texts
stringlengths 57
72.4k
| questions
stringlengths 4
60
| answers
dict |
|---|---|---|
Sir Frederic Hymen Cowen (29 January 1852 – 6 October 1935), was an English composer, conductor and pianist.
Early years and musical education
Cowen was born Hymen Frederick Cohen at 90 Duke Street, Kingston, Jamaica, the fifth and last child of Frederick Augustus Cohen and Emily Cohen née Davis. His siblings were Elizabeth Rose Cohen (b. 1843); actress, Henrietta Sophia Cohen (b. 1845); painter, Lionel Jonas Cohen (b. 1847), and Emma Magnay Cohen (b. 1849).
At the age of four years Frederic was brought to England, where his father became treasurer to the opera at Her Majesty's Opera, now Her Majesty's Theatre, and private secretary to William Humble Ward, 11th Lord Ward (1817–1885). The family initially lived at 11 Warwick Crescent, London, in the area known as Little Venice. His first teacher was Henry Russell, and his first published composition, Minna-waltz, appeared when he was only six years old. He produced his first published operetta, Garibaldi, at the age of eight. With the help of the Earl of Dudley, he studied the piano with Julius Benedict, and composition with John Goss.His first public appearance as a pianist was as an accompanist in one of his own early songs sung by Mrs Drayton at a concert in Brighton in the early 1860s. His first genuine public recital was given on 17 December 1863 at the Bijou Theatre of the old Her Majesty's Opera House, and in the following year he performed Mendelssohn's Piano Concerto in D minor at a concert given at Dudley House, Park Lane, the London home of the Earl of Dudley. At the same venue a year later he premiered his Pianoforte Trio in A major with Joseph Joachim playing the violin part.
By Autumn 1865, it was the judgment of his instructors, Julius Benedict and John Goss, that they could do little more to further his musical education and recommended that he study in Germany. By coincidence the second competition for the Mendelssohn Scholarship was due to be held that gave its winner three years of tuition at the Leipzig Conservatorium. Cowen attended the examination and won the prize, but his parents intervened, as they were not prepared to give up control of him, as stipulated by the terms of the prize. Instead, they agreed to send him to the same institution, but as an independent student. Charles Swinnerton Heap was awarded the prize in his place. At Leipzig, overseen by Ernst Friedrich Eduard Richter, Cowen studied under Moritz Hauptmann (harmony and counterpoint), Ignaz Moscheles (piano), Carl Reinecke (composition) and Ferdinand David (ensemble work). He also came into contact with Salomon Jadassohn and Ernst Wenzel, and took some private piano lessons with Louis Plaidy. Cowen's fellow students and companions in Leipzig included Swinnerton Heap, Johan Svendsen, Oscar Beringer and Stephen Adams.In 1887, shortly after conducting his Scandinavian Symphony, he was taken ill with Scarlet fever and recovered at the specialist convalescent home of Mary Wardell in Stanmore.
Career
Returning home on the outbreak of the Austro-Prussian War, he appeared as a composer for the orchestra in an Overture in D minor played at Alfred Mellon's Promenade Concerts at Covent Garden on 8 September 1866. In the following autumn he went to Berlin, where he studied composition under Friedrich Kiel and Carl Taubert, and took piano lessons from Carl Tausig, enrolling at the academy created by Julius Stern, known as the Stern'sches Konservatorium. A symphony (his first in C minor) and a piano concerto (in A minor) were given in St. James's Hall on 9 December 1869, and from that moment Cowen began to be recognised as primarily a composer, his talents as a pianist being subordinate, although his public appearances were numerous for some time afterwards.His cantata, The Rose Maiden, was given at London in 1870, his Second Symphony in F major by the Royal Liverpool Philharmonic Society in 1872, and his first festival work, The Corsair, in 1876 at Birmingham. In that year his opera, Pauline, was given by the Carl Rosa Opera Company with moderate success. His most important work, his Symphony No. 3 in C minor, Scandinavian, which was first performed at St. James's Hall in 1880 and went on to establish itself for a decade as one of the most popular symphonic works in the repertoire, brought him some international recognition. Appearing in 1880, it proved to be the most regularly and widely performed British symphony until the arrival of Elgar's First. In 1884 he conducted five concerts of the Philharmonic Society of London, and in 1888, on the resignation of Arthur Sullivan, became the regular conductor of that society. His employment there came to an abrupt termination in 1892 when he apologised for any shortcomings in the orchestra's performance of Beethoven's Pastoral Symphony before they had rendered it, due to the lack of rehearsal time that he felt he had been given. The directors took umbrage at his remarks and did not renew his contract. In the year of his appointment to the Philharmonic Society, 1888, he went to Melbourne as the conductor of the daily concerts given in connection with the Exhibition there for the unprecedented sum of £5,000. In 1896, Cowen was appointed conductor of the Liverpool Philharmonic Society and of the Hallé Orchestra, succeeding Sir Charles Hallé. He was ousted from the Hallé after three years in favour of Hans Richter. In 1899, he was reappointed conductor of the Philharmonic Society of London. He also conducted the Bradford Festival Choral Society, the Bradford Permanent Orchestra, the Scottish Orchestra (now known as the Royal Scottish National Orchestra) and the Handel Festivals at The Crystal Palace for some years, as well as being a regular attendee at many British music festivals, both as conductor and composer.
Cowen's career, both as composer and conductor, is now unjustly forgotten. He was one of the first British-born professional conductors to have the respect of critics, orchestral musicians, and the public, and he held lengthy tenures with every major British orchestra active before 1900. In addition, his six-month engagement with the Melbourne Exposition made him the most highly-paid conductor in history up to that time. Although he regarded himself primarily as a symphonist, he was most successful in lighter orchestral pieces when treating fantastic or fairy subjects, where his gifts for graceful melody and colourful orchestration are shown to best advantage. Whether in his cantatas for female voices, his charming Sleeping Beauty, his Water Lily or his pretty overture, The Butterfly's Ball (1901), he succeeds in finding graceful expression for the poetical idea. His dance music, such as is to be found in various orchestral suites, is refined, original and admirably instrumented. Much of his more serious music is commendable rather than inspired and seldom successful in portraying the graver aspects of emotion. Indeed, his choral works, written for the numerous musical festivals around Victorian and Edwardian Britain, typify the public taste of his time. Of his 300 or so songs, they encompass everything from the popular ballad to the high art song, the latter of which led him to be described as the 'English Schubert' in 1898. Indeed, the vogue of his semi-sacred songs has been widespread.
Cowen received honorary doctorates from Cambridge and Edinburgh in 1900 and 1910 respectively, and was knighted at St. James's Palace on 6 July 1911. Cowen married Frederica Gwendoline Richardson at St. Marylebone Registry Office, London, 23 June 1908. She was 30 years his junior and they had no issue. He died on 6 October 1935 and was buried at the Jewish Cemetery, Golders Green. His wife died at Hove, Sussex, in 1971.
Autobiography
Cowen, Sir Frederic H. My Art and My Friends. London: Edward Arnold, 1913.Cowen's autobiography details his conducting and compositional career, and experiences with musical colleagues and ensembles. 314 pages, with frontispiece photographic portrait, and an index.
Works
Opera and operetta
1860 - Garibaldi, operetta (Maida Hill, London, 4 February 1860)
1874 - One Too Many, comedietta (St George's Hall, London, 24 June 1874)
1876 - Pauline, opera (Lyceum Theatre, London, 22 November 1876)
1890 - Thorgrim, opera (Drury Lane Theatre, London, 22 April 1890)
1893 - Signa, opera (in 3 Acts, Teatro dal Verme, Milan, 12 November 1893 and later reduced to 2 Acts, Covent Garden Theatre, London, 30 June 1894)
1895 - Harold or the Norman Conquest, opera (Covent Garden Theatre, London, 8 June 1895)
1918 - The Spirit of Carnival, operetta (unfinished)
1921 - Comedy-Opera, comedy opera (unperformed)
Incidental music
1871 - The Maid of Orleans (Brighton Festival, February 1871)
1922 - The Enchanted Cottage (Duke of York's Theatre, London, 1922)
Other stage works
1917 - Monica's Blue Boy, pantomime (New Theatre, London, 1918)
1917 - Cupid's Conspiracy, comedy ballet (Coliseum Theatre, London, 31 December 1917)
Orchestral
1866 - Overture in D minor (Covent Garden Theatre, London, 8 September 1866)
1869 - Symphony No. 1 in C minor (St James's Hall, London, 9 December 1869)
1872 - Festival Overture (Norwich Festival, 17 September 1872)
1872 - Symphony No. 2 in F (Philharmonic Hall, Liverpool, 8 October 1872)
1880 - The Language of Flowers, [first] suite de ballet (St James's Hall, London, 27 November 1880)
1880 - Symphony No. 3 in C minor, Scandinavian (St James's Hall, London, 18 December 1880)
1881 - Sinfonietta in A major (St James's Hall, London, 12 May 1881)
1881 - Niagara, characteristic overture in C major (Crystal Palace, London, 22 October 1881)
1883 - In the Olden Time, suite in D for strings (Crystal Palace, London, 17 March 1883)
1883 - Barbaric March (Albert Hall, London, 1883)
1883 - Deux Morceaux: Melodie and A l'espagne (Crystal Palace, London, 10 November 1883)
1884 - Symphony No. 4 in B flat minor, The Welsh (St James's Hall, London, 28 May 1884)
1886 - March (Folkestone Exhibition, Folkestone, May 1886)
1886 - Overture in D (Liverpool Exhibition, Liverpool, 11 May 1886)
1887 - Symphony No. 5 in F (Guildhall, Cambridge, 9 June 1887)
1896 - In Fairyland, suite de ballet (St James's Hall, London, 6 May 1896)
1896 - Four English Dances in the Olden Style (St James's Hall, London, 11 May 1896)
1897 - Symphony No. 6 in E, Idyllic (St James's Hall, London, 31 May 1897)
1901 - The Butterfly's Ball, concert overture (Queen's Hall, London, 2 March 1901)
1901 - A Phantasy of Life and Love, orchestral poem (Three Choirs Festival, Gloucester, 11 September 1901)
1902 - Coronation March (Queen's Hall, London, 29 March 1902)
1903 - Indian Rhapsody (Three Choirs Festival, Hereford, 9 September 1903)
1903 - Two Pieces: Childhood and Girlhood for small orchestra
1903 - Reverie (Edinburgh, December 1903)
1905 - A Suite of Old English Dances (City Hall, Candleriggs, Glasgow, 27 January 1906)
1912 - The Months, twelve sketches
1914 - The Language of Flowers, second suite de ballet (Queen's Hall, London, 19 September 1914)
1934 - The Magic Goblet – The Luck of Edenhall (BBC Studio, London, 9 June 1934)
1934 - Miniature Variations (Humoresque) (BBC Studio, London, 20 April 1935)
Instrumental soloist and orchestra
1869 - Piano Concerto in A minor (St James's Hall, London, 9 December 1869)
1897 - Concertstück, for piano and orchestra (Queen's Hall, London, 28 June 1900)
Oratorio and cantata
1870 - The Rose Maiden, cantata (St James's Hall, London, November 1870)
1876 - The Corsair, dramatic cantata (Birmingham Festival, 29 August 1876)
1878 - The Deluge, oratorio (Brighton Festival, 28 February 1878)
1881 - St. Ursula, sacred cantata (Norwich Festival, 13 October 1881)
1885 - Sleeping Beauty, cantata (Birmingham Festival, 25 August 1885)
1887 - Ruth, dramatic oratorio (Three Choirs Festival, Worcester, 8 September 1887)
1889 - St John's Eve, cantata (Crystal Palace, London, 14 December 1889)
1893 - The Water-Lily, cantata (Norwich Festival, 6 October 1893)
1895 - The Transfiguration, church cantata (Three Choirs Festival, Gloucester, 15 September 1895)
1898 - Ode to the Passions, cantata (Leeds Festival, 8 October 1898)
1900 - Jephthah, oratorio (unfinished)
1904 - John Gilpin, cantata (Cardiff Festival, 23 September 1904)
1910 - The Veil, ethical cantata (Cardiff Festival, 20 September 1910)
Other choral
1888 - A Song of Thanksgiving, commemoration ode for chorus and orchestra (Melbourne Centennial Exhibition, Melbourne, Australia, 1 August 1888)
1890 - In Memoriam Carl Rosa, ode for triple-quartet, chorus and orchestra (Liverpool, November 1890)
1891 - The Fairies' Spring, for female voices and piano
1893 - Village Scenes, for female voices and piano
1893 - Summer on the River, for female voices and piano
1893 - The Promise of Life, arrangement of song for tenor soloist, male chorus and piano
1894 - Christmas Scenes, for female voices and piano
1895 - The Rose of Life, for female voices and piano
1896 - A Daughter of the Sea, for female voices and piano
1897 - All Hail the Glorious Reign, commemoration ode for chorus and orchestra (Earl's Court, London, 24 May 1897)
1902 - Coronation Ode, ode for soprano, chorus and orchestra (Norwich Festival, 22 October 1902)
1907 - He Giveth His Belovèd Sleep for contralto, chorus and orchestra (Cardiff Festival, 27 September 1907)
1914 - What shall we dance?, arrangement of part-song for chorus and orchestra
Vocal soloist and orchestra
1897 - The Dream of Endymion, scena for tenor and orchestra (Queen's Hall, London, 17 June 1897)
Chamber music
1865 - Piano Trio No. 1 in A major (Dudley House, Park Lane, London, 22 June 1865)
1868 - Piano Trio No. 2 in A minor
1866 - String Quartet in C minor (Conservatorium, Leipzig, 14 January 1866)
Works for solo piano
1863 - Lied ohne worte (Her Majesty's Theatre, London, 17 December 1863)
1864 - Sonata
1912 - The Months, Twelve Sketches
Songs
The following are among over 300 songs written by Cowen:
Border Ballad
I will give you Rest
Buttercups and Daisies
When the Worlds is Fair
The Voice of the Father
The Swallows
Promise of Life
The Chimney Corner
The Reaper and the Flowers
The Better Land
Spinning
It was a DreamAt least two songs, It was a Dream and Almost, had lyrics by R. E. Francillon.
Scores and manuscripts
Most of Cowen's works were published in one form or another although several have been lost.
The following major scores were published: Novello, Ewer & Co., London, issued full orchestral scores of Symphony No.4, Sleeping Beauty, Ruth, Symphony No.5, Four English Dances in the Olden Style, The Butterfly's Ball, the Coronation March, the Two Pieces, Reverie, John Gilpin and A Suite of Old English Dances together with vocal scores of Sleeping Beauty, Ruth, A Song of Thanksgiving, St John's Eve, Thorgrim, The Water-Lily, Village Scenes, Summer on the River, Christmas Scenes, The Rose of Life, A Daughter of the Sea, All Hail the Glorious Reign, The Dream of Endymion, Ode to the Passions, the Coronation Ode, John Gilpin, He Giveth His Beloved Sleep, The Veil and What shall we dance?, together with several piano arrangements including The Months and a piano duet arrangement of Symphony No.4; Metzler & Co., London, issued full orchestral scores of the first The Language of Flowers suite, In Fairyland and the second The Language of Flowers suite together with the vocal score of Saint Ursula and a piano selection from Monica's Blue Boy; Boosey & Co., London, issued the full orchestral score of the Indian Rhapsody, together with vocal scores of Garibaldi, The Rose Maiden, The Corsair, Pauline, The Promise of Life and The Transfiguration; Breitkopf and Härtel, Leipzig, issued the full orchestral score of Symphony No.6; Joseph Williams, London, issued full orchestral scores of A Phantasy of Life and Love and the Concertstück together with the vocal score of Harold, a selection from One Too Many and a piano suite from Cupid's Conspiracy; E. Ascherberg & Co., London, issued the vocal score of Signa; Albert J. Gutmann, Vienna, issued the full scores of Symphony No.3 and Deux Morceaux together with a piano duet arrangement of Symphony No.3; Robert Cocks & Co., London, issued the vocal score of The Fairies' Spring.
Many of Cowen's unpublished orchestral manuscripts, together with the relevant orchestral performing material, are presumed lost including the Piano Concerto, the first two symphonies, the 1866 Overture, the Festival Overture, The Maid of Orleans, One Too Many, The Corsair, The Deluge, Saint Ursula, Pauline, the Sinfonietta, Niagara, In the Olden Time, the Barbaric March, the 1886 March, the 1886 Overture, A Song of Thanksgiving, St John's Eve, Thorgrim, the ode In Memoriam Carl Rosa, Signa, Harold, The Transfiguration, Jephthah and the complete version of The Magic Goblet - The Luck of Edenhall.
Several significant manuscripts have, however, survived: the full orchestral score of The Water-Lily is held by The British Library, London (Add.Ms 50767) together with the Comedy-Opera (Add.Ms 52426); the full orchestral scores of Four English Dances in the Olden Style, The Dream of Endymion, All hail the glorious reign, Ode to the Passions, The Butterfly’s Ball, the Coronation Ode, the Coronation March, John Gilpin, A Suite of Old English Dances, He Giveth His Beloved Sleep, The Veil, The Months and What shall we dance? are held by the Library of the Royal College of Music, London (Add.Mss 5058a-p) together with the full orchestral score of the Miniature Variations (Humoreque) (Add.Ms 9015) and the vocal score of the ode In Memoriam Carl Rosa (Add.Ms 7425); the full orchestral scores of The Enchanted Cottage (incomplete) and The Magic Goblet - The Luck of Edenhall (incomplete), together with thirteen numbers either in vocal or piano score from The Spirit of Carnival and a short score, drafts and sketches for the Miniature Variations (Humoresque) (all Mss Mus.b.45) are held by the Bodleian Library, Oxford; the full orchestral score of The Rose Maiden is held by the Thomas Fisher Rare Book Library, University of Toronto, Ontario, Canada (Music Mss 0028).
Notes
References
Frederic Cowen at AllMusic
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Cowen, Frederic Hymen". Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. p. 346.
Further reading
Palmer, Fiona M. (2017). Conductors in Britain 1870–1914: Wielding the Baton at the Height of Empire. Woodbridge, Suffolk: Boydell and Brewer. ISBN 978-1-783-27145-0.
External links
Free scores by Frederic Hymen Cowen at the International Music Score Library Project (IMSLP)
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 1. University of Durham.
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 2. University of Durham.
Monica's Blue-Boy by Arthur Wing Pinero and Frederic Cowen on Great War Theatre
|
instrument
|
{
"answer_start": [
1043
],
"text": [
"piano"
]
}
|
Sir Frederic Hymen Cowen (29 January 1852 – 6 October 1935), was an English composer, conductor and pianist.
