which changed its name to Funland in 1992. Funland signed with Arista Records that year, releasing the EP Sweetness in March 1993. The band toured regularly in the US and released its only full-length album, The Funland Band, on Steve Records in 1995. After five and a half years, Funland disbanded in June 1996.Centro-matic

Centro-matic began as a four-track cassette project when <mask> returned to college in May 1995. It was the first time he had written and sung songs, and later that year saw the release of the cassette Non-Directional Jetpack Race. A handful of 7-inch releases followed, and <mask> began playing live under the Centro-matic moniker in March 1996 as a solo performance with electric guitar and vocals. In December 1996, <mask> recorded the first Centro-matic full-length album, Redo The Stacks. <mask> played all the instruments except violin (Scott Danbom) and cello (Lindsay Romig), with a longtime friend Matt Pence engineering the lo-fi record. In February 1997, <mask> started performing full-band Centro-matic shows with Mark Hedman on bass guitar and Pence on drums. Choosing to keep things informal, the band's first rehearsal was held after its second show.In March 1997, Danbom joined the band on the piano, fiddle, bass guitar, and vocals. Centro-matic continued to record and tour extensively in the United States and Europe under the same lineup until deciding to disband in 2014. The band released ten albums and five EPs, plus several 7-inch recordings, cassettes, and compilation, and soundtrack appearances. The band worked with Jeff Powell, Anders Parker and Scott Solter. The full-lengths Navigational, B-sides compilation Static vs. The Strings Vol. 1 and All The Falsest Hearts Can Try was recorded at Jay Farrar's studio in Millstadt, Illinois.The band subsequently recorded most of its material at The Echo Lab in Argyle, Texas. South San Gabriel

With his Centro-matic bandmates, <mask> formed the band South San Gabriel in the spring of 2001. It resulted from Centro-matic wanting to collaborate with and include other musicians while experimenting with a more spacious and atmospheric approach to writing and recording. South San Gabriel has a fluid lineup, with the band performing with anywhere from 3–10 members. South San Gabriel has released three full-length albums, plus EPs and singles. Molina and <mask>

<mask> collaborated with songwriter Jason Molina for the joint album Molina and <mask>, released on the Secretly Canadian label in November 2009. They met by chance at the SXSW festival in Austin in 2003 or 2004.They recorded the album over a week and a half in early 2008. <mask> describes Molina as a "whirlwind of dedication and activity". Another collaboration was discussed but it never came to fruition before Molina's death in 2013. Undertow Orchestra

<mask> has performed as part of the Undertow Orchestra with David Bazan, Vic Chesnutt and Mark Eitzel. <mask> first met Chestnutt in 1999 in Dallas. Chesnutt was a fan of Eitzel's music, and the two were long-time friends. According to <mask>, Bob Andrews, the manager for the four musicians, had the idea in 2005 to create a band called the Undertow Orchestra from members of the Undertow Music Collective.<mask> said Chesnutt was adamant that the shows not feature any solo performances, with the members working to play each other's songs as backing musicians. Monsters of Folk

<mask> performed with indie supergroup Monsters of Folk as the drummer on a 2009 tour. The group included Jim James, Conor Oberst, M. Ward and Mike Mogis. The band toured the US and Europe and performed on PBS show Austin City Limits in October 2010. <mask> became an official member of the band during that time. New Multitudes

From 2009 to 2012, <mask> collaborated with Jay Farrar, Jim James, and Anders Parker on the Woody Guthrie archive project New Multitudes. The project involved the four songwriters setting music to Guthrie's unrecorded lyrics, and was recorded in several locations.The tribute album was released in 2012 with a short US tour following. Overseas

<mask> formed the band Overseas in 2009 with David Bazan and Matt and Bubba Kadane. An eponymous album was released in 2013. Other
As part of the Monsters of Folk, <mask> participated in Neil Young's Bridge School Benefit in 2009. At the benefit, <mask> reconnected with former babysitter and family friend Sheryl Crow, who is also from <mask>'s hometown. Writing
<mask> authored a novel If or When I Call which was published by Goliad Media and released on March 15th, 2021. Painting
An avid baseball fan as a child, <mask> roots for the St. Louis Cardinals.Since 2008 <mask> has produced several folk art paintings, mostly centering on the subject of baseball and its history. Commissions from friends eventually led to his work being exhibited in group and solo art shows. 4 (KDHX, 2006)
 "Just To Know What You've Been Dreaming" on We Have The Technology (Misra, 2006) [compilation also includes Centro-Matic]
 "Hearts" [Huey Lewis and The News cover] on Are You Still With Me?! Summer 2009
 Monsters Of Folk: Drums, Vocals Fall 2009
 Strand Of Oaks:  Drums, Stephen Colbert Show Appearance 2019