Early years and musical education
Cowen was born Hymen Frederick Cohen at 90 Duke Street, Kingston, Jamaica, the fifth and last child of Frederick Augustus Cohen and Emily Cohen née Davis. His siblings were Elizabeth Rose Cohen (b. 1843); actress, Henrietta Sophia Cohen (b. 1845); painter, Lionel Jonas Cohen (b. 1847), and Emma Magnay Cohen (b. 1849).
At the age of four years Frederic was brought to England, where his father became treasurer to the opera at Her Majesty's Opera, now Her Majesty's Theatre, and private secretary to William Humble Ward, 11th Lord Ward (1817–1885). The family initially lived at 11 Warwick Crescent, London, in the area known as Little Venice. His first teacher was Henry Russell, and his first published composition, Minna-waltz, appeared when he was only six years old. He produced his first published operetta, Garibaldi, at the age of eight. With the help of the Earl of Dudley, he studied the piano with Julius Benedict, and composition with John Goss.His first public appearance as a pianist was as an accompanist in one of his own early songs sung by Mrs Drayton at a concert in Brighton in the early 1860s. His first genuine public recital was given on 17 December 1863 at the Bijou Theatre of the old Her Majesty's Opera House, and in the following year he performed Mendelssohn's Piano Concerto in D minor at a concert given at Dudley House, Park Lane, the London home of the Earl of Dudley. At the same venue a year later he premiered his Pianoforte Trio in A major with Joseph Joachim playing the violin part.
By Autumn 1865, it was the judgment of his instructors, Julius Benedict and John Goss, that they could do little more to further his musical education and recommended that he study in Germany. By coincidence the second competition for the Mendelssohn Scholarship was due to be held that gave its winner three years of tuition at the Leipzig Conservatorium. Cowen attended the examination and won the prize, but his parents intervened, as they were not prepared to give up control of him, as stipulated by the terms of the prize. Instead, they agreed to send him to the same institution, but as an independent student. Charles Swinnerton Heap was awarded the prize in his place. At Leipzig, overseen by Ernst Friedrich Eduard Richter, Cowen studied under Moritz Hauptmann (harmony and counterpoint), Ignaz Moscheles (piano), Carl Reinecke (composition) and Ferdinand David (ensemble work). He also came into contact with Salomon Jadassohn and Ernst Wenzel, and took some private piano lessons with Louis Plaidy. Cowen's fellow students and companions in Leipzig included Swinnerton Heap, Johan Svendsen, Oscar Beringer and Stephen Adams.In 1887, shortly after conducting his Scandinavian Symphony, he was taken ill with Scarlet fever and recovered at the specialist convalescent home of Mary Wardell in Stanmore.
Career
Returning home on the outbreak of the Austro-Prussian War, he appeared as a composer for the orchestra in an Overture in D minor played at Alfred Mellon's Promenade Concerts at Covent Garden on 8 September 1866. In the following autumn he went to Berlin, where he studied composition under Friedrich Kiel and Carl Taubert, and took piano lessons from Carl Tausig, enrolling at the academy created by Julius Stern, known as the Stern'sches Konservatorium. A symphony (his first in C minor) and a piano concerto (in A minor) were given in St. James's Hall on 9 December 1869, and from that moment Cowen began to be recognised as primarily a composer, his talents as a pianist being subordinate, although his public appearances were numerous for some time afterwards.His cantata, The Rose Maiden, was given at London in 1870, his Second Symphony in F major by the Royal Liverpool Philharmonic Society in 1872, and his first festival work, The Corsair, in 1876 at Birmingham. In that year his opera, Pauline, was given by the Carl Rosa Opera Company with moderate success. His most important work, his Symphony No. 3 in C minor, Scandinavian, which was first performed at St. James's Hall in 1880 and went on to establish itself for a decade as one of the most popular symphonic works in the repertoire, brought him some international recognition. Appearing in 1880, it proved to be the most regularly and widely performed British symphony until the arrival of Elgar's First. In 1884 he conducted five concerts of the Philharmonic Society of London, and in 1888, on the resignation of Arthur Sullivan, became the regular conductor of that society. His employment there came to an abrupt termination in 1892 when he apologised for any shortcomings in the orchestra's performance of Beethoven's Pastoral Symphony before they had rendered it, due to the lack of rehearsal time that he felt he had been given. The directors took umbrage at his remarks and did not renew his contract. In the year of his appointment to the Philharmonic Society, 1888, he went to Melbourne as the conductor of the daily concerts given in connection with the Exhibition there for the unprecedented sum of £5,000. In 1896, Cowen was appointed conductor of the Liverpool Philharmonic Society and of the Hallé Orchestra, succeeding Sir Charles Hallé. He was ousted from the Hallé after three years in favour of Hans Richter. In 1899, he was reappointed conductor of the Philharmonic Society of London. He also conducted the Bradford Festival Choral Society, the Bradford Permanent Orchestra, the Scottish Orchestra (now known as the Royal Scottish National Orchestra) and the Handel Festivals at The Crystal Palace for some years, as well as being a regular attendee at many British music festivals, both as conductor and composer.
Cowen's career, both as composer and conductor, is now unjustly forgotten. He was one of the first British-born professional conductors to have the respect of critics, orchestral musicians, and the public, and he held lengthy tenures with every major British orchestra active before 1900. In addition, his six-month engagement with the Melbourne Exposition made him the most highly-paid conductor in history up to that time. Although he regarded himself primarily as a symphonist, he was most successful in lighter orchestral pieces when treating fantastic or fairy subjects, where his gifts for graceful melody and colourful orchestration are shown to best advantage. Whether in his cantatas for female voices, his charming Sleeping Beauty, his Water Lily or his pretty overture, The Butterfly's Ball (1901), he succeeds in finding graceful expression for the poetical idea. His dance music, such as is to be found in various orchestral suites, is refined, original and admirably instrumented. Much of his more serious music is commendable rather than inspired and seldom successful in portraying the graver aspects of emotion. Indeed, his choral works, written for the numerous musical festivals around Victorian and Edwardian Britain, typify the public taste of his time. Of his 300 or so songs, they encompass everything from the popular ballad to the high art song, the latter of which led him to be described as the 'English Schubert' in 1898. Indeed, the vogue of his semi-sacred songs has been widespread.
Cowen received honorary doctorates from Cambridge and Edinburgh in 1900 and 1910 respectively, and was knighted at St. James's Palace on 6 July 1911. Cowen married Frederica Gwendoline Richardson at St. Marylebone Registry Office, London, 23 June 1908. She was 30 years his junior and they had no issue. He died on 6 October 1935 and was buried at the Jewish Cemetery, Golders Green. His wife died at Hove, Sussex, in 1971.
Autobiography
Cowen, Sir Frederic H. My Art and My Friends. London: Edward Arnold, 1913.Cowen's autobiography details his conducting and compositional career, and experiences with musical colleagues and ensembles. 314 pages, with frontispiece photographic portrait, and an index.
Works
Opera and operetta
1860 - Garibaldi, operetta (Maida Hill, London, 4 February 1860)
1874 - One Too Many, comedietta (St George's Hall, London, 24 June 1874)
1876 - Pauline, opera (Lyceum Theatre, London, 22 November 1876)
1890 - Thorgrim, opera (Drury Lane Theatre, London, 22 April 1890)
1893 - Signa, opera (in 3 Acts, Teatro dal Verme, Milan, 12 November 1893 and later reduced to 2 Acts, Covent Garden Theatre, London, 30 June 1894)
1895 - Harold or the Norman Conquest, opera (Covent Garden Theatre, London, 8 June 1895)
1918 - The Spirit of Carnival, operetta (unfinished)
1921 - Comedy-Opera, comedy opera (unperformed)
Incidental music
1871 - The Maid of Orleans (Brighton Festival, February 1871)
1922 - The Enchanted Cottage (Duke of York's Theatre, London, 1922)
Other stage works
1917 - Monica's Blue Boy, pantomime (New Theatre, London, 1918)
1917 - Cupid's Conspiracy, comedy ballet (Coliseum Theatre, London, 31 December 1917)
Orchestral
1866 - Overture in D minor (Covent Garden Theatre, London, 8 September 1866)
1869 - Symphony No. 1 in C minor (St James's Hall, London, 9 December 1869)
1872 - Festival Overture (Norwich Festival, 17 September 1872)
1872 - Symphony No. 2 in F (Philharmonic Hall, Liverpool, 8 October 1872)
1880 - The Language of Flowers, [first] suite de ballet (St James's Hall, London, 27 November 1880)
1880 - Symphony No. 3 in C minor, Scandinavian (St James's Hall, London, 18 December 1880)
1881 - Sinfonietta in A major (St James's Hall, London, 12 May 1881)
1881 - Niagara, characteristic overture in C major (Crystal Palace, London, 22 October 1881)
1883 - In the Olden Time, suite in D for strings (Crystal Palace, London, 17 March 1883)
1883 - Barbaric March (Albert Hall, London, 1883)
1883 - Deux Morceaux: Melodie and A l'espagne (Crystal Palace, London, 10 November 1883)
1884 - Symphony No. 4 in B flat minor, The Welsh (St James's Hall, London, 28 May 1884)
1886 - March (Folkestone Exhibition, Folkestone, May 1886)
1886 - Overture in D (Liverpool Exhibition, Liverpool, 11 May 1886)
1887 - Symphony No. 5 in F (Guildhall, Cambridge, 9 June 1887)
1896 - In Fairyland, suite de ballet (St James's Hall, London, 6 May 1896)
1896 - Four English Dances in the Olden Style (St James's Hall, London, 11 May 1896)
1897 - Symphony No. 6 in E, Idyllic (St James's Hall, London, 31 May 1897)
1901 - The Butterfly's Ball, concert overture (Queen's Hall, London, 2 March 1901)
1901 - A Phantasy of Life and Love, orchestral poem (Three Choirs Festival, Gloucester, 11 September 1901)
1902 - Coronation March (Queen's Hall, London, 29 March 1902)
1903 - Indian Rhapsody (Three Choirs Festival, Hereford, 9 September 1903)
1903 - Two Pieces: Childhood and Girlhood for small orchestra
1903 - Reverie (Edinburgh, December 1903)
1905 - A Suite of Old English Dances (City Hall, Candleriggs, Glasgow, 27 January 1906)
1912 - The Months, twelve sketches
1914 - The Language of Flowers, second suite de ballet (Queen's Hall, London, 19 September 1914)
1934 - The Magic Goblet – The Luck of Edenhall (BBC Studio, London, 9 June 1934)
1934 - Miniature Variations (Humoresque) (BBC Studio, London, 20 April 1935)
Instrumental soloist and orchestra
1869 - Piano Concerto in A minor (St James's Hall, London, 9 December 1869)
1897 - Concertstück, for piano and orchestra (Queen's Hall, London, 28 June 1900)
Oratorio and cantata
1870 - The Rose Maiden, cantata (St James's Hall, London, November 1870)
1876 - The Corsair, dramatic cantata (Birmingham Festival, 29 August 1876)
1878 - The Deluge, oratorio (Brighton Festival, 28 February 1878)
1881 - St. Ursula, sacred cantata (Norwich Festival, 13 October 1881)
1885 - Sleeping Beauty, cantata (Birmingham Festival, 25 August 1885)
1887 - Ruth, dramatic oratorio (Three Choirs Festival, Worcester, 8 September 1887)
1889 - St John's Eve, cantata (Crystal Palace, London, 14 December 1889)
1893 - The Water-Lily, cantata (Norwich Festival, 6 October 1893)
1895 - The Transfiguration, church cantata (Three Choirs Festival, Gloucester, 15 September 1895)
1898 - Ode to the Passions, cantata (Leeds Festival, 8 October 1898)
1900 - Jephthah, oratorio (unfinished)
1904 - John Gilpin, cantata (Cardiff Festival, 23 September 1904)
1910 - The Veil, ethical cantata (Cardiff Festival, 20 September 1910)
Other choral
1888 - A Song of Thanksgiving, commemoration ode for chorus and orchestra (Melbourne Centennial Exhibition, Melbourne, Australia, 1 August 1888)
1890 - In Memoriam Carl Rosa, ode for triple-quartet, chorus and orchestra (Liverpool, November 1890)
1891 - The Fairies' Spring, for female voices and piano
1893 - Village Scenes, for female voices and piano
1893 - Summer on the River, for female voices and piano
1893 - The Promise of Life, arrangement of song for tenor soloist, male chorus and piano
1894 - Christmas Scenes, for female voices and piano
1895 - The Rose of Life, for female voices and piano
1896 - A Daughter of the Sea, for female voices and piano
1897 - All Hail the Glorious Reign, commemoration ode for chorus and orchestra (Earl's Court, London, 24 May 1897)
1902 - Coronation Ode, ode for soprano, chorus and orchestra (Norwich Festival, 22 October 1902)
1907 - He Giveth His Belovèd Sleep for contralto, chorus and orchestra (Cardiff Festival, 27 September 1907)
1914 - What shall we dance?, arrangement of part-song for chorus and orchestra
Vocal soloist and orchestra
1897 - The Dream of Endymion, scena for tenor and orchestra (Queen's Hall, London, 17 June 1897)
Chamber music
1865 - Piano Trio No. 1 in A major (Dudley House, Park Lane, London, 22 June 1865)
1868 - Piano Trio No. 2 in A minor
1866 - String Quartet in C minor (Conservatorium, Leipzig, 14 January 1866)
Works for solo piano
1863 - Lied ohne worte (Her Majesty's Theatre, London, 17 December 1863)
1864 - Sonata
1912 - The Months, Twelve Sketches
Songs
The following are among over 300 songs written by Cowen:
Border Ballad
I will give you Rest
Buttercups and Daisies
When the Worlds is Fair
The Voice of the Father
The Swallows
Promise of Life
The Chimney Corner
The Reaper and the Flowers
The Better Land
Spinning
It was a DreamAt least two songs, It was a Dream and Almost, had lyrics by R. E. Francillon.
Scores and manuscripts
Most of Cowen's works were published in one form or another although several have been lost.
The following major scores were published: Novello, Ewer & Co., London, issued full orchestral scores of Symphony No.4, Sleeping Beauty, Ruth, Symphony No.5, Four English Dances in the Olden Style, The Butterfly's Ball, the Coronation March, the Two Pieces, Reverie, John Gilpin and A Suite of Old English Dances together with vocal scores of Sleeping Beauty, Ruth, A Song of Thanksgiving, St John's Eve, Thorgrim, The Water-Lily, Village Scenes, Summer on the River, Christmas Scenes, The Rose of Life, A Daughter of the Sea, All Hail the Glorious Reign, The Dream of Endymion, Ode to the Passions, the Coronation Ode, John Gilpin, He Giveth His Beloved Sleep, The Veil and What shall we dance?, together with several piano arrangements including The Months and a piano duet arrangement of Symphony No.4; Metzler & Co., London, issued full orchestral scores of the first The Language of Flowers suite, In Fairyland and the second The Language of Flowers suite together with the vocal score of Saint Ursula and a piano selection from Monica's Blue Boy; Boosey & Co., London, issued the full orchestral score of the Indian Rhapsody, together with vocal scores of Garibaldi, The Rose Maiden, The Corsair, Pauline, The Promise of Life and The Transfiguration; Breitkopf and Härtel, Leipzig, issued the full orchestral score of Symphony No.6; Joseph Williams, London, issued full orchestral scores of A Phantasy of Life and Love and the Concertstück together with the vocal score of Harold, a selection from One Too Many and a piano suite from Cupid's Conspiracy; E. Ascherberg & Co., London, issued the vocal score of Signa; Albert J. Gutmann, Vienna, issued the full scores of Symphony No.3 and Deux Morceaux together with a piano duet arrangement of Symphony No.3; Robert Cocks & Co., London, issued the vocal score of The Fairies' Spring.
Many of Cowen's unpublished orchestral manuscripts, together with the relevant orchestral performing material, are presumed lost including the Piano Concerto, the first two symphonies, the 1866 Overture, the Festival Overture, The Maid of Orleans, One Too Many, The Corsair, The Deluge, Saint Ursula, Pauline, the Sinfonietta, Niagara, In the Olden Time, the Barbaric March, the 1886 March, the 1886 Overture, A Song of Thanksgiving, St John's Eve, Thorgrim, the ode In Memoriam Carl Rosa, Signa, Harold, The Transfiguration, Jephthah and the complete version of The Magic Goblet - The Luck of Edenhall.
Several significant manuscripts have, however, survived: the full orchestral score of The Water-Lily is held by The British Library, London (Add.Ms 50767) together with the Comedy-Opera (Add.Ms 52426); the full orchestral scores of Four English Dances in the Olden Style, The Dream of Endymion, All hail the glorious reign, Ode to the Passions, The Butterfly’s Ball, the Coronation Ode, the Coronation March, John Gilpin, A Suite of Old English Dances, He Giveth His Beloved Sleep, The Veil, The Months and What shall we dance? are held by the Library of the Royal College of Music, London (Add.Mss 5058a-p) together with the full orchestral score of the Miniature Variations (Humoreque) (Add.Ms 9015) and the vocal score of the ode In Memoriam Carl Rosa (Add.Ms 7425); the full orchestral scores of The Enchanted Cottage (incomplete) and The Magic Goblet - The Luck of Edenhall (incomplete), together with thirteen numbers either in vocal or piano score from The Spirit of Carnival and a short score, drafts and sketches for the Miniature Variations (Humoresque) (all Mss Mus.b.45) are held by the Bodleian Library, Oxford; the full orchestral score of The Rose Maiden is held by the Thomas Fisher Rare Book Library, University of Toronto, Ontario, Canada (Music Mss 0028).
Notes
References
Frederic Cowen at AllMusic
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Cowen, Frederic Hymen". Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. p. 346.
Further reading
Palmer, Fiona M. (2017). Conductors in Britain 1870–1914: Wielding the Baton at the Height of Empire. Woodbridge, Suffolk: Boydell and Brewer. ISBN 978-1-783-27145-0.
External links
Free scores by Frederic Hymen Cowen at the International Music Score Library Project (IMSLP)
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 1. University of Durham.
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 2. University of Durham.
Monica's Blue-Boy by Arthur Wing Pinero and Frederic Cowen on Great War Theatre
|
languages spoken, written or signed
|
{
"answer_start": [
68
],
"text": [
"English"
]
}
|
Sir Frederic Hymen Cowen (29 January 1852 – 6 October 1935), was an English composer, conductor and pianist.
Early years and musical education
Cowen was born Hymen Frederick Cohen at 90 Duke Street, Kingston, Jamaica, the fifth and last child of Frederick Augustus Cohen and Emily Cohen née Davis. His siblings were Elizabeth Rose Cohen (b. 1843); actress, Henrietta Sophia Cohen (b. 1845); painter, Lionel Jonas Cohen (b. 1847), and Emma Magnay Cohen (b. 1849).
At the age of four years Frederic was brought to England, where his father became treasurer to the opera at Her Majesty's Opera, now Her Majesty's Theatre, and private secretary to William Humble Ward, 11th Lord Ward (1817–1885). The family initially lived at 11 Warwick Crescent, London, in the area known as Little Venice. His first teacher was Henry Russell, and his first published composition, Minna-waltz, appeared when he was only six years old. He produced his first published operetta, Garibaldi, at the age of eight. With the help of the Earl of Dudley, he studied the piano with Julius Benedict, and composition with John Goss.His first public appearance as a pianist was as an accompanist in one of his own early songs sung by Mrs Drayton at a concert in Brighton in the early 1860s. His first genuine public recital was given on 17 December 1863 at the Bijou Theatre of the old Her Majesty's Opera House, and in the following year he performed Mendelssohn's Piano Concerto in D minor at a concert given at Dudley House, Park Lane, the London home of the Earl of Dudley. At the same venue a year later he premiered his Pianoforte Trio in A major with Joseph Joachim playing the violin part.
By Autumn 1865, it was the judgment of his instructors, Julius Benedict and John Goss, that they could do little more to further his musical education and recommended that he study in Germany. By coincidence the second competition for the Mendelssohn Scholarship was due to be held that gave its winner three years of tuition at the Leipzig Conservatorium. Cowen attended the examination and won the prize, but his parents intervened, as they were not prepared to give up control of him, as stipulated by the terms of the prize. Instead, they agreed to send him to the same institution, but as an independent student. Charles Swinnerton Heap was awarded the prize in his place. At Leipzig, overseen by Ernst Friedrich Eduard Richter, Cowen studied under Moritz Hauptmann (harmony and counterpoint), Ignaz Moscheles (piano), Carl Reinecke (composition) and Ferdinand David (ensemble work). He also came into contact with Salomon Jadassohn and Ernst Wenzel, and took some private piano lessons with Louis Plaidy. Cowen's fellow students and companions in Leipzig included Swinnerton Heap, Johan Svendsen, Oscar Beringer and Stephen Adams.In 1887, shortly after conducting his Scandinavian Symphony, he was taken ill with Scarlet fever and recovered at the specialist convalescent home of Mary Wardell in Stanmore.
Career
Returning home on the outbreak of the Austro-Prussian War, he appeared as a composer for the orchestra in an Overture in D minor played at Alfred Mellon's Promenade Concerts at Covent Garden on 8 September 1866. In the following autumn he went to Berlin, where he studied composition under Friedrich Kiel and Carl Taubert, and took piano lessons from Carl Tausig, enrolling at the academy created by Julius Stern, known as the Stern'sches Konservatorium. A symphony (his first in C minor) and a piano concerto (in A minor) were given in St. James's Hall on 9 December 1869, and from that moment Cowen began to be recognised as primarily a composer, his talents as a pianist being subordinate, although his public appearances were numerous for some time afterwards.His cantata, The Rose Maiden, was given at London in 1870, his Second Symphony in F major by the Royal Liverpool Philharmonic Society in 1872, and his first festival work, The Corsair, in 1876 at Birmingham. In that year his opera, Pauline, was given by the Carl Rosa Opera Company with moderate success. His most important work, his Symphony No. 3 in C minor, Scandinavian, which was first performed at St. James's Hall in 1880 and went on to establish itself for a decade as one of the most popular symphonic works in the repertoire, brought him some international recognition. Appearing in 1880, it proved to be the most regularly and widely performed British symphony until the arrival of Elgar's First. In 1884 he conducted five concerts of the Philharmonic Society of London, and in 1888, on the resignation of Arthur Sullivan, became the regular conductor of that society. His employment there came to an abrupt termination in 1892 when he apologised for any shortcomings in the orchestra's performance of Beethoven's Pastoral Symphony before they had rendered it, due to the lack of rehearsal time that he felt he had been given. The directors took umbrage at his remarks and did not renew his contract. In the year of his appointment to the Philharmonic Society, 1888, he went to Melbourne as the conductor of the daily concerts given in connection with the Exhibition there for the unprecedented sum of £5,000. In 1896, Cowen was appointed conductor of the Liverpool Philharmonic Society and of the Hallé Orchestra, succeeding Sir Charles Hallé. He was ousted from the Hallé after three years in favour of Hans Richter. In 1899, he was reappointed conductor of the Philharmonic Society of London. He also conducted the Bradford Festival Choral Society, the Bradford Permanent Orchestra, the Scottish Orchestra (now known as the Royal Scottish National Orchestra) and the Handel Festivals at The Crystal Palace for some years, as well as being a regular attendee at many British music festivals, both as conductor and composer.
Cowen's career, both as composer and conductor, is now unjustly forgotten. He was one of the first British-born professional conductors to have the respect of critics, orchestral musicians, and the public, and he held lengthy tenures with every major British orchestra active before 1900. In addition, his six-month engagement with the Melbourne Exposition made him the most highly-paid conductor in history up to that time. Although he regarded himself primarily as a symphonist, he was most successful in lighter orchestral pieces when treating fantastic or fairy subjects, where his gifts for graceful melody and colourful orchestration are shown to best advantage. Whether in his cantatas for female voices, his charming Sleeping Beauty, his Water Lily or his pretty overture, The Butterfly's Ball (1901), he succeeds in finding graceful expression for the poetical idea. His dance music, such as is to be found in various orchestral suites, is refined, original and admirably instrumented. Much of his more serious music is commendable rather than inspired and seldom successful in portraying the graver aspects of emotion. Indeed, his choral works, written for the numerous musical festivals around Victorian and Edwardian Britain, typify the public taste of his time. Of his 300 or so songs, they encompass everything from the popular ballad to the high art song, the latter of which led him to be described as the 'English Schubert' in 1898. Indeed, the vogue of his semi-sacred songs has been widespread.
Cowen received honorary doctorates from Cambridge and Edinburgh in 1900 and 1910 respectively, and was knighted at St. James's Palace on 6 July 1911. Cowen married Frederica Gwendoline Richardson at St. Marylebone Registry Office, London, 23 June 1908. She was 30 years his junior and they had no issue. He died on 6 October 1935 and was buried at the Jewish Cemetery, Golders Green. His wife died at Hove, Sussex, in 1971.
Autobiography
Cowen, Sir Frederic H. My Art and My Friends. London: Edward Arnold, 1913.Cowen's autobiography details his conducting and compositional career, and experiences with musical colleagues and ensembles. 314 pages, with frontispiece photographic portrait, and an index.
Works
Opera and operetta
1860 - Garibaldi, operetta (Maida Hill, London, 4 February 1860)
1874 - One Too Many, comedietta (St George's Hall, London, 24 June 1874)
1876 - Pauline, opera (Lyceum Theatre, London, 22 November 1876)
1890 - Thorgrim, opera (Drury Lane Theatre, London, 22 April 1890)
1893 - Signa, opera (in 3 Acts, Teatro dal Verme, Milan, 12 November 1893 and later reduced to 2 Acts, Covent Garden Theatre, London, 30 June 1894)
1895 - Harold or the Norman Conquest, opera (Covent Garden Theatre, London, 8 June 1895)
1918 - The Spirit of Carnival, operetta (unfinished)
1921 - Comedy-Opera, comedy opera (unperformed)
Incidental music
1871 - The Maid of Orleans (Brighton Festival, February 1871)
1922 - The Enchanted Cottage (Duke of York's Theatre, London, 1922)
Other stage works
1917 - Monica's Blue Boy, pantomime (New Theatre, London, 1918)
1917 - Cupid's Conspiracy, comedy ballet (Coliseum Theatre, London, 31 December 1917)
Orchestral
1866 - Overture in D minor (Covent Garden Theatre, London, 8 September 1866)
1869 - Symphony No. 1 in C minor (St James's Hall, London, 9 December 1869)
1872 - Festival Overture (Norwich Festival, 17 September 1872)
1872 - Symphony No. 2 in F (Philharmonic Hall, Liverpool, 8 October 1872)
1880 - The Language of Flowers, [first] suite de ballet (St James's Hall, London, 27 November 1880)
1880 - Symphony No. 3 in C minor, Scandinavian (St James's Hall, London, 18 December 1880)
1881 - Sinfonietta in A major (St James's Hall, London, 12 May 1881)
1881 - Niagara, characteristic overture in C major (Crystal Palace, London, 22 October 1881)
1883 - In the Olden Time, suite in D for strings (Crystal Palace, London, 17 March 1883)
1883 - Barbaric March (Albert Hall, London, 1883)
1883 - Deux Morceaux: Melodie and A l'espagne (Crystal Palace, London, 10 November 1883)
1884 - Symphony No. 4 in B flat minor, The Welsh (St James's Hall, London, 28 May 1884)
1886 - March (Folkestone Exhibition, Folkestone, May 1886)
1886 - Overture in D (Liverpool Exhibition, Liverpool, 11 May 1886)
1887 - Symphony No. 5 in F (Guildhall, Cambridge, 9 June 1887)
1896 - In Fairyland, suite de ballet (St James's Hall, London, 6 May 1896)
1896 - Four English Dances in the Olden Style (St James's Hall, London, 11 May 1896)
1897 - Symphony No. 6 in E, Idyllic (St James's Hall, London, 31 May 1897)
1901 - The Butterfly's Ball, concert overture (Queen's Hall, London, 2 March 1901)
1901 - A Phantasy of Life and Love, orchestral poem (Three Choirs Festival, Gloucester, 11 September 1901)
1902 - Coronation March (Queen's Hall, London, 29 March 1902)
1903 - Indian Rhapsody (Three Choirs Festival, Hereford, 9 September 1903)
1903 - Two Pieces: Childhood and Girlhood for small orchestra
1903 - Reverie (Edinburgh, December 1903)
1905 - A Suite of Old English Dances (City Hall, Candleriggs, Glasgow, 27 January 1906)
1912 - The Months, twelve sketches
1914 - The Language of Flowers, second suite de ballet (Queen's Hall, London, 19 September 1914)
1934 - The Magic Goblet – The Luck of Edenhall (BBC Studio, London, 9 June 1934)
1934 - Miniature Variations (Humoresque) (BBC Studio, London, 20 April 1935)
Instrumental soloist and orchestra
1869 - Piano Concerto in A minor (St James's Hall, London, 9 December 1869)
1897 - Concertstück, for piano and orchestra (Queen's Hall, London, 28 June 1900)
Oratorio and cantata
1870 - The Rose Maiden, cantata (St James's Hall, London, November 1870)
1876 - The Corsair, dramatic cantata (Birmingham Festival, 29 August 1876)
1878 - The Deluge, oratorio (Brighton Festival, 28 February 1878)
1881 - St. Ursula, sacred cantata (Norwich Festival, 13 October 1881)
1885 - Sleeping Beauty, cantata (Birmingham Festival, 25 August 1885)
1887 - Ruth, dramatic oratorio (Three Choirs Festival, Worcester, 8 September 1887)
1889 - St John's Eve, cantata (Crystal Palace, London, 14 December 1889)
1893 - The Water-Lily, cantata (Norwich Festival, 6 October 1893)
1895 - The Transfiguration, church cantata (Three Choirs Festival, Gloucester, 15 September 1895)
1898 - Ode to the Passions, cantata (Leeds Festival, 8 October 1898)
1900 - Jephthah, oratorio (unfinished)
1904 - John Gilpin, cantata (Cardiff Festival, 23 September 1904)
1910 - The Veil, ethical cantata (Cardiff Festival, 20 September 1910)
Other choral
1888 - A Song of Thanksgiving, commemoration ode for chorus and orchestra (Melbourne Centennial Exhibition, Melbourne, Australia, 1 August 1888)
1890 - In Memoriam Carl Rosa, ode for triple-quartet, chorus and orchestra (Liverpool, November 1890)
1891 - The Fairies' Spring, for female voices and piano
1893 - Village Scenes, for female voices and piano
1893 - Summer on the River, for female voices and piano
1893 - The Promise of Life, arrangement of song for tenor soloist, male chorus and piano
1894 - Christmas Scenes, for female voices and piano
1895 - The Rose of Life, for female voices and piano
1896 - A Daughter of the Sea, for female voices and piano
1897 - All Hail the Glorious Reign, commemoration ode for chorus and orchestra (Earl's Court, London, 24 May 1897)
1902 - Coronation Ode, ode for soprano, chorus and orchestra (Norwich Festival, 22 October 1902)
1907 - He Giveth His Belovèd Sleep for contralto, chorus and orchestra (Cardiff Festival, 27 September 1907)
1914 - What shall we dance?, arrangement of part-song for chorus and orchestra
Vocal soloist and orchestra
1897 - The Dream of Endymion, scena for tenor and orchestra (Queen's Hall, London, 17 June 1897)
Chamber music
1865 - Piano Trio No. 1 in A major (Dudley House, Park Lane, London, 22 June 1865)
1868 - Piano Trio No. 2 in A minor
1866 - String Quartet in C minor (Conservatorium, Leipzig, 14 January 1866)
Works for solo piano
1863 - Lied ohne worte (Her Majesty's Theatre, London, 17 December 1863)
1864 - Sonata
1912 - The Months, Twelve Sketches
Songs
The following are among over 300 songs written by Cowen:
Border Ballad
I will give you Rest
Buttercups and Daisies
When the Worlds is Fair
The Voice of the Father
The Swallows
Promise of Life
The Chimney Corner
The Reaper and the Flowers
The Better Land
Spinning
It was a DreamAt least two songs, It was a Dream and Almost, had lyrics by R. E. Francillon.
Scores and manuscripts
Most of Cowen's works were published in one form or another although several have been lost.
The following major scores were published: Novello, Ewer & Co., London, issued full orchestral scores of Symphony No.4, Sleeping Beauty, Ruth, Symphony No.5, Four English Dances in the Olden Style, The Butterfly's Ball, the Coronation March, the Two Pieces, Reverie, John Gilpin and A Suite of Old English Dances together with vocal scores of Sleeping Beauty, Ruth, A Song of Thanksgiving, St John's Eve, Thorgrim, The Water-Lily, Village Scenes, Summer on the River, Christmas Scenes, The Rose of Life, A Daughter of the Sea, All Hail the Glorious Reign, The Dream of Endymion, Ode to the Passions, the Coronation Ode, John Gilpin, He Giveth His Beloved Sleep, The Veil and What shall we dance?, together with several piano arrangements including The Months and a piano duet arrangement of Symphony No.4; Metzler & Co., London, issued full orchestral scores of the first The Language of Flowers suite, In Fairyland and the second The Language of Flowers suite together with the vocal score of Saint Ursula and a piano selection from Monica's Blue Boy; Boosey & Co., London, issued the full orchestral score of the Indian Rhapsody, together with vocal scores of Garibaldi, The Rose Maiden, The Corsair, Pauline, The Promise of Life and The Transfiguration; Breitkopf and Härtel, Leipzig, issued the full orchestral score of Symphony No.6; Joseph Williams, London, issued full orchestral scores of A Phantasy of Life and Love and the Concertstück together with the vocal score of Harold, a selection from One Too Many and a piano suite from Cupid's Conspiracy; E. Ascherberg & Co., London, issued the vocal score of Signa; Albert J. Gutmann, Vienna, issued the full scores of Symphony No.3 and Deux Morceaux together with a piano duet arrangement of Symphony No.3; Robert Cocks & Co., London, issued the vocal score of The Fairies' Spring.
Many of Cowen's unpublished orchestral manuscripts, together with the relevant orchestral performing material, are presumed lost including the Piano Concerto, the first two symphonies, the 1866 Overture, the Festival Overture, The Maid of Orleans, One Too Many, The Corsair, The Deluge, Saint Ursula, Pauline, the Sinfonietta, Niagara, In the Olden Time, the Barbaric March, the 1886 March, the 1886 Overture, A Song of Thanksgiving, St John's Eve, Thorgrim, the ode In Memoriam Carl Rosa, Signa, Harold, The Transfiguration, Jephthah and the complete version of The Magic Goblet - The Luck of Edenhall.
Several significant manuscripts have, however, survived: the full orchestral score of The Water-Lily is held by The British Library, London (Add.Ms 50767) together with the Comedy-Opera (Add.Ms 52426); the full orchestral scores of Four English Dances in the Olden Style, The Dream of Endymion, All hail the glorious reign, Ode to the Passions, The Butterfly’s Ball, the Coronation Ode, the Coronation March, John Gilpin, A Suite of Old English Dances, He Giveth His Beloved Sleep, The Veil, The Months and What shall we dance? are held by the Library of the Royal College of Music, London (Add.Mss 5058a-p) together with the full orchestral score of the Miniature Variations (Humoreque) (Add.Ms 9015) and the vocal score of the ode In Memoriam Carl Rosa (Add.Ms 7425); the full orchestral scores of The Enchanted Cottage (incomplete) and The Magic Goblet - The Luck of Edenhall (incomplete), together with thirteen numbers either in vocal or piano score from The Spirit of Carnival and a short score, drafts and sketches for the Miniature Variations (Humoresque) (all Mss Mus.b.45) are held by the Bodleian Library, Oxford; the full orchestral score of The Rose Maiden is held by the Thomas Fisher Rare Book Library, University of Toronto, Ontario, Canada (Music Mss 0028).
Notes
References
Frederic Cowen at AllMusic
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Cowen, Frederic Hymen". Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. p. 346.
Further reading
Palmer, Fiona M. (2017). Conductors in Britain 1870–1914: Wielding the Baton at the Height of Empire. Woodbridge, Suffolk: Boydell and Brewer. ISBN 978-1-783-27145-0.
External links
Free scores by Frederic Hymen Cowen at the International Music Score Library Project (IMSLP)
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 1. University of Durham.
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 2. University of Durham.
Monica's Blue-Boy by Arthur Wing Pinero and Frederic Cowen on Great War Theatre
|
name in native language
|
{
"answer_start": [
4
],
"text": [
"Frederic Hymen Cowen"
]
}
|
HMSAS Bloemfontein was an Algerine-class minesweeper built for the Royal Navy in Canada during World War II. The ship was originally named Rosamund (pennant number: J439) and spent several years clearing minefields in Europe after she was completed in 1945 before she was placed in reserve. Rosamund was purchased by South Africa in 1947 and later renamed HMSAS Bloemfontein.
The ship spent most of its early career in the South African Navy training or making good-will visits to foreign countries. She was laid up in the late 1950s and was recommissioned in 1961 to serve as an interim training ship until the shore-based training establishment then under construction was completed. This occurred in 1963 and Bloemfontein returned briefly to reserve before she was deemed surplus to requirements. The ship was sunk as a target in 1967.