 Guest musician/vocalist
 Little Grizzly: Please Let Me Go, It Wasn't Meant To Be (1999)
 Little Grizzly: I'd Be Lying If I Said I Wasn't Scared (2001)
 Deathray Davies: Return of the Drunken Ventriloquist (2001)
 The pAperchAse: Hide The Kitchen Knives (2002)
 Drive-By Truckers: Brighter Than Creation's Dark (2008)
 Austin Collins: Roses Are Black (2008)
 Patterson Hood: Murdering Oscar And Other Love Songs (2009)
 Telegraph Canyon: The Tide and the Current (2009)
 Collin Herring: Ocho (2009)
 Monahans: Dim The Aurora (2009)
 Craig Finn:  Clear Heart Full Eyes (2012)
 Patterson Hood:  Heat Lightning Rumbles in the Distance (2012)
. Austin Lucas: Immortal Americans (2018)
. Clap Your Hands Say Yeah: New Fragility (2021)

 Film appearances
 Salt Creek County (Downstate Productions 2008)

Centro-matic Discography
LPs:
 Redo the Stacks (Steve 1996)
 Navigational (Idol 1999)
 The Static vs. The Strings Vol.2 (1995) [as 'The Centromatic Band']
 "My, My" on Band-Kits: A Collection of Music From Denton, Texas (Quality Park, 2000)
 "Most Everyone Will Find" on Orgasm 04 (Oor Magazine, 2000) [Netherlands]
 "Fuselage (It's Starting To Look Like Christmas Once Again)" on Electric Ornaments (Idol, 2000)
 "Most Everyone Will Find" on Awesome (Munich, 2001) [Netherlands]
 "Truth Flies Out" on  Esto No Es Un Cactus (Sinedin, 2001) [Spain; compilation also includes South San Gabriel]
 "Fountains Of Fire" on New Voices, Vol 48 (Rolling Stone, 2001) [Germany]
 "Truth Flies Out" on Orgasm 07 (Oor Magazine, 2001) [Netherlands]
 "To Unleash The Horses Now" on Sounds of the New West Vol. 3 (Uncut Magazine, 2002) [United Kingdom]
 "Huge In Every City" and "On the Sagtikos" on Vital Idol: Idol Records Sampler (Idol, 2003)
 Just For Fun (Loretta Records, 2003)
 "Fuselage (It's Starting To Look Like Christmas Once Again)" on De Avonden Xmas 2003 (VPRO Radio, 2003) [Netherlands]
 "Silver Plate Complaints" on New Noises, Vol. 60 (Rolling Stone, 2003) [Germany]
 "Flashes and Cables" on Musikexpress 81 – Sounds Now! (Musikexpress, 2003) [Germany]
 "Covered Up In Mines" on Already Gone: A Compilation of Texas Bands (Already Gone, 2004)
 "Triggers and Trash Heaps" on We Have The Technology (Misra, 2006) [compilation also includes Will Johnson]
 "Don't Talk (Put Your Head On My Shoulder)" [Beach Boys cover] on Do It Again: A Tribute To Pet Sounds (Houston Party, 2006) [Spain]
 "Flashes and Cables" on New Colors (Misra, 2007) [compilation also features South San Gabriel and Will Johnson]
 "I, The Kite" on Great (Misra/Absolutely Kosher, 2008) [promo CD-R]
 "Love Has Found Me Somehow" on A Splash Of Sunshine, Vol. 2 (679 Recordings, 2008)

South San Gabriel Discography

 AlbumsSongs/Music (Munich, 2000) [Netherlands; credited to Centro-Matic on U.S. release]Welcome, Convalescence (Munich, 2003) [Netherlands]The Carlton Chronicles – Not Until the Operation's Through (Misra, 2005)Dual Hawks split double album with Centro-Matic (Misra, 2008)

 Singles and EPs
 "Stark Miami Mines" split 7" with Okkervil River (Tight Spot, 2002)
 I Am Six Pounds Of Dynamite + 3 (Munich, 2005)
 Eyas split EP with Centro-Matic (2010) [digital-only release on Amazon and iTunes]

 Compilation appearances
 "Evangeline" on Awesome (Munich, 2001) [compilation also features Centro-Matic]
 "One Hundred Thousand Bridesmaids" on Esto No Es Un Cactus (Sinedin, 2001) [Spain; compilation also features Centro-Matic]
 "Smelling Medicinal" on All Areas, Vol. 41 (Visions Magazine, 2003) [Germany]
 "I Am Six Pounds of Dynamite" on Gimme Danger (Uncut Magazine, 2005) [United Kingdom]
 "I Feel Too Young To Die" on We Have The Technology (Misra, 2006) [compilation also features Centro-Matic]
 "I Feel Too Young To Die" on New Colors (Misra, 2007) [compilation also features Centro-Matic and Will Johnson]
 "Emma Jane" on Houston Party 10 Aniversario'' (Sinedin, 2008)

References

External links

 Living people
 American rock musicians
 Musicians from Austin, Texas
1971 births
 People from Kennett, Missouri
 People from Killeen, Texas
 Monsters of Folk members
 Overseas (band) members
Misra Records artists
Secretly Canadian artists

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