Description
Bloemfontein displaced 950 long tons (965 t) at standard load and 1,250 long tons (1,270 t) at deep load. The ship had an overall length of 225 feet (68.6 m), a beam of 35 feet 6 inches (10.8 m) and a deep draught of 12 feet 3 inches (3.7 m). She was powered by a pair of vertical triple-expansion steam engines, each driving one propeller shaft, using steam provided by two Admiralty three-drum boilers. The engines developed a total of 2,400 indicated horsepower (1,800 kW) which gave a maximum speed of 16.5 knots (30.6 km/h; 19.0 mph). The ship carried 230 long tons (234 t) of fuel oil that she had a range of 5,000 nautical miles (9,300 km; 5,800 mi) at 10 knots (19 km/h; 12 mph). The ship was armed with a single four-inch (102 mm) Mk V dual-purpose gun and two twin and two single mounts for Oerlikon 20-millimetre (0.8 in) light anti-aircraft (AA) guns. For anti-submarine work, Bloemfontein was fitted with two depth charge rails, and four depth charge throwers for 92 depth charges. The ship was also equipped with a Type 271 surface-search radar and a Type 291 air-search radar. Her crew numbered 85 officers and ratings.
Construction and career
Bloemfontein was ordered on 15 March 1943 from the Port Arthur Shipbuilding Company of Port Arthur, Ontario, Canada, and laid down on 26 April 1944 with the name of Rosamund. The ship was the first of her name to serve in the Royal Navy. She was launched on 20 December and completed six months later on 10 July 1945. The ship was assigned to clear the coastal waters of Western Europe of minefields laid during the war and did so until she was laid up in 1947 at Devonport Royal Dockyard. Rosamund was purchased by the South African Navy later that year, together with her sister ship, Pelorus. The sisters departed England on 22 November after a refresher course at the minesweeping school at HMS Lochinvar, Port Edgar, Scotland. They arrived at Cape Town on 24 December, making stops at Gibraltar, Freetown and Walvis Bay en route.Rosamund was rechristened as Bloemfontein in East London during that city's centenary celebrations in mid-1948. In August she made her first supply run to Marion Island. In November of that year, the sisters exercised with the British 3rd Aircraft Carrier Squadron. Later that month, together with the frigate Natal, they visited ports in Portuguese Mozambique, returning to Durban on 12 December. The sisters were placed in reserve in the late 1950s, after the navy had purchased 10 Ton-class minesweepers. Bloemfontein was recommissioned in April 1961 to serve as a stationary training ship in Simon's Town until the navy's training facility SAS Simonsberg was completed in July 1963. The navy decided that the ship was no longer needed and she was stripped of useful equipment before being sunk as a target in False Bay by the frigate President Kruger and the minesweeper SAS Johannesburg on 5 June 1967.
Citations
References
Colledge, J. J.; Warlow, Ben (2006) [1969]. Ships of the Royal Navy: The Complete Record of all Fighting Ships of the Royal Navy (Rev. ed.). London: Chatham Publishing. ISBN 978-1-86176-281-8.
Du Toit, Allan (1992). South Africa's Fighting Ships: Past and Present. Rivonia, South Africa: Ashanti Publishing. ISBN 1-874800-50-2.
Gardiner, Robert; Chumbley, Stephen & Budzbon, Przemysław (1995). Conway's All the World's Fighting Ships 1947–1995. Annapolis, Maryland: Naval Institute Press. ISBN 1-55750-132-7.
Lenton, H. T. (1998). British & Empire Warships of the Second World War. Annapolis, Maryland: Naval Institute Press. ISBN 1-55750-048-7.
External links
HMS Rosamund at uboat.net
Flag-showing cruises of the South African Navy Archived 28 May 2019 at the Wayback Machine
Dive site article for the SAS Bloemfontein on Wikivoyage
|
instance of
|
{
"answer_start": [
113
],
"text": [
"ship"
]
}
|
HMSAS Bloemfontein was an Algerine-class minesweeper built for the Royal Navy in Canada during World War II. The ship was originally named Rosamund (pennant number: J439) and spent several years clearing minefields in Europe after she was completed in 1945 before she was placed in reserve. Rosamund was purchased by South Africa in 1947 and later renamed HMSAS Bloemfontein.
The ship spent most of its early career in the South African Navy training or making good-will visits to foreign countries. She was laid up in the late 1950s and was recommissioned in 1961 to serve as an interim training ship until the shore-based training establishment then under construction was completed. This occurred in 1963 and Bloemfontein returned briefly to reserve before she was deemed surplus to requirements. The ship was sunk as a target in 1967.
Description
Bloemfontein displaced 950 long tons (965 t) at standard load and 1,250 long tons (1,270 t) at deep load. The ship had an overall length of 225 feet (68.6 m), a beam of 35 feet 6 inches (10.8 m) and a deep draught of 12 feet 3 inches (3.7 m). She was powered by a pair of vertical triple-expansion steam engines, each driving one propeller shaft, using steam provided by two Admiralty three-drum boilers. The engines developed a total of 2,400 indicated horsepower (1,800 kW) which gave a maximum speed of 16.5 knots (30.6 km/h; 19.0 mph). The ship carried 230 long tons (234 t) of fuel oil that she had a range of 5,000 nautical miles (9,300 km; 5,800 mi) at 10 knots (19 km/h; 12 mph). The ship was armed with a single four-inch (102 mm) Mk V dual-purpose gun and two twin and two single mounts for Oerlikon 20-millimetre (0.8 in) light anti-aircraft (AA) guns. For anti-submarine work, Bloemfontein was fitted with two depth charge rails, and four depth charge throwers for 92 depth charges. The ship was also equipped with a Type 271 surface-search radar and a Type 291 air-search radar. Her crew numbered 85 officers and ratings.
Construction and career
Bloemfontein was ordered on 15 March 1943 from the Port Arthur Shipbuilding Company of Port Arthur, Ontario, Canada, and laid down on 26 April 1944 with the name of Rosamund. The ship was the first of her name to serve in the Royal Navy. She was launched on 20 December and completed six months later on 10 July 1945. The ship was assigned to clear the coastal waters of Western Europe of minefields laid during the war and did so until she was laid up in 1947 at Devonport Royal Dockyard. Rosamund was purchased by the South African Navy later that year, together with her sister ship, Pelorus. The sisters departed England on 22 November after a refresher course at the minesweeping school at HMS Lochinvar, Port Edgar, Scotland. They arrived at Cape Town on 24 December, making stops at Gibraltar, Freetown and Walvis Bay en route.Rosamund was rechristened as Bloemfontein in East London during that city's centenary celebrations in mid-1948. In August she made her first supply run to Marion Island. In November of that year, the sisters exercised with the British 3rd Aircraft Carrier Squadron. Later that month, together with the frigate Natal, they visited ports in Portuguese Mozambique, returning to Durban on 12 December. The sisters were placed in reserve in the late 1950s, after the navy had purchased 10 Ton-class minesweepers. Bloemfontein was recommissioned in April 1961 to serve as a stationary training ship in Simon's Town until the navy's training facility SAS Simonsberg was completed in July 1963. The navy decided that the ship was no longer needed and she was stripped of useful equipment before being sunk as a target in False Bay by the frigate President Kruger and the minesweeper SAS Johannesburg on 5 June 1967.
Citations
References
Colledge, J. J.; Warlow, Ben (2006) [1969]. Ships of the Royal Navy: The Complete Record of all Fighting Ships of the Royal Navy (Rev. ed.). London: Chatham Publishing. ISBN 978-1-86176-281-8.
Du Toit, Allan (1992). South Africa's Fighting Ships: Past and Present. Rivonia, South Africa: Ashanti Publishing. ISBN 1-874800-50-2.
Gardiner, Robert; Chumbley, Stephen & Budzbon, Przemysław (1995). Conway's All the World's Fighting Ships 1947–1995. Annapolis, Maryland: Naval Institute Press. ISBN 1-55750-132-7.
Lenton, H. T. (1998). British & Empire Warships of the Second World War. Annapolis, Maryland: Naval Institute Press. ISBN 1-55750-048-7.
External links
HMS Rosamund at uboat.net
Flag-showing cruises of the South African Navy Archived 28 May 2019 at the Wayback Machine
Dive site article for the SAS Bloemfontein on Wikivoyage
|
operator
|
{
"answer_start": [
67
],
"text": [
"Royal Navy"
]
}
|
HMSAS Bloemfontein was an Algerine-class minesweeper built for the Royal Navy in Canada during World War II. The ship was originally named Rosamund (pennant number: J439) and spent several years clearing minefields in Europe after she was completed in 1945 before she was placed in reserve. Rosamund was purchased by South Africa in 1947 and later renamed HMSAS Bloemfontein.
The ship spent most of its early career in the South African Navy training or making good-will visits to foreign countries. She was laid up in the late 1950s and was recommissioned in 1961 to serve as an interim training ship until the shore-based training establishment then under construction was completed. This occurred in 1963 and Bloemfontein returned briefly to reserve before she was deemed surplus to requirements. The ship was sunk as a target in 1967.
Description
Bloemfontein displaced 950 long tons (965 t) at standard load and 1,250 long tons (1,270 t) at deep load. The ship had an overall length of 225 feet (68.6 m), a beam of 35 feet 6 inches (10.8 m) and a deep draught of 12 feet 3 inches (3.7 m). She was powered by a pair of vertical triple-expansion steam engines, each driving one propeller shaft, using steam provided by two Admiralty three-drum boilers. The engines developed a total of 2,400 indicated horsepower (1,800 kW) which gave a maximum speed of 16.5 knots (30.6 km/h; 19.0 mph). The ship carried 230 long tons (234 t) of fuel oil that she had a range of 5,000 nautical miles (9,300 km; 5,800 mi) at 10 knots (19 km/h; 12 mph). The ship was armed with a single four-inch (102 mm) Mk V dual-purpose gun and two twin and two single mounts for Oerlikon 20-millimetre (0.8 in) light anti-aircraft (AA) guns. For anti-submarine work, Bloemfontein was fitted with two depth charge rails, and four depth charge throwers for 92 depth charges. The ship was also equipped with a Type 271 surface-search radar and a Type 291 air-search radar. Her crew numbered 85 officers and ratings.
Construction and career
Bloemfontein was ordered on 15 March 1943 from the Port Arthur Shipbuilding Company of Port Arthur, Ontario, Canada, and laid down on 26 April 1944 with the name of Rosamund. The ship was the first of her name to serve in the Royal Navy. She was launched on 20 December and completed six months later on 10 July 1945. The ship was assigned to clear the coastal waters of Western Europe of minefields laid during the war and did so until she was laid up in 1947 at Devonport Royal Dockyard. Rosamund was purchased by the South African Navy later that year, together with her sister ship, Pelorus. The sisters departed England on 22 November after a refresher course at the minesweeping school at HMS Lochinvar, Port Edgar, Scotland. They arrived at Cape Town on 24 December, making stops at Gibraltar, Freetown and Walvis Bay en route.Rosamund was rechristened as Bloemfontein in East London during that city's centenary celebrations in mid-1948. In August she made her first supply run to Marion Island. In November of that year, the sisters exercised with the British 3rd Aircraft Carrier Squadron. Later that month, together with the frigate Natal, they visited ports in Portuguese Mozambique, returning to Durban on 12 December. The sisters were placed in reserve in the late 1950s, after the navy had purchased 10 Ton-class minesweepers. Bloemfontein was recommissioned in April 1961 to serve as a stationary training ship in Simon's Town until the navy's training facility SAS Simonsberg was completed in July 1963. The navy decided that the ship was no longer needed and she was stripped of useful equipment before being sunk as a target in False Bay by the frigate President Kruger and the minesweeper SAS Johannesburg on 5 June 1967.
Citations
References
Colledge, J. J.; Warlow, Ben (2006) [1969]. Ships of the Royal Navy: The Complete Record of all Fighting Ships of the Royal Navy (Rev. ed.). London: Chatham Publishing. ISBN 978-1-86176-281-8.
Du Toit, Allan (1992). South Africa's Fighting Ships: Past and Present. Rivonia, South Africa: Ashanti Publishing. ISBN 1-874800-50-2.
Gardiner, Robert; Chumbley, Stephen & Budzbon, Przemysław (1995). Conway's All the World's Fighting Ships 1947–1995. Annapolis, Maryland: Naval Institute Press. ISBN 1-55750-132-7.
Lenton, H. T. (1998). British & Empire Warships of the Second World War. Annapolis, Maryland: Naval Institute Press. ISBN 1-55750-048-7.
External links
HMS Rosamund at uboat.net
Flag-showing cruises of the South African Navy Archived 28 May 2019 at the Wayback Machine
Dive site article for the SAS Bloemfontein on Wikivoyage
|
vessel class
|
{
"answer_start": [
26
],
"text": [
"Algerine-class minesweeper"
]
}
|
Henry O'Brien, 5th Earl of Thomond PC (Ire) (1588–1639), styled Lord Ibrickane until 1624, was summoned to the House of Lords of the Irish Parliament of 1613–1615.
Birth and origins
Henry was born the eldest son of Donogh O'Brien and Elizabeth FitzGerald. His father was the 4th Earl of Thomond. His father's family were the O'Briens, an important Gaelic Irish dynasty, that descended from Brian Boru, medieval high king of Ireland.Henry's mother was the fourth daughter of Gerald FitzGerald, 11th Earl of Kildare and his wife Mabel Brown.
Marriage and children
On 13 July 1608 O'Brien married Mary Brereton, a rich heiress, the only daughter of William Brereton, 1st Baron Brereton and Margaret Savage.
Henry and Mary had five daughters:
Mary (died 1686) married, on 24 June 1627, Charles Cokayne, 1st Viscount Cullen
Margaret, who married first Edward Somerset, 2nd Marquess of Worcester and secondly Donough Kearney
Elisabeth (1656–1659) married, on 21 August 1636, Dutton Gerard, 3rd Baron Gerard (1613–1640), grandson of Thomas Gerard, 1st Baron Gerard
Anne (died 1645) married, in 1641, Henry O'Brien, 7th Earl of Thomond
Honora married first Sir Francis Inglefield, knight of Wotton-Bassett, and secondly Sir Robert Howard, knight, son of the Earl of Berkshire
House of Lords
O'Brien was summoned on 3 March 1613 as Lord Ibrickane to the Irish House of Lords of the Irish Parliament of 1613–1615, the only parliament of King James I in Ireland.
5th Earl
Ibrickane succeeded his father on 5 September 1624 as the 5th Earl of Thomond.
Death
Thomond died in 1639 and was buried in St Mary's Cathedral, Limerick. He had no son and was succeeded in his titles by his brother Barnabas O'Brien, 6th Earl of Thomond.
Notes and references
Notes
Citations
=== Sources ===
|
spouse
|
{
"answer_start": [
596
],
"text": [
"Mary Brereton"
]
}
|
Henry O'Brien, 5th Earl of Thomond PC (Ire) (1588–1639), styled Lord Ibrickane until 1624, was summoned to the House of Lords of the Irish Parliament of 1613–1615.
Birth and origins
Henry was born the eldest son of Donogh O'Brien and Elizabeth FitzGerald. His father was the 4th Earl of Thomond. His father's family were the O'Briens, an important Gaelic Irish dynasty, that descended from Brian Boru, medieval high king of Ireland.Henry's mother was the fourth daughter of Gerald FitzGerald, 11th Earl of Kildare and his wife Mabel Brown.
Marriage and children
On 13 July 1608 O'Brien married Mary Brereton, a rich heiress, the only daughter of William Brereton, 1st Baron Brereton and Margaret Savage.
Henry and Mary had five daughters:
Mary (died 1686) married, on 24 June 1627, Charles Cokayne, 1st Viscount Cullen
Margaret, who married first Edward Somerset, 2nd Marquess of Worcester and secondly Donough Kearney
Elisabeth (1656–1659) married, on 21 August 1636, Dutton Gerard, 3rd Baron Gerard (1613–1640), grandson of Thomas Gerard, 1st Baron Gerard
Anne (died 1645) married, in 1641, Henry O'Brien, 7th Earl of Thomond
Honora married first Sir Francis Inglefield, knight of Wotton-Bassett, and secondly Sir Robert Howard, knight, son of the Earl of Berkshire
House of Lords
O'Brien was summoned on 3 March 1613 as Lord Ibrickane to the Irish House of Lords of the Irish Parliament of 1613–1615, the only parliament of King James I in Ireland.
5th Earl
Ibrickane succeeded his father on 5 September 1624 as the 5th Earl of Thomond.
Death
Thomond died in 1639 and was buried in St Mary's Cathedral, Limerick. He had no son and was succeeded in his titles by his brother Barnabas O'Brien, 6th Earl of Thomond.
Notes and references
Notes
Citations
=== Sources ===
|
family name
|
{
"answer_start": [
6
],
"text": [
"O'Brien"
]
}
|
Henry O'Brien, 5th Earl of Thomond PC (Ire) (1588–1639), styled Lord Ibrickane until 1624, was summoned to the House of Lords of the Irish Parliament of 1613–1615.
Birth and origins
Henry was born the eldest son of Donogh O'Brien and Elizabeth FitzGerald. His father was the 4th Earl of Thomond. His father's family were the O'Briens, an important Gaelic Irish dynasty, that descended from Brian Boru, medieval high king of Ireland.Henry's mother was the fourth daughter of Gerald FitzGerald, 11th Earl of Kildare and his wife Mabel Brown.
Marriage and children
On 13 July 1608 O'Brien married Mary Brereton, a rich heiress, the only daughter of William Brereton, 1st Baron Brereton and Margaret Savage.
Henry and Mary had five daughters:
Mary (died 1686) married, on 24 June 1627, Charles Cokayne, 1st Viscount Cullen
Margaret, who married first Edward Somerset, 2nd Marquess of Worcester and secondly Donough Kearney
Elisabeth (1656–1659) married, on 21 August 1636, Dutton Gerard, 3rd Baron Gerard (1613–1640), grandson of Thomas Gerard, 1st Baron Gerard
Anne (died 1645) married, in 1641, Henry O'Brien, 7th Earl of Thomond
Honora married first Sir Francis Inglefield, knight of Wotton-Bassett, and secondly Sir Robert Howard, knight, son of the Earl of Berkshire
House of Lords
O'Brien was summoned on 3 March 1613 as Lord Ibrickane to the Irish House of Lords of the Irish Parliament of 1613–1615, the only parliament of King James I in Ireland.
5th Earl
Ibrickane succeeded his father on 5 September 1624 as the 5th Earl of Thomond.
Death
Thomond died in 1639 and was buried in St Mary's Cathedral, Limerick. He had no son and was succeeded in his titles by his brother Barnabas O'Brien, 6th Earl of Thomond.
Notes and references
Notes
Citations
=== Sources ===
|
given name
|
{
"answer_start": [
0
],
"text": [
"Henry"
]
}
|
Henry O'Brien, 5th Earl of Thomond PC (Ire) (1588–1639), styled Lord Ibrickane until 1624, was summoned to the House of Lords of the Irish Parliament of 1613–1615.
Birth and origins
Henry was born the eldest son of Donogh O'Brien and Elizabeth FitzGerald. His father was the 4th Earl of Thomond. His father's family were the O'Briens, an important Gaelic Irish dynasty, that descended from Brian Boru, medieval high king of Ireland.Henry's mother was the fourth daughter of Gerald FitzGerald, 11th Earl of Kildare and his wife Mabel Brown.
Marriage and children
On 13 July 1608 O'Brien married Mary Brereton, a rich heiress, the only daughter of William Brereton, 1st Baron Brereton and Margaret Savage.
Henry and Mary had five daughters:
Mary (died 1686) married, on 24 June 1627, Charles Cokayne, 1st Viscount Cullen
Margaret, who married first Edward Somerset, 2nd Marquess of Worcester and secondly Donough Kearney
Elisabeth (1656–1659) married, on 21 August 1636, Dutton Gerard, 3rd Baron Gerard (1613–1640), grandson of Thomas Gerard, 1st Baron Gerard
Anne (died 1645) married, in 1641, Henry O'Brien, 7th Earl of Thomond
Honora married first Sir Francis Inglefield, knight of Wotton-Bassett, and secondly Sir Robert Howard, knight, son of the Earl of Berkshire
House of Lords
O'Brien was summoned on 3 March 1613 as Lord Ibrickane to the Irish House of Lords of the Irish Parliament of 1613–1615, the only parliament of King James I in Ireland.
5th Earl
Ibrickane succeeded his father on 5 September 1624 as the 5th Earl of Thomond.
Death
Thomond died in 1639 and was buried in St Mary's Cathedral, Limerick. He had no son and was succeeded in his titles by his brother Barnabas O'Brien, 6th Earl of Thomond.
Notes and references
Notes
Citations
=== Sources ===
|
sibling
|
{
"answer_start": [
1684
],
"text": [
"Barnabas O'Brien, 6th Earl of Thomond"
]
}
|
Phil Boutelje (August 6, 1895, in Philadelphia – July 29, 1979, in Woodland Hills, Los Angeles) was an American pianist, songwriter, composer, author and conductor.
Biography
Boutelje received specialized music training at the Philadelphia Music Academy. He was a military bandmaster during World War I. Returning to civilian life, he played piano for several jazz groups, including Nick Lucas in 1922 and Paul Whiteman. He later arranged music for the Whiteman orchestra. By the early 1930s he had been lured to Hollywood, becoming music director for Paramount Pictures and United Artists.
Musical contributions
Boutelje composed considerable music for film soundtracks, not always receiving credit for his contributions. However, during his career he received two Academy Award nominations for his film contributions (in 1939 for The Great Victor Herbert, with Arthur Lange, and in 1943 for Hi Diddle Diddle).Boutelje became a member of ASCAP in 1930. His chief musical collaborators included Ned Washington, Dick Winfree, Harry Tobias, Rubey Cowan, Foster Carling and Al Dubin. His song compositions include "China Boy", "Blue Dawn", "Star of Hope", "Little Doll", "The Man With the Big Sombrero", "Teton Mountain Stomp", "I Loved You Too Little", "I Love You, Believe Me I Love You", "Hippy Happy Henny", "Monna Vanna", and "Lonesome".
Later life
In 1975 Boutelje married actress Babe London, whom he met after both retired to the Motion Picture Country Home at Woodland Hills, California. The Bouteljes lived their final years at the home, and he died there in 1979.
== References ==
|
place of birth
|
{
"answer_start": [
34
],
"text": [
"Philadelphia"
]
}
|
Phil Boutelje (August 6, 1895, in Philadelphia – July 29, 1979, in Woodland Hills, Los Angeles) was an American pianist, songwriter, composer, author and conductor.
Biography
Boutelje received specialized music training at the Philadelphia Music Academy. He was a military bandmaster during World War I. Returning to civilian life, he played piano for several jazz groups, including Nick Lucas in 1922 and Paul Whiteman. He later arranged music for the Whiteman orchestra. By the early 1930s he had been lured to Hollywood, becoming music director for Paramount Pictures and United Artists.
Musical contributions
Boutelje composed considerable music for film soundtracks, not always receiving credit for his contributions. However, during his career he received two Academy Award nominations for his film contributions (in 1939 for The Great Victor Herbert, with Arthur Lange, and in 1943 for Hi Diddle Diddle).Boutelje became a member of ASCAP in 1930. His chief musical collaborators included Ned Washington, Dick Winfree, Harry Tobias, Rubey Cowan, Foster Carling and Al Dubin. His song compositions include "China Boy", "Blue Dawn", "Star of Hope", "Little Doll", "The Man With the Big Sombrero", "Teton Mountain Stomp", "I Loved You Too Little", "I Love You, Believe Me I Love You", "Hippy Happy Henny", "Monna Vanna", and "Lonesome".
Later life
In 1975 Boutelje married actress Babe London, whom he met after both retired to the Motion Picture Country Home at Woodland Hills, California. The Bouteljes lived their final years at the home, and he died there in 1979.
== References ==
|
place of death
|
{
"answer_start": [
67
],
"text": [
"Woodland Hills"
]
}
|
Phil Boutelje (August 6, 1895, in Philadelphia – July 29, 1979, in Woodland Hills, Los Angeles) was an American pianist, songwriter, composer, author and conductor.
Biography
Boutelje received specialized music training at the Philadelphia Music Academy. He was a military bandmaster during World War I. Returning to civilian life, he played piano for several jazz groups, including Nick Lucas in 1922 and Paul Whiteman. He later arranged music for the Whiteman orchestra. By the early 1930s he had been lured to Hollywood, becoming music director for Paramount Pictures and United Artists.
Musical contributions
Boutelje composed considerable music for film soundtracks, not always receiving credit for his contributions. However, during his career he received two Academy Award nominations for his film contributions (in 1939 for The Great Victor Herbert, with Arthur Lange, and in 1943 for Hi Diddle Diddle).Boutelje became a member of ASCAP in 1930. His chief musical collaborators included Ned Washington, Dick Winfree, Harry Tobias, Rubey Cowan, Foster Carling and Al Dubin. His song compositions include "China Boy", "Blue Dawn", "Star of Hope", "Little Doll", "The Man With the Big Sombrero", "Teton Mountain Stomp", "I Loved You Too Little", "I Love You, Believe Me I Love You", "Hippy Happy Henny", "Monna Vanna", and "Lonesome".
Later life
In 1975 Boutelje married actress Babe London, whom he met after both retired to the Motion Picture Country Home at Woodland Hills, California. The Bouteljes lived their final years at the home, and he died there in 1979.
== References ==
|
spouse
|
{
"answer_start": [
1394
],
"text": [
"Babe London"
]
}
|
Phil Boutelje (August 6, 1895, in Philadelphia – July 29, 1979, in Woodland Hills, Los Angeles) was an American pianist, songwriter, composer, author and conductor.
Biography
Boutelje received specialized music training at the Philadelphia Music Academy. He was a military bandmaster during World War I. Returning to civilian life, he played piano for several jazz groups, including Nick Lucas in 1922 and Paul Whiteman. He later arranged music for the Whiteman orchestra. By the early 1930s he had been lured to Hollywood, becoming music director for Paramount Pictures and United Artists.
Musical contributions
Boutelje composed considerable music for film soundtracks, not always receiving credit for his contributions. However, during his career he received two Academy Award nominations for his film contributions (in 1939 for The Great Victor Herbert, with Arthur Lange, and in 1943 for Hi Diddle Diddle).Boutelje became a member of ASCAP in 1930. His chief musical collaborators included Ned Washington, Dick Winfree, Harry Tobias, Rubey Cowan, Foster Carling and Al Dubin. His song compositions include "China Boy", "Blue Dawn", "Star of Hope", "Little Doll", "The Man With the Big Sombrero", "Teton Mountain Stomp", "I Loved You Too Little", "I Love You, Believe Me I Love You", "Hippy Happy Henny", "Monna Vanna", and "Lonesome".
Later life
In 1975 Boutelje married actress Babe London, whom he met after both retired to the Motion Picture Country Home at Woodland Hills, California. The Bouteljes lived their final years at the home, and he died there in 1979.
== References ==
|
occupation
|
{
"answer_start": [
133
],
"text": [
"composer"
]
}
|
Phil Boutelje (August 6, 1895, in Philadelphia – July 29, 1979, in Woodland Hills, Los Angeles) was an American pianist, songwriter, composer, author and conductor.
Biography
Boutelje received specialized music training at the Philadelphia Music Academy. He was a military bandmaster during World War I. Returning to civilian life, he played piano for several jazz groups, including Nick Lucas in 1922 and Paul Whiteman. He later arranged music for the Whiteman orchestra. By the early 1930s he had been lured to Hollywood, becoming music director for Paramount Pictures and United Artists.
Musical contributions
Boutelje composed considerable music for film soundtracks, not always receiving credit for his contributions. However, during his career he received two Academy Award nominations for his film contributions (in 1939 for The Great Victor Herbert, with Arthur Lange, and in 1943 for Hi Diddle Diddle).Boutelje became a member of ASCAP in 1930. His chief musical collaborators included Ned Washington, Dick Winfree, Harry Tobias, Rubey Cowan, Foster Carling and Al Dubin. His song compositions include "China Boy", "Blue Dawn", "Star of Hope", "Little Doll", "The Man With the Big Sombrero", "Teton Mountain Stomp", "I Loved You Too Little", "I Love You, Believe Me I Love You", "Hippy Happy Henny", "Monna Vanna", and "Lonesome".
Later life
In 1975 Boutelje married actress Babe London, whom he met after both retired to the Motion Picture Country Home at Woodland Hills, California. The Bouteljes lived their final years at the home, and he died there in 1979.
== References ==
|
conflict
|
{
"answer_start": [
293
],
"text": [
"World War I"
]
}
|
Phil Boutelje (August 6, 1895, in Philadelphia – July 29, 1979, in Woodland Hills, Los Angeles) was an American pianist, songwriter, composer, author and conductor.
Biography
Boutelje received specialized music training at the Philadelphia Music Academy. He was a military bandmaster during World War I. Returning to civilian life, he played piano for several jazz groups, including Nick Lucas in 1922 and Paul Whiteman. He later arranged music for the Whiteman orchestra. By the early 1930s he had been lured to Hollywood, becoming music director for Paramount Pictures and United Artists.
Musical contributions
Boutelje composed considerable music for film soundtracks, not always receiving credit for his contributions. However, during his career he received two Academy Award nominations for his film contributions (in 1939 for The Great Victor Herbert, with Arthur Lange, and in 1943 for Hi Diddle Diddle).Boutelje became a member of ASCAP in 1930. His chief musical collaborators included Ned Washington, Dick Winfree, Harry Tobias, Rubey Cowan, Foster Carling and Al Dubin. His song compositions include "China Boy", "Blue Dawn", "Star of Hope", "Little Doll", "The Man With the Big Sombrero", "Teton Mountain Stomp", "I Loved You Too Little", "I Love You, Believe Me I Love You", "Hippy Happy Henny", "Monna Vanna", and "Lonesome".
Later life
In 1975 Boutelje married actress Babe London, whom he met after both retired to the Motion Picture Country Home at Woodland Hills, California. The Bouteljes lived their final years at the home, and he died there in 1979.
== References ==
|
family name
|
{
"answer_start": [
5
],
"text": [
"Boutelje"
]
}
|
Phil Boutelje (August 6, 1895, in Philadelphia – July 29, 1979, in Woodland Hills, Los Angeles) was an American pianist, songwriter, composer, author and conductor.
Biography
Boutelje received specialized music training at the Philadelphia Music Academy. He was a military bandmaster during World War I. Returning to civilian life, he played piano for several jazz groups, including Nick Lucas in 1922 and Paul Whiteman. He later arranged music for the Whiteman orchestra. By the early 1930s he had been lured to Hollywood, becoming music director for Paramount Pictures and United Artists.
Musical contributions
Boutelje composed considerable music for film soundtracks, not always receiving credit for his contributions. However, during his career he received two Academy Award nominations for his film contributions (in 1939 for The Great Victor Herbert, with Arthur Lange, and in 1943 for Hi Diddle Diddle).Boutelje became a member of ASCAP in 1930. His chief musical collaborators included Ned Washington, Dick Winfree, Harry Tobias, Rubey Cowan, Foster Carling and Al Dubin. His song compositions include "China Boy", "Blue Dawn", "Star of Hope", "Little Doll", "The Man With the Big Sombrero", "Teton Mountain Stomp", "I Loved You Too Little", "I Love You, Believe Me I Love You", "Hippy Happy Henny", "Monna Vanna", and "Lonesome".
Later life
In 1975 Boutelje married actress Babe London, whom he met after both retired to the Motion Picture Country Home at Woodland Hills, California. The Bouteljes lived their final years at the home, and he died there in 1979.
== References ==
|
given name
|
{
"answer_start": [
0
],
"text": [
"Phil"
]
}
|
Brian Anthony Wilson (born February 22, 1960) is an American film and television actor. He first appeared in the 1997 film The Postman as Woody. Wilson was born in Philadelphia, Pennsylvania. He has been married to Greer M. Richardson since 2005.
Filmography
Film
Television
Narrative podcasts
References
External links
Brian Anthony Wilson at IMDb
|
place of birth
|
{
"answer_start": [
164
],
"text": [
"Philadelphia"
]
}
|
Brian Anthony Wilson (born February 22, 1960) is an American film and television actor. He first appeared in the 1997 film The Postman as Woody. Wilson was born in Philadelphia, Pennsylvania. He has been married to Greer M. Richardson since 2005.
Filmography
Film
Television
Narrative podcasts
References
External links
Brian Anthony Wilson at IMDb
|
occupation
|
{
"answer_start": [
81
],
"text": [
"actor"
]
}
|
Brian Anthony Wilson (born February 22, 1960) is an American film and television actor. He first appeared in the 1997 film The Postman as Woody. Wilson was born in Philadelphia, Pennsylvania. He has been married to Greer M. Richardson since 2005.
Filmography
Film
Television
Narrative podcasts
References
External links
Brian Anthony Wilson at IMDb
|
family name
|
{
"answer_start": [
14
],
"text": [
"Wilson"
]
}
|
Brian Anthony Wilson (born February 22, 1960) is an American film and television actor. He first appeared in the 1997 film The Postman as Woody. Wilson was born in Philadelphia, Pennsylvania. He has been married to Greer M. Richardson since 2005.
Filmography
Film
Television
Narrative podcasts
References
External links
Brian Anthony Wilson at IMDb
|
given name
|
{
"answer_start": [
0
],
"text": [
"Brian"
]
}
|
Pirjo Hannele Ahonen (née Nieminen, previously Blomqvist; born 5 November 1970) is a Finnish retired ice hockey defenceman and bandy player and a former member of the Finnish women's national ice hockey team and national bandy team.
In ice hockey, she won a bronze medal with the Finnish national team at the 1999 IIHF Women's World Championship and competed in the women's ice hockey tournament at the 2002 Winter Olympics. Her ice hockey club career was played in the Naisten SM-sarja with KalPa Naiset, Tampereen Ilves Naiset, and JYP Jyväskylä Naiset, which was also known as the Jyväskylän Hockey Cats (JyHC) during her tenure.Ahonen holds the record for most games played with the Finnish women's national bandy team, appearing in 63 international matches with the team. Having represented Finland at a number of Women's Bandy World Championships, she won bronze medals at the tournaments in 2004, 2008, and 2012. Her bandy club career was played with Jyväskylän Seudun Palloseura (JPS), Botnia-69 Helsinki, Veiterä Lappeenranta, and Mikkelin Kampparit. Ahonen was named the Finnish Women's Bandy Player of the Year by the Finnish Bandy Association three times, in 2005, 2007, and 2012.
References
External links
Biographical information and career statistics from Eliteprospects.com, or Eurohockey.com
Pirjo Ahonen at the International Olympic Committee
Pirjo Ahonen at Olympedia
|
place of birth
|
{
"answer_start": [
539
],
"text": [
"Jyväskylä"
]
}
|
Pirjo Hannele Ahonen (née Nieminen, previously Blomqvist; born 5 November 1970) is a Finnish retired ice hockey defenceman and bandy player and a former member of the Finnish women's national ice hockey team and national bandy team.
In ice hockey, she won a bronze medal with the Finnish national team at the 1999 IIHF Women's World Championship and competed in the women's ice hockey tournament at the 2002 Winter Olympics. Her ice hockey club career was played in the Naisten SM-sarja with KalPa Naiset, Tampereen Ilves Naiset, and JYP Jyväskylä Naiset, which was also known as the Jyväskylän Hockey Cats (JyHC) during her tenure.Ahonen holds the record for most games played with the Finnish women's national bandy team, appearing in 63 international matches with the team. Having represented Finland at a number of Women's Bandy World Championships, she won bronze medals at the tournaments in 2004, 2008, and 2012. Her bandy club career was played with Jyväskylän Seudun Palloseura (JPS), Botnia-69 Helsinki, Veiterä Lappeenranta, and Mikkelin Kampparit. Ahonen was named the Finnish Women's Bandy Player of the Year by the Finnish Bandy Association three times, in 2005, 2007, and 2012.
References
External links
Biographical information and career statistics from Eliteprospects.com, or Eurohockey.com
Pirjo Ahonen at the International Olympic Committee
Pirjo Ahonen at Olympedia
|
country of citizenship
|
{
"answer_start": [
797
],
"text": [
"Finland"
]
}
|
Pirjo Hannele Ahonen (née Nieminen, previously Blomqvist; born 5 November 1970) is a Finnish retired ice hockey defenceman and bandy player and a former member of the Finnish women's national ice hockey team and national bandy team.
In ice hockey, she won a bronze medal with the Finnish national team at the 1999 IIHF Women's World Championship and competed in the women's ice hockey tournament at the 2002 Winter Olympics. Her ice hockey club career was played in the Naisten SM-sarja with KalPa Naiset, Tampereen Ilves Naiset, and JYP Jyväskylä Naiset, which was also known as the Jyväskylän Hockey Cats (JyHC) during her tenure.Ahonen holds the record for most games played with the Finnish women's national bandy team, appearing in 63 international matches with the team. Having represented Finland at a number of Women's Bandy World Championships, she won bronze medals at the tournaments in 2004, 2008, and 2012. Her bandy club career was played with Jyväskylän Seudun Palloseura (JPS), Botnia-69 Helsinki, Veiterä Lappeenranta, and Mikkelin Kampparit. Ahonen was named the Finnish Women's Bandy Player of the Year by the Finnish Bandy Association three times, in 2005, 2007, and 2012.
References
External links
Biographical information and career statistics from Eliteprospects.com, or Eurohockey.com
Pirjo Ahonen at the International Olympic Committee
Pirjo Ahonen at Olympedia
|
occupation
|
{
"answer_start": [
127
],
"text": [
"bandy player"
]
}
|
Pirjo Hannele Ahonen (née Nieminen, previously Blomqvist; born 5 November 1970) is a Finnish retired ice hockey defenceman and bandy player and a former member of the Finnish women's national ice hockey team and national bandy team.
In ice hockey, she won a bronze medal with the Finnish national team at the 1999 IIHF Women's World Championship and competed in the women's ice hockey tournament at the 2002 Winter Olympics. Her ice hockey club career was played in the Naisten SM-sarja with KalPa Naiset, Tampereen Ilves Naiset, and JYP Jyväskylä Naiset, which was also known as the Jyväskylän Hockey Cats (JyHC) during her tenure.Ahonen holds the record for most games played with the Finnish women's national bandy team, appearing in 63 international matches with the team. Having represented Finland at a number of Women's Bandy World Championships, she won bronze medals at the tournaments in 2004, 2008, and 2012. Her bandy club career was played with Jyväskylän Seudun Palloseura (JPS), Botnia-69 Helsinki, Veiterä Lappeenranta, and Mikkelin Kampparit. Ahonen was named the Finnish Women's Bandy Player of the Year by the Finnish Bandy Association three times, in 2005, 2007, and 2012.
References
External links
Biographical information and career statistics from Eliteprospects.com, or Eurohockey.com
Pirjo Ahonen at the International Olympic Committee
Pirjo Ahonen at Olympedia
|
sport
|
{
"answer_start": [
101
],
"text": [
"ice hockey"
]
}
|
Pirjo Hannele Ahonen (née Nieminen, previously Blomqvist; born 5 November 1970) is a Finnish retired ice hockey defenceman and bandy player and a former member of the Finnish women's national ice hockey team and national bandy team.
In ice hockey, she won a bronze medal with the Finnish national team at the 1999 IIHF Women's World Championship and competed in the women's ice hockey tournament at the 2002 Winter Olympics. Her ice hockey club career was played in the Naisten SM-sarja with KalPa Naiset, Tampereen Ilves Naiset, and JYP Jyväskylä Naiset, which was also known as the Jyväskylän Hockey Cats (JyHC) during her tenure.Ahonen holds the record for most games played with the Finnish women's national bandy team, appearing in 63 international matches with the team. Having represented Finland at a number of Women's Bandy World Championships, she won bronze medals at the tournaments in 2004, 2008, and 2012. Her bandy club career was played with Jyväskylän Seudun Palloseura (JPS), Botnia-69 Helsinki, Veiterä Lappeenranta, and Mikkelin Kampparit. Ahonen was named the Finnish Women's Bandy Player of the Year by the Finnish Bandy Association three times, in 2005, 2007, and 2012.
References
External links
Biographical information and career statistics from Eliteprospects.com, or Eurohockey.com
Pirjo Ahonen at the International Olympic Committee
Pirjo Ahonen at Olympedia
|
family name
|
{
"answer_start": [
26
],
"text": [
"Nieminen"
]
}
|
Pirjo Hannele Ahonen (née Nieminen, previously Blomqvist; born 5 November 1970) is a Finnish retired ice hockey defenceman and bandy player and a former member of the Finnish women's national ice hockey team and national bandy team.
In ice hockey, she won a bronze medal with the Finnish national team at the 1999 IIHF Women's World Championship and competed in the women's ice hockey tournament at the 2002 Winter Olympics. Her ice hockey club career was played in the Naisten SM-sarja with KalPa Naiset, Tampereen Ilves Naiset, and JYP Jyväskylä Naiset, which was also known as the Jyväskylän Hockey Cats (JyHC) during her tenure.Ahonen holds the record for most games played with the Finnish women's national bandy team, appearing in 63 international matches with the team. Having represented Finland at a number of Women's Bandy World Championships, she won bronze medals at the tournaments in 2004, 2008, and 2012. Her bandy club career was played with Jyväskylän Seudun Palloseura (JPS), Botnia-69 Helsinki, Veiterä Lappeenranta, and Mikkelin Kampparit. Ahonen was named the Finnish Women's Bandy Player of the Year by the Finnish Bandy Association three times, in 2005, 2007, and 2012.
References
External links
Biographical information and career statistics from Eliteprospects.com, or Eurohockey.com
Pirjo Ahonen at the International Olympic Committee
Pirjo Ahonen at Olympedia
|
given name
|
{
"answer_start": [
0
],
"text": [
"Pirjo"
]
}
|
Pirjo Hannele Ahonen (née Nieminen, previously Blomqvist; born 5 November 1970) is a Finnish retired ice hockey defenceman and bandy player and a former member of the Finnish women's national ice hockey team and national bandy team.
In ice hockey, she won a bronze medal with the Finnish national team at the 1999 IIHF Women's World Championship and competed in the women's ice hockey tournament at the 2002 Winter Olympics. Her ice hockey club career was played in the Naisten SM-sarja with KalPa Naiset, Tampereen Ilves Naiset, and JYP Jyväskylä Naiset, which was also known as the Jyväskylän Hockey Cats (JyHC) during her tenure.Ahonen holds the record for most games played with the Finnish women's national bandy team, appearing in 63 international matches with the team. Having represented Finland at a number of Women's Bandy World Championships, she won bronze medals at the tournaments in 2004, 2008, and 2012. Her bandy club career was played with Jyväskylän Seudun Palloseura (JPS), Botnia-69 Helsinki, Veiterä Lappeenranta, and Mikkelin Kampparit. Ahonen was named the Finnish Women's Bandy Player of the Year by the Finnish Bandy Association three times, in 2005, 2007, and 2012.
References
External links
Biographical information and career statistics from Eliteprospects.com, or Eurohockey.com
Pirjo Ahonen at the International Olympic Committee
Pirjo Ahonen at Olympedia
|
participant in
|
{
"answer_start": [
404
],
"text": [
"2002 Winter Olympics"
]
}
|
Pirjo Hannele Ahonen (née Nieminen, previously Blomqvist; born 5 November 1970) is a Finnish retired ice hockey defenceman and bandy player and a former member of the Finnish women's national ice hockey team and national bandy team.
In ice hockey, she won a bronze medal with the Finnish national team at the 1999 IIHF Women's World Championship and competed in the women's ice hockey tournament at the 2002 Winter Olympics. Her ice hockey club career was played in the Naisten SM-sarja with KalPa Naiset, Tampereen Ilves Naiset, and JYP Jyväskylä Naiset, which was also known as the Jyväskylän Hockey Cats (JyHC) during her tenure.Ahonen holds the record for most games played with the Finnish women's national bandy team, appearing in 63 international matches with the team. Having represented Finland at a number of Women's Bandy World Championships, she won bronze medals at the tournaments in 2004, 2008, and 2012. Her bandy club career was played with Jyväskylän Seudun Palloseura (JPS), Botnia-69 Helsinki, Veiterä Lappeenranta, and Mikkelin Kampparit. Ahonen was named the Finnish Women's Bandy Player of the Year by the Finnish Bandy Association three times, in 2005, 2007, and 2012.
References
External links
Biographical information and career statistics from Eliteprospects.com, or Eurohockey.com
Pirjo Ahonen at the International Olympic Committee
Pirjo Ahonen at Olympedia
|
country for sport
|
{
"answer_start": [
797
],
"text": [
"Finland"
]
}
|
Naomi Sagara (佐良 直美, Sagara Naomi, born 1945) is the stage name of Nahoko Yamaguchi (山口 納堡子, Yamaguchi Nahoko), an award-winning Japanese popular singer who was prolific between 1967 and 1980. She won numerous awards as a singer and composer, branching into acting. After a surgery to remove polyps on her vocal cords in 1985, she became a business woman. Since 1993, she has worked in the field of animal welfare and has published several books about animal care. She has periodically returned to television in guest appearances and in 2010 resumed singing and composing.
Early life
Sagara was born in 1945 in Tokyo. She suffered from severe shyness from childhood, but had a love for music. Raised in a wealthy family, her grandfather is the major shareholder of Tomoe Industries, she began music training with jazz singer Sanae Mizushima at the age of sixteen. She enrolled in Nihon University College of Arts to study television direction and originally wanted to produce music programming for Fuji TV. While she was in university, she continued singing at such venues as Nikko Music Salon mainly to gain an understanding of the performer's perspective. When she graduated in 1967, Fuji was not interested in hiring a woman producer, but she was approached by a scout from The Japan Victor Company who was looking for new singing talent.
Career
Sagara debuted as a singer with the song The World for Two People (Japanese: 世界は二人のために), which won her the Best New Artists Prize at the 9th Japan Record Awards in 1967 and sold 1.2 million copies. She became known for her distinctive style and had many hits throughout the country. In 1969, she won the grand prize for If It Is Happy, If It Is Sad (Japanese: いいじゃないの幸せならば) at the 11th Japan Record Awards, presented by the Japan Composer's Association for best new record and performer. The win marked the first time the top honors had gone to a woman. Beginning in 1967, Sagara was invited to sing at the Year-end Song Festival, known as "Kōhaku", hosted by the Japan Broadcasting Corporation (Japanese: Nippon Hōsō Kyōkai, NHK). For thirteen consecutive years, she participated and placed in the finals for the competition five times. In 1972, she won the annual singing battle and repeated her win in 1974 and 1976.Her music career led Sagara into acting, as she composed the theme song for the television drama Arigatou (Thank you), which aired from 1970 to 1974. She was a featured actress in the final season of the program. In 1977, the mayor of Hiroshima, the Chamber of Commerce, and executives of the Hiroshima Bank organized a festival underwritten by the Chugoku Shimbun and RCC Broadcasting in honor of the resilience of the citizens in surviving the bombing and celebrating peace and the joy of living. Sagara was selected as the featured singer for the inaugural Hiroshima Flower Festival, and sang the theme song, Hanaguruma.In 1980, a woman claiming to be Sagara's former partner outed her as a lesbian on TV Asahi's Afternoon Show, causing the collapse of her career. Sagara denied the alleged affair and the woman retracted her statement, but the damage was done, as invitations to the premier award shows disappeared. She did continue to work in music for a few years, releasing a single YASUKOの場合 (Yasuko case) in 1983 and then a jazz album to honor her former teacher Mizushima in 1986. After completing the album, Sagara lost interest in her music career. The following year, she had surgery to remove polyps on her vocal cords. She was told that after the surgery she would be unable to sing for a year. Sagara took a 9 to 5 job in her family business.Wanting to work with animals, Sagara began a company, Animal Fanciers's Club, in 1993, in Nasushiobara in the Tochigi Prefecture. Her focus is on rescuing dogs and cats and improving animal welfare. At the facility, she trains dogs and does outreach, inviting internationally known lecturers to educate the public about proper care of animals. Since 2003, she has published books dealing with animal care. In 2010, after two decades away from the music industry, Sagara released an album, いのちの木陰 (Shades of Life). After hearing the song, she was selected in 2011 to compose and sing the theme song for the TBS series Izakaya Henji.
Selected books
Sagara, Naomi (2003). Sagara naomi ga oshieru inu tono kurashikata: chūkōnen ga aiken to tanoshiku kurasu tame no jōzu na shitsuke to kaikata (in Japanese). Tōkyō: Ōizumishoten. ISBN 978-4-278-03932-0.
Sagara, Naomi; Okuda, Hiroko; Shimizu, Terunobu (2003). Wanchan to odekake (in Japanese). Tōkyō: Intāwākushuppan. ISBN 978-490-1-16150-3.
Sagara, Naomi (2012). Dōbutsu no kamisama ni ikasarete (in Japanese). Tōkyō: Taikōsha. ISBN 978-4-924-89984-1.
Awarded Songs
References
Citations
=== Bibliography ===
|
place of birth
|
{
"answer_start": [
613
],
"text": [
"Tokyo"
]
}
|
Naomi Sagara (佐良 直美, Sagara Naomi, born 1945) is the stage name of Nahoko Yamaguchi (山口 納堡子, Yamaguchi Nahoko), an award-winning Japanese popular singer who was prolific between 1967 and 1980. She won numerous awards as a singer and composer, branching into acting. After a surgery to remove polyps on her vocal cords in 1985, she became a business woman. Since 1993, she has worked in the field of animal welfare and has published several books about animal care. She has periodically returned to television in guest appearances and in 2010 resumed singing and composing.
Early life
Sagara was born in 1945 in Tokyo. She suffered from severe shyness from childhood, but had a love for music. Raised in a wealthy family, her grandfather is the major shareholder of Tomoe Industries, she began music training with jazz singer Sanae Mizushima at the age of sixteen. She enrolled in Nihon University College of Arts to study television direction and originally wanted to produce music programming for Fuji TV. While she was in university, she continued singing at such venues as Nikko Music Salon mainly to gain an understanding of the performer's perspective. When she graduated in 1967, Fuji was not interested in hiring a woman producer, but she was approached by a scout from The Japan Victor Company who was looking for new singing talent.
Career
Sagara debuted as a singer with the song The World for Two People (Japanese: 世界は二人のために), which won her the Best New Artists Prize at the 9th Japan Record Awards in 1967 and sold 1.2 million copies. She became known for her distinctive style and had many hits throughout the country. In 1969, she won the grand prize for If It Is Happy, If It Is Sad (Japanese: いいじゃないの幸せならば) at the 11th Japan Record Awards, presented by the Japan Composer's Association for best new record and performer. The win marked the first time the top honors had gone to a woman. Beginning in 1967, Sagara was invited to sing at the Year-end Song Festival, known as "Kōhaku", hosted by the Japan Broadcasting Corporation (Japanese: Nippon Hōsō Kyōkai, NHK). For thirteen consecutive years, she participated and placed in the finals for the competition five times. In 1972, she won the annual singing battle and repeated her win in 1974 and 1976.Her music career led Sagara into acting, as she composed the theme song for the television drama Arigatou (Thank you), which aired from 1970 to 1974. She was a featured actress in the final season of the program. In 1977, the mayor of Hiroshima, the Chamber of Commerce, and executives of the Hiroshima Bank organized a festival underwritten by the Chugoku Shimbun and RCC Broadcasting in honor of the resilience of the citizens in surviving the bombing and celebrating peace and the joy of living. Sagara was selected as the featured singer for the inaugural Hiroshima Flower Festival, and sang the theme song, Hanaguruma.In 1980, a woman claiming to be Sagara's former partner outed her as a lesbian on TV Asahi's Afternoon Show, causing the collapse of her career. Sagara denied the alleged affair and the woman retracted her statement, but the damage was done, as invitations to the premier award shows disappeared. She did continue to work in music for a few years, releasing a single YASUKOの場合 (Yasuko case) in 1983 and then a jazz album to honor her former teacher Mizushima in 1986. After completing the album, Sagara lost interest in her music career. The following year, she had surgery to remove polyps on her vocal cords. She was told that after the surgery she would be unable to sing for a year. Sagara took a 9 to 5 job in her family business.Wanting to work with animals, Sagara began a company, Animal Fanciers's Club, in 1993, in Nasushiobara in the Tochigi Prefecture. Her focus is on rescuing dogs and cats and improving animal welfare. At the facility, she trains dogs and does outreach, inviting internationally known lecturers to educate the public about proper care of animals. Since 2003, she has published books dealing with animal care. In 2010, after two decades away from the music industry, Sagara released an album, いのちの木陰 (Shades of Life). After hearing the song, she was selected in 2011 to compose and sing the theme song for the TBS series Izakaya Henji.
Selected books
Sagara, Naomi (2003). Sagara naomi ga oshieru inu tono kurashikata: chūkōnen ga aiken to tanoshiku kurasu tame no jōzu na shitsuke to kaikata (in Japanese). Tōkyō: Ōizumishoten. ISBN 978-4-278-03932-0.
Sagara, Naomi; Okuda, Hiroko; Shimizu, Terunobu (2003). Wanchan to odekake (in Japanese). Tōkyō: Intāwākushuppan. ISBN 978-490-1-16150-3.
Sagara, Naomi (2012). Dōbutsu no kamisama ni ikasarete (in Japanese). Tōkyō: Taikōsha. ISBN 978-4-924-89984-1.
Awarded Songs
References
Citations
=== Bibliography ===
|
country of citizenship
|
{
"answer_start": [
129
],
"text": [
"Japan"
]
}
|
Naomi Sagara (佐良 直美, Sagara Naomi, born 1945) is the stage name of Nahoko Yamaguchi (山口 納堡子, Yamaguchi Nahoko), an award-winning Japanese popular singer who was prolific between 1967 and 1980. She won numerous awards as a singer and composer, branching into acting. After a surgery to remove polyps on her vocal cords in 1985, she became a business woman. Since 1993, she has worked in the field of animal welfare and has published several books about animal care. She has periodically returned to television in guest appearances and in 2010 resumed singing and composing.
Early life
Sagara was born in 1945 in Tokyo. She suffered from severe shyness from childhood, but had a love for music. Raised in a wealthy family, her grandfather is the major shareholder of Tomoe Industries, she began music training with jazz singer Sanae Mizushima at the age of sixteen. She enrolled in Nihon University College of Arts to study television direction and originally wanted to produce music programming for Fuji TV. While she was in university, she continued singing at such venues as Nikko Music Salon mainly to gain an understanding of the performer's perspective. When she graduated in 1967, Fuji was not interested in hiring a woman producer, but she was approached by a scout from The Japan Victor Company who was looking for new singing talent.
Career
Sagara debuted as a singer with the song The World for Two People (Japanese: 世界は二人のために), which won her the Best New Artists Prize at the 9th Japan Record Awards in 1967 and sold 1.2 million copies. She became known for her distinctive style and had many hits throughout the country. In 1969, she won the grand prize for If It Is Happy, If It Is Sad (Japanese: いいじゃないの幸せならば) at the 11th Japan Record Awards, presented by the Japan Composer's Association for best new record and performer. The win marked the first time the top honors had gone to a woman. Beginning in 1967, Sagara was invited to sing at the Year-end Song Festival, known as "Kōhaku", hosted by the Japan Broadcasting Corporation (Japanese: Nippon Hōsō Kyōkai, NHK). For thirteen consecutive years, she participated and placed in the finals for the competition five times. In 1972, she won the annual singing battle and repeated her win in 1974 and 1976.Her music career led Sagara into acting, as she composed the theme song for the television drama Arigatou (Thank you), which aired from 1970 to 1974. She was a featured actress in the final season of the program. In 1977, the mayor of Hiroshima, the Chamber of Commerce, and executives of the Hiroshima Bank organized a festival underwritten by the Chugoku Shimbun and RCC Broadcasting in honor of the resilience of the citizens in surviving the bombing and celebrating peace and the joy of living. Sagara was selected as the featured singer for the inaugural Hiroshima Flower Festival, and sang the theme song, Hanaguruma.In 1980, a woman claiming to be Sagara's former partner outed her as a lesbian on TV Asahi's Afternoon Show, causing the collapse of her career. Sagara denied the alleged affair and the woman retracted her statement, but the damage was done, as invitations to the premier award shows disappeared. She did continue to work in music for a few years, releasing a single YASUKOの場合 (Yasuko case) in 1983 and then a jazz album to honor her former teacher Mizushima in 1986. After completing the album, Sagara lost interest in her music career. The following year, she had surgery to remove polyps on her vocal cords. She was told that after the surgery she would be unable to sing for a year. Sagara took a 9 to 5 job in her family business.Wanting to work with animals, Sagara began a company, Animal Fanciers's Club, in 1993, in Nasushiobara in the Tochigi Prefecture. Her focus is on rescuing dogs and cats and improving animal welfare. At the facility, she trains dogs and does outreach, inviting internationally known lecturers to educate the public about proper care of animals. Since 2003, she has published books dealing with animal care. In 2010, after two decades away from the music industry, Sagara released an album, いのちの木陰 (Shades of Life). After hearing the song, she was selected in 2011 to compose and sing the theme song for the TBS series Izakaya Henji.
Selected books
Sagara, Naomi (2003). Sagara naomi ga oshieru inu tono kurashikata: chūkōnen ga aiken to tanoshiku kurasu tame no jōzu na shitsuke to kaikata (in Japanese). Tōkyō: Ōizumishoten. ISBN 978-4-278-03932-0.
Sagara, Naomi; Okuda, Hiroko; Shimizu, Terunobu (2003). Wanchan to odekake (in Japanese). Tōkyō: Intāwākushuppan. ISBN 978-490-1-16150-3.
Sagara, Naomi (2012). Dōbutsu no kamisama ni ikasarete (in Japanese). Tōkyō: Taikōsha. ISBN 978-4-924-89984-1.
Awarded Songs
References
Citations
=== Bibliography ===
|
educated at
|
{
"answer_start": [
882
],
"text": [
"Nihon University"
]
}
|
Naomi Sagara (佐良 直美, Sagara Naomi, born 1945) is the stage name of Nahoko Yamaguchi (山口 納堡子, Yamaguchi Nahoko), an award-winning Japanese popular singer who was prolific between 1967 and 1980. She won numerous awards as a singer and composer, branching into acting. After a surgery to remove polyps on her vocal cords in 1985, she became a business woman. Since 1993, she has worked in the field of animal welfare and has published several books about animal care. She has periodically returned to television in guest appearances and in 2010 resumed singing and composing.
Early life
Sagara was born in 1945 in Tokyo. She suffered from severe shyness from childhood, but had a love for music. Raised in a wealthy family, her grandfather is the major shareholder of Tomoe Industries, she began music training with jazz singer Sanae Mizushima at the age of sixteen. She enrolled in Nihon University College of Arts to study television direction and originally wanted to produce music programming for Fuji TV. While she was in university, she continued singing at such venues as Nikko Music Salon mainly to gain an understanding of the performer's perspective. When she graduated in 1967, Fuji was not interested in hiring a woman producer, but she was approached by a scout from The Japan Victor Company who was looking for new singing talent.
Career
Sagara debuted as a singer with the song The World for Two People (Japanese: 世界は二人のために), which won her the Best New Artists Prize at the 9th Japan Record Awards in 1967 and sold 1.2 million copies. She became known for her distinctive style and had many hits throughout the country. In 1969, she won the grand prize for If It Is Happy, If It Is Sad (Japanese: いいじゃないの幸せならば) at the 11th Japan Record Awards, presented by the Japan Composer's Association for best new record and performer. The win marked the first time the top honors had gone to a woman. Beginning in 1967, Sagara was invited to sing at the Year-end Song Festival, known as "Kōhaku", hosted by the Japan Broadcasting Corporation (Japanese: Nippon Hōsō Kyōkai, NHK). For thirteen consecutive years, she participated and placed in the finals for the competition five times. In 1972, she won the annual singing battle and repeated her win in 1974 and 1976.Her music career led Sagara into acting, as she composed the theme song for the television drama Arigatou (Thank you), which aired from 1970 to 1974. She was a featured actress in the final season of the program. In 1977, the mayor of Hiroshima, the Chamber of Commerce, and executives of the Hiroshima Bank organized a festival underwritten by the Chugoku Shimbun and RCC Broadcasting in honor of the resilience of the citizens in surviving the bombing and celebrating peace and the joy of living. Sagara was selected as the featured singer for the inaugural Hiroshima Flower Festival, and sang the theme song, Hanaguruma.In 1980, a woman claiming to be Sagara's former partner outed her as a lesbian on TV Asahi's Afternoon Show, causing the collapse of her career. Sagara denied the alleged affair and the woman retracted her statement, but the damage was done, as invitations to the premier award shows disappeared. She did continue to work in music for a few years, releasing a single YASUKOの場合 (Yasuko case) in 1983 and then a jazz album to honor her former teacher Mizushima in 1986. After completing the album, Sagara lost interest in her music career. The following year, she had surgery to remove polyps on her vocal cords. She was told that after the surgery she would be unable to sing for a year. Sagara took a 9 to 5 job in her family business.Wanting to work with animals, Sagara began a company, Animal Fanciers's Club, in 1993, in Nasushiobara in the Tochigi Prefecture. Her focus is on rescuing dogs and cats and improving animal welfare. At the facility, she trains dogs and does outreach, inviting internationally known lecturers to educate the public about proper care of animals. Since 2003, she has published books dealing with animal care. In 2010, after two decades away from the music industry, Sagara released an album, いのちの木陰 (Shades of Life). After hearing the song, she was selected in 2011 to compose and sing the theme song for the TBS series Izakaya Henji.
Selected books
Sagara, Naomi (2003). Sagara naomi ga oshieru inu tono kurashikata: chūkōnen ga aiken to tanoshiku kurasu tame no jōzu na shitsuke to kaikata (in Japanese). Tōkyō: Ōizumishoten. ISBN 978-4-278-03932-0.
Sagara, Naomi; Okuda, Hiroko; Shimizu, Terunobu (2003). Wanchan to odekake (in Japanese). Tōkyō: Intāwākushuppan. ISBN 978-490-1-16150-3.
Sagara, Naomi (2012). Dōbutsu no kamisama ni ikasarete (in Japanese). Tōkyō: Taikōsha. ISBN 978-4-924-89984-1.
Awarded Songs
References
Citations
=== Bibliography ===
|
field of work
|
{
"answer_start": [
399
],
"text": [
"animal welfare"
]
}
|
Naomi Sagara (佐良 直美, Sagara Naomi, born 1945) is the stage name of Nahoko Yamaguchi (山口 納堡子, Yamaguchi Nahoko), an award-winning Japanese popular singer who was prolific between 1967 and 1980. She won numerous awards as a singer and composer, branching into acting. After a surgery to remove polyps on her vocal cords in 1985, she became a business woman. Since 1993, she has worked in the field of animal welfare and has published several books about animal care. She has periodically returned to television in guest appearances and in 2010 resumed singing and composing.
Early life
Sagara was born in 1945 in Tokyo. She suffered from severe shyness from childhood, but had a love for music. Raised in a wealthy family, her grandfather is the major shareholder of Tomoe Industries, she began music training with jazz singer Sanae Mizushima at the age of sixteen. She enrolled in Nihon University College of Arts to study television direction and originally wanted to produce music programming for Fuji TV. While she was in university, she continued singing at such venues as Nikko Music Salon mainly to gain an understanding of the performer's perspective. When she graduated in 1967, Fuji was not interested in hiring a woman producer, but she was approached by a scout from The Japan Victor Company who was looking for new singing talent.
Career
Sagara debuted as a singer with the song The World for Two People (Japanese: 世界は二人のために), which won her the Best New Artists Prize at the 9th Japan Record Awards in 1967 and sold 1.2 million copies. She became known for her distinctive style and had many hits throughout the country. In 1969, she won the grand prize for If It Is Happy, If It Is Sad (Japanese: いいじゃないの幸せならば) at the 11th Japan Record Awards, presented by the Japan Composer's Association for best new record and performer. The win marked the first time the top honors had gone to a woman. Beginning in 1967, Sagara was invited to sing at the Year-end Song Festival, known as "Kōhaku", hosted by the Japan Broadcasting Corporation (Japanese: Nippon Hōsō Kyōkai, NHK). For thirteen consecutive years, she participated and placed in the finals for the competition five times. In 1972, she won the annual singing battle and repeated her win in 1974 and 1976.Her music career led Sagara into acting, as she composed the theme song for the television drama Arigatou (Thank you), which aired from 1970 to 1974. She was a featured actress in the final season of the program. In 1977, the mayor of Hiroshima, the Chamber of Commerce, and executives of the Hiroshima Bank organized a festival underwritten by the Chugoku Shimbun and RCC Broadcasting in honor of the resilience of the citizens in surviving the bombing and celebrating peace and the joy of living. Sagara was selected as the featured singer for the inaugural Hiroshima Flower Festival, and sang the theme song, Hanaguruma.In 1980, a woman claiming to be Sagara's former partner outed her as a lesbian on TV Asahi's Afternoon Show, causing the collapse of her career. Sagara denied the alleged affair and the woman retracted her statement, but the damage was done, as invitations to the premier award shows disappeared. She did continue to work in music for a few years, releasing a single YASUKOの場合 (Yasuko case) in 1983 and then a jazz album to honor her former teacher Mizushima in 1986. After completing the album, Sagara lost interest in her music career. The following year, she had surgery to remove polyps on her vocal cords. She was told that after the surgery she would be unable to sing for a year. Sagara took a 9 to 5 job in her family business.Wanting to work with animals, Sagara began a company, Animal Fanciers's Club, in 1993, in Nasushiobara in the Tochigi Prefecture. Her focus is on rescuing dogs and cats and improving animal welfare. At the facility, she trains dogs and does outreach, inviting internationally known lecturers to educate the public about proper care of animals. Since 2003, she has published books dealing with animal care. In 2010, after two decades away from the music industry, Sagara released an album, いのちの木陰 (Shades of Life). After hearing the song, she was selected in 2011 to compose and sing the theme song for the TBS series Izakaya Henji.
Selected books
Sagara, Naomi (2003). Sagara naomi ga oshieru inu tono kurashikata: chūkōnen ga aiken to tanoshiku kurasu tame no jōzu na shitsuke to kaikata (in Japanese). Tōkyō: Ōizumishoten. ISBN 978-4-278-03932-0.
Sagara, Naomi; Okuda, Hiroko; Shimizu, Terunobu (2003). Wanchan to odekake (in Japanese). Tōkyō: Intāwākushuppan. ISBN 978-490-1-16150-3.
Sagara, Naomi (2012). Dōbutsu no kamisama ni ikasarete (in Japanese). Tōkyō: Taikōsha. ISBN 978-4-924-89984-1.
Awarded Songs
References
Citations
=== Bibliography ===
|
native language
|
{
"answer_start": [
129
],
"text": [
"Japanese"
]
}
|
Naomi Sagara (佐良 直美, Sagara Naomi, born 1945) is the stage name of Nahoko Yamaguchi (山口 納堡子, Yamaguchi Nahoko), an award-winning Japanese popular singer who was prolific between 1967 and 1980. She won numerous awards as a singer and composer, branching into acting. After a surgery to remove polyps on her vocal cords in 1985, she became a business woman. Since 1993, she has worked in the field of animal welfare and has published several books about animal care. She has periodically returned to television in guest appearances and in 2010 resumed singing and composing.
Early life
Sagara was born in 1945 in Tokyo. She suffered from severe shyness from childhood, but had a love for music. Raised in a wealthy family, her grandfather is the major shareholder of Tomoe Industries, she began music training with jazz singer Sanae Mizushima at the age of sixteen. She enrolled in Nihon University College of Arts to study television direction and originally wanted to produce music programming for Fuji TV. While she was in university, she continued singing at such venues as Nikko Music Salon mainly to gain an understanding of the performer's perspective. When she graduated in 1967, Fuji was not interested in hiring a woman producer, but she was approached by a scout from The Japan Victor Company who was looking for new singing talent.
Career
Sagara debuted as a singer with the song The World for Two People (Japanese: 世界は二人のために), which won her the Best New Artists Prize at the 9th Japan Record Awards in 1967 and sold 1.2 million copies. She became known for her distinctive style and had many hits throughout the country. In 1969, she won the grand prize for If It Is Happy, If It Is Sad (Japanese: いいじゃないの幸せならば) at the 11th Japan Record Awards, presented by the Japan Composer's Association for best new record and performer. The win marked the first time the top honors had gone to a woman. Beginning in 1967, Sagara was invited to sing at the Year-end Song Festival, known as "Kōhaku", hosted by the Japan Broadcasting Corporation (Japanese: Nippon Hōsō Kyōkai, NHK). For thirteen consecutive years, she participated and placed in the finals for the competition five times. In 1972, she won the annual singing battle and repeated her win in 1974 and 1976.Her music career led Sagara into acting, as she composed the theme song for the television drama Arigatou (Thank you), which aired from 1970 to 1974. She was a featured actress in the final season of the program. In 1977, the mayor of Hiroshima, the Chamber of Commerce, and executives of the Hiroshima Bank organized a festival underwritten by the Chugoku Shimbun and RCC Broadcasting in honor of the resilience of the citizens in surviving the bombing and celebrating peace and the joy of living. Sagara was selected as the featured singer for the inaugural Hiroshima Flower Festival, and sang the theme song, Hanaguruma.In 1980, a woman claiming to be Sagara's former partner outed her as a lesbian on TV Asahi's Afternoon Show, causing the collapse of her career. Sagara denied the alleged affair and the woman retracted her statement, but the damage was done, as invitations to the premier award shows disappeared. She did continue to work in music for a few years, releasing a single YASUKOの場合 (Yasuko case) in 1983 and then a jazz album to honor her former teacher Mizushima in 1986. After completing the album, Sagara lost interest in her music career. The following year, she had surgery to remove polyps on her vocal cords. She was told that after the surgery she would be unable to sing for a year. Sagara took a 9 to 5 job in her family business.Wanting to work with animals, Sagara began a company, Animal Fanciers's Club, in 1993, in Nasushiobara in the Tochigi Prefecture. Her focus is on rescuing dogs and cats and improving animal welfare. At the facility, she trains dogs and does outreach, inviting internationally known lecturers to educate the public about proper care of animals. Since 2003, she has published books dealing with animal care. In 2010, after two decades away from the music industry, Sagara released an album, いのちの木陰 (Shades of Life). After hearing the song, she was selected in 2011 to compose and sing the theme song for the TBS series Izakaya Henji.
Selected books
Sagara, Naomi (2003). Sagara naomi ga oshieru inu tono kurashikata: chūkōnen ga aiken to tanoshiku kurasu tame no jōzu na shitsuke to kaikata (in Japanese). Tōkyō: Ōizumishoten. ISBN 978-4-278-03932-0.
Sagara, Naomi; Okuda, Hiroko; Shimizu, Terunobu (2003). Wanchan to odekake (in Japanese). Tōkyō: Intāwākushuppan. ISBN 978-490-1-16150-3.
Sagara, Naomi (2012). Dōbutsu no kamisama ni ikasarete (in Japanese). Tōkyō: Taikōsha. ISBN 978-4-924-89984-1.
Awarded Songs
References
Citations
=== Bibliography ===
|
occupation
|
{
"answer_start": [
233
],
"text": [
"composer"
]
}
|
Naomi Sagara (佐良 直美, Sagara Naomi, born 1945) is the stage name of Nahoko Yamaguchi (山口 納堡子, Yamaguchi Nahoko), an award-winning Japanese popular singer who was prolific between 1967 and 1980. She won numerous awards as a singer and composer, branching into acting. After a surgery to remove polyps on her vocal cords in 1985, she became a business woman. Since 1993, she has worked in the field of animal welfare and has published several books about animal care. She has periodically returned to television in guest appearances and in 2010 resumed singing and composing.
Early life
Sagara was born in 1945 in Tokyo. She suffered from severe shyness from childhood, but had a love for music. Raised in a wealthy family, her grandfather is the major shareholder of Tomoe Industries, she began music training with jazz singer Sanae Mizushima at the age of sixteen. She enrolled in Nihon University College of Arts to study television direction and originally wanted to produce music programming for Fuji TV. While she was in university, she continued singing at such venues as Nikko Music Salon mainly to gain an understanding of the performer's perspective. When she graduated in 1967, Fuji was not interested in hiring a woman producer, but she was approached by a scout from The Japan Victor Company who was looking for new singing talent.
Career
Sagara debuted as a singer with the song The World for Two People (Japanese: 世界は二人のために), which won her the Best New Artists Prize at the 9th Japan Record Awards in 1967 and sold 1.2 million copies. She became known for her distinctive style and had many hits throughout the country. In 1969, she won the grand prize for If It Is Happy, If It Is Sad (Japanese: いいじゃないの幸せならば) at the 11th Japan Record Awards, presented by the Japan Composer's Association for best new record and performer. The win marked the first time the top honors had gone to a woman. Beginning in 1967, Sagara was invited to sing at the Year-end Song Festival, known as "Kōhaku", hosted by the Japan Broadcasting Corporation (Japanese: Nippon Hōsō Kyōkai, NHK). For thirteen consecutive years, she participated and placed in the finals for the competition five times. In 1972, she won the annual singing battle and repeated her win in 1974 and 1976.Her music career led Sagara into acting, as she composed the theme song for the television drama Arigatou (Thank you), which aired from 1970 to 1974. She was a featured actress in the final season of the program. In 1977, the mayor of Hiroshima, the Chamber of Commerce, and executives of the Hiroshima Bank organized a festival underwritten by the Chugoku Shimbun and RCC Broadcasting in honor of the resilience of the citizens in surviving the bombing and celebrating peace and the joy of living. Sagara was selected as the featured singer for the inaugural Hiroshima Flower Festival, and sang the theme song, Hanaguruma.In 1980, a woman claiming to be Sagara's former partner outed her as a lesbian on TV Asahi's Afternoon Show, causing the collapse of her career. Sagara denied the alleged affair and the woman retracted her statement, but the damage was done, as invitations to the premier award shows disappeared. She did continue to work in music for a few years, releasing a single YASUKOの場合 (Yasuko case) in 1983 and then a jazz album to honor her former teacher Mizushima in 1986. After completing the album, Sagara lost interest in her music career. The following year, she had surgery to remove polyps on her vocal cords. She was told that after the surgery she would be unable to sing for a year. Sagara took a 9 to 5 job in her family business.Wanting to work with animals, Sagara began a company, Animal Fanciers's Club, in 1993, in Nasushiobara in the Tochigi Prefecture. Her focus is on rescuing dogs and cats and improving animal welfare. At the facility, she trains dogs and does outreach, inviting internationally known lecturers to educate the public about proper care of animals. Since 2003, she has published books dealing with animal care. In 2010, after two decades away from the music industry, Sagara released an album, いのちの木陰 (Shades of Life). After hearing the song, she was selected in 2011 to compose and sing the theme song for the TBS series Izakaya Henji.
Selected books
Sagara, Naomi (2003). Sagara naomi ga oshieru inu tono kurashikata: chūkōnen ga aiken to tanoshiku kurasu tame no jōzu na shitsuke to kaikata (in Japanese). Tōkyō: Ōizumishoten. ISBN 978-4-278-03932-0.
Sagara, Naomi; Okuda, Hiroko; Shimizu, Terunobu (2003). Wanchan to odekake (in Japanese). Tōkyō: Intāwākushuppan. ISBN 978-490-1-16150-3.
Sagara, Naomi (2012). Dōbutsu no kamisama ni ikasarete (in Japanese). Tōkyō: Taikōsha. ISBN 978-4-924-89984-1.
Awarded Songs
References
Citations
=== Bibliography ===
|
award received
|
{
"answer_start": [
1493
],
"text": [
"Japan Record Awards"
]
}
|
Naomi Sagara (佐良 直美, Sagara Naomi, born 1945) is the stage name of Nahoko Yamaguchi (山口 納堡子, Yamaguchi Nahoko), an award-winning Japanese popular singer who was prolific between 1967 and 1980. She won numerous awards as a singer and composer, branching into acting. After a surgery to remove polyps on her vocal cords in 1985, she became a business woman. Since 1993, she has worked in the field of animal welfare and has published several books about animal care. She has periodically returned to television in guest appearances and in 2010 resumed singing and composing.
Early life
Sagara was born in 1945 in Tokyo. She suffered from severe shyness from childhood, but had a love for music. Raised in a wealthy family, her grandfather is the major shareholder of Tomoe Industries, she began music training with jazz singer Sanae Mizushima at the age of sixteen. She enrolled in Nihon University College of Arts to study television direction and originally wanted to produce music programming for Fuji TV. While she was in university, she continued singing at such venues as Nikko Music Salon mainly to gain an understanding of the performer's perspective. When she graduated in 1967, Fuji was not interested in hiring a woman producer, but she was approached by a scout from The Japan Victor Company who was looking for new singing talent.
Career
Sagara debuted as a singer with the song The World for Two People (Japanese: 世界は二人のために), which won her the Best New Artists Prize at the 9th Japan Record Awards in 1967 and sold 1.2 million copies. She became known for her distinctive style and had many hits throughout the country. In 1969, she won the grand prize for If It Is Happy, If It Is Sad (Japanese: いいじゃないの幸せならば) at the 11th Japan Record Awards, presented by the Japan Composer's Association for best new record and performer. The win marked the first time the top honors had gone to a woman. Beginning in 1967, Sagara was invited to sing at the Year-end Song Festival, known as "Kōhaku", hosted by the Japan Broadcasting Corporation (Japanese: Nippon Hōsō Kyōkai, NHK). For thirteen consecutive years, she participated and placed in the finals for the competition five times. In 1972, she won the annual singing battle and repeated her win in 1974 and 1976.Her music career led Sagara into acting, as she composed the theme song for the television drama Arigatou (Thank you), which aired from 1970 to 1974. She was a featured actress in the final season of the program. In 1977, the mayor of Hiroshima, the Chamber of Commerce, and executives of the Hiroshima Bank organized a festival underwritten by the Chugoku Shimbun and RCC Broadcasting in honor of the resilience of the citizens in surviving the bombing and celebrating peace and the joy of living. Sagara was selected as the featured singer for the inaugural Hiroshima Flower Festival, and sang the theme song, Hanaguruma.In 1980, a woman claiming to be Sagara's former partner outed her as a lesbian on TV Asahi's Afternoon Show, causing the collapse of her career. Sagara denied the alleged affair and the woman retracted her statement, but the damage was done, as invitations to the premier award shows disappeared. She did continue to work in music for a few years, releasing a single YASUKOの場合 (Yasuko case) in 1983 and then a jazz album to honor her former teacher Mizushima in 1986. After completing the album, Sagara lost interest in her music career. The following year, she had surgery to remove polyps on her vocal cords. She was told that after the surgery she would be unable to sing for a year. Sagara took a 9 to 5 job in her family business.Wanting to work with animals, Sagara began a company, Animal Fanciers's Club, in 1993, in Nasushiobara in the Tochigi Prefecture. Her focus is on rescuing dogs and cats and improving animal welfare. At the facility, she trains dogs and does outreach, inviting internationally known lecturers to educate the public about proper care of animals. Since 2003, she has published books dealing with animal care. In 2010, after two decades away from the music industry, Sagara released an album, いのちの木陰 (Shades of Life). After hearing the song, she was selected in 2011 to compose and sing the theme song for the TBS series Izakaya Henji.
Selected books
Sagara, Naomi (2003). Sagara naomi ga oshieru inu tono kurashikata: chūkōnen ga aiken to tanoshiku kurasu tame no jōzu na shitsuke to kaikata (in Japanese). Tōkyō: Ōizumishoten. ISBN 978-4-278-03932-0.
Sagara, Naomi; Okuda, Hiroko; Shimizu, Terunobu (2003). Wanchan to odekake (in Japanese). Tōkyō: Intāwākushuppan. ISBN 978-490-1-16150-3.
Sagara, Naomi (2012). Dōbutsu no kamisama ni ikasarete (in Japanese). Tōkyō: Taikōsha. ISBN 978-4-924-89984-1.
Awarded Songs
References
Citations
=== Bibliography ===
|
given name
|
{
"answer_start": [
0
],
"text": [
"Naomi"
]
}
|
Naomi Sagara (佐良 直美, Sagara Naomi, born 1945) is the stage name of Nahoko Yamaguchi (山口 納堡子, Yamaguchi Nahoko), an award-winning Japanese popular singer who was prolific between 1967 and 1980. She won numerous awards as a singer and composer, branching into acting. After a surgery to remove polyps on her vocal cords in 1985, she became a business woman. Since 1993, she has worked in the field of animal welfare and has published several books about animal care. She has periodically returned to television in guest appearances and in 2010 resumed singing and composing.
Early life
Sagara was born in 1945 in Tokyo. She suffered from severe shyness from childhood, but had a love for music. Raised in a wealthy family, her grandfather is the major shareholder of Tomoe Industries, she began music training with jazz singer Sanae Mizushima at the age of sixteen. She enrolled in Nihon University College of Arts to study television direction and originally wanted to produce music programming for Fuji TV. While she was in university, she continued singing at such venues as Nikko Music Salon mainly to gain an understanding of the performer's perspective. When she graduated in 1967, Fuji was not interested in hiring a woman producer, but she was approached by a scout from The Japan Victor Company who was looking for new singing talent.
Career
Sagara debuted as a singer with the song The World for Two People (Japanese: 世界は二人のために), which won her the Best New Artists Prize at the 9th Japan Record Awards in 1967 and sold 1.2 million copies. She became known for her distinctive style and had many hits throughout the country. In 1969, she won the grand prize for If It Is Happy, If It Is Sad (Japanese: いいじゃないの幸せならば) at the 11th Japan Record Awards, presented by the Japan Composer's Association for best new record and performer. The win marked the first time the top honors had gone to a woman. Beginning in 1967, Sagara was invited to sing at the Year-end Song Festival, known as "Kōhaku", hosted by the Japan Broadcasting Corporation (Japanese: Nippon Hōsō Kyōkai, NHK). For thirteen consecutive years, she participated and placed in the finals for the competition five times. In 1972, she won the annual singing battle and repeated her win in 1974 and 1976.Her music career led Sagara into acting, as she composed the theme song for the television drama Arigatou (Thank you), which aired from 1970 to 1974. She was a featured actress in the final season of the program. In 1977, the mayor of Hiroshima, the Chamber of Commerce, and executives of the Hiroshima Bank organized a festival underwritten by the Chugoku Shimbun and RCC Broadcasting in honor of the resilience of the citizens in surviving the bombing and celebrating peace and the joy of living. Sagara was selected as the featured singer for the inaugural Hiroshima Flower Festival, and sang the theme song, Hanaguruma.In 1980, a woman claiming to be Sagara's former partner outed her as a lesbian on TV Asahi's Afternoon Show, causing the collapse of her career. Sagara denied the alleged affair and the woman retracted her statement, but the damage was done, as invitations to the premier award shows disappeared. She did continue to work in music for a few years, releasing a single YASUKOの場合 (Yasuko case) in 1983 and then a jazz album to honor her former teacher Mizushima in 1986. After completing the album, Sagara lost interest in her music career. The following year, she had surgery to remove polyps on her vocal cords. She was told that after the surgery she would be unable to sing for a year. Sagara took a 9 to 5 job in her family business.Wanting to work with animals, Sagara began a company, Animal Fanciers's Club, in 1993, in Nasushiobara in the Tochigi Prefecture. Her focus is on rescuing dogs and cats and improving animal welfare. At the facility, she trains dogs and does outreach, inviting internationally known lecturers to educate the public about proper care of animals. Since 2003, she has published books dealing with animal care. In 2010, after two decades away from the music industry, Sagara released an album, いのちの木陰 (Shades of Life). After hearing the song, she was selected in 2011 to compose and sing the theme song for the TBS series Izakaya Henji.
Selected books
Sagara, Naomi (2003). Sagara naomi ga oshieru inu tono kurashikata: chūkōnen ga aiken to tanoshiku kurasu tame no jōzu na shitsuke to kaikata (in Japanese). Tōkyō: Ōizumishoten. ISBN 978-4-278-03932-0.
Sagara, Naomi; Okuda, Hiroko; Shimizu, Terunobu (2003). Wanchan to odekake (in Japanese). Tōkyō: Intāwākushuppan. ISBN 978-490-1-16150-3.
Sagara, Naomi (2012). Dōbutsu no kamisama ni ikasarete (in Japanese). Tōkyō: Taikōsha. ISBN 978-4-924-89984-1.
Awarded Songs
References
Citations
=== Bibliography ===
|
languages spoken, written or signed
|
{
"answer_start": [
129
],
"text": [
"Japanese"
]
}
|
Naomi Sagara (佐良 直美, Sagara Naomi, born 1945) is the stage name of Nahoko Yamaguchi (山口 納堡子, Yamaguchi Nahoko), an award-winning Japanese popular singer who was prolific between 1967 and 1980. She won numerous awards as a singer and composer, branching into acting. After a surgery to remove polyps on her vocal cords in 1985, she became a business woman. Since 1993, she has worked in the field of animal welfare and has published several books about animal care. She has periodically returned to television in guest appearances and in 2010 resumed singing and composing.
Early life
Sagara was born in 1945 in Tokyo. She suffered from severe shyness from childhood, but had a love for music. Raised in a wealthy family, her grandfather is the major shareholder of Tomoe Industries, she began music training with jazz singer Sanae Mizushima at the age of sixteen. She enrolled in Nihon University College of Arts to study television direction and originally wanted to produce music programming for Fuji TV. While she was in university, she continued singing at such venues as Nikko Music Salon mainly to gain an understanding of the performer's perspective. When she graduated in 1967, Fuji was not interested in hiring a woman producer, but she was approached by a scout from The Japan Victor Company who was looking for new singing talent.
Career
Sagara debuted as a singer with the song The World for Two People (Japanese: 世界は二人のために), which won her the Best New Artists Prize at the 9th Japan Record Awards in 1967 and sold 1.2 million copies. She became known for her distinctive style and had many hits throughout the country. In 1969, she won the grand prize for If It Is Happy, If It Is Sad (Japanese: いいじゃないの幸せならば) at the 11th Japan Record Awards, presented by the Japan Composer's Association for best new record and performer. The win marked the first time the top honors had gone to a woman. Beginning in 1967, Sagara was invited to sing at the Year-end Song Festival, known as "Kōhaku", hosted by the Japan Broadcasting Corporation (Japanese: Nippon Hōsō Kyōkai, NHK). For thirteen consecutive years, she participated and placed in the finals for the competition five times. In 1972, she won the annual singing battle and repeated her win in 1974 and 1976.Her music career led Sagara into acting, as she composed the theme song for the television drama Arigatou (Thank you), which aired from 1970 to 1974. She was a featured actress in the final season of the program. In 1977, the mayor of Hiroshima, the Chamber of Commerce, and executives of the Hiroshima Bank organized a festival underwritten by the Chugoku Shimbun and RCC Broadcasting in honor of the resilience of the citizens in surviving the bombing and celebrating peace and the joy of living. Sagara was selected as the featured singer for the inaugural Hiroshima Flower Festival, and sang the theme song, Hanaguruma.In 1980, a woman claiming to be Sagara's former partner outed her as a lesbian on TV Asahi's Afternoon Show, causing the collapse of her career. Sagara denied the alleged affair and the woman retracted her statement, but the damage was done, as invitations to the premier award shows disappeared. She did continue to work in music for a few years, releasing a single YASUKOの場合 (Yasuko case) in 1983 and then a jazz album to honor her former teacher Mizushima in 1986. After completing the album, Sagara lost interest in her music career. The following year, she had surgery to remove polyps on her vocal cords. She was told that after the surgery she would be unable to sing for a year. Sagara took a 9 to 5 job in her family business.Wanting to work with animals, Sagara began a company, Animal Fanciers's Club, in 1993, in Nasushiobara in the Tochigi Prefecture. Her focus is on rescuing dogs and cats and improving animal welfare. At the facility, she trains dogs and does outreach, inviting internationally known lecturers to educate the public about proper care of animals. Since 2003, she has published books dealing with animal care. In 2010, after two decades away from the music industry, Sagara released an album, いのちの木陰 (Shades of Life). After hearing the song, she was selected in 2011 to compose and sing the theme song for the TBS series Izakaya Henji.
Selected books
Sagara, Naomi (2003). Sagara naomi ga oshieru inu tono kurashikata: chūkōnen ga aiken to tanoshiku kurasu tame no jōzu na shitsuke to kaikata (in Japanese). Tōkyō: Ōizumishoten. ISBN 978-4-278-03932-0.
Sagara, Naomi; Okuda, Hiroko; Shimizu, Terunobu (2003). Wanchan to odekake (in Japanese). Tōkyō: Intāwākushuppan. ISBN 978-490-1-16150-3.
Sagara, Naomi (2012). Dōbutsu no kamisama ni ikasarete (in Japanese). Tōkyō: Taikōsha. ISBN 978-4-924-89984-1.
Awarded Songs
References
Citations
=== Bibliography ===
|
birth name
|
{
"answer_start": [
85
],
"text": [
"山口 納堡子"
]
}
|
Naomi Sagara (佐良 直美, Sagara Naomi, born 1945) is the stage name of Nahoko Yamaguchi (山口 納堡子, Yamaguchi Nahoko), an award-winning Japanese popular singer who was prolific between 1967 and 1980. She won numerous awards as a singer and composer, branching into acting. After a surgery to remove polyps on her vocal cords in 1985, she became a business woman. Since 1993, she has worked in the field of animal welfare and has published several books about animal care. She has periodically returned to television in guest appearances and in 2010 resumed singing and composing.
Early life
Sagara was born in 1945 in Tokyo. She suffered from severe shyness from childhood, but had a love for music. Raised in a wealthy family, her grandfather is the major shareholder of Tomoe Industries, she began music training with jazz singer Sanae Mizushima at the age of sixteen. She enrolled in Nihon University College of Arts to study television direction and originally wanted to produce music programming for Fuji TV. While she was in university, she continued singing at such venues as Nikko Music Salon mainly to gain an understanding of the performer's perspective. When she graduated in 1967, Fuji was not interested in hiring a woman producer, but she was approached by a scout from The Japan Victor Company who was looking for new singing talent.
Career
Sagara debuted as a singer with the song The World for Two People (Japanese: 世界は二人のために), which won her the Best New Artists Prize at the 9th Japan Record Awards in 1967 and sold 1.2 million copies. She became known for her distinctive style and had many hits throughout the country. In 1969, she won the grand prize for If It Is Happy, If It Is Sad (Japanese: いいじゃないの幸せならば) at the 11th Japan Record Awards, presented by the Japan Composer's Association for best new record and performer. The win marked the first time the top honors had gone to a woman. Beginning in 1967, Sagara was invited to sing at the Year-end Song Festival, known as "Kōhaku", hosted by the Japan Broadcasting Corporation (Japanese: Nippon Hōsō Kyōkai, NHK). For thirteen consecutive years, she participated and placed in the finals for the competition five times. In 1972, she won the annual singing battle and repeated her win in 1974 and 1976.Her music career led Sagara into acting, as she composed the theme song for the television drama Arigatou (Thank you), which aired from 1970 to 1974. She was a featured actress in the final season of the program. In 1977, the mayor of Hiroshima, the Chamber of Commerce, and executives of the Hiroshima Bank organized a festival underwritten by the Chugoku Shimbun and RCC Broadcasting in honor of the resilience of the citizens in surviving the bombing and celebrating peace and the joy of living. Sagara was selected as the featured singer for the inaugural Hiroshima Flower Festival, and sang the theme song, Hanaguruma.In 1980, a woman claiming to be Sagara's former partner outed her as a lesbian on TV Asahi's Afternoon Show, causing the collapse of her career. Sagara denied the alleged affair and the woman retracted her statement, but the damage was done, as invitations to the premier award shows disappeared. She did continue to work in music for a few years, releasing a single YASUKOの場合 (Yasuko case) in 1983 and then a jazz album to honor her former teacher Mizushima in 1986. After completing the album, Sagara lost interest in her music career. The following year, she had surgery to remove polyps on her vocal cords. She was told that after the surgery she would be unable to sing for a year. Sagara took a 9 to 5 job in her family business.Wanting to work with animals, Sagara began a company, Animal Fanciers's Club, in 1993, in Nasushiobara in the Tochigi Prefecture. Her focus is on rescuing dogs and cats and improving animal welfare. At the facility, she trains dogs and does outreach, inviting internationally known lecturers to educate the public about proper care of animals. Since 2003, she has published books dealing with animal care. In 2010, after two decades away from the music industry, Sagara released an album, いのちの木陰 (Shades of Life). After hearing the song, she was selected in 2011 to compose and sing the theme song for the TBS series Izakaya Henji.
Selected books
Sagara, Naomi (2003). Sagara naomi ga oshieru inu tono kurashikata: chūkōnen ga aiken to tanoshiku kurasu tame no jōzu na shitsuke to kaikata (in Japanese). Tōkyō: Ōizumishoten. ISBN 978-4-278-03932-0.
Sagara, Naomi; Okuda, Hiroko; Shimizu, Terunobu (2003). Wanchan to odekake (in Japanese). Tōkyō: Intāwākushuppan. ISBN 978-490-1-16150-3.
Sagara, Naomi (2012). Dōbutsu no kamisama ni ikasarete (in Japanese). Tōkyō: Taikōsha. ISBN 978-4-924-89984-1.
Awarded Songs
References
Citations
=== Bibliography ===
|
name in native language
|
{
"answer_start": [
14
],
"text": [
"佐良 直美"
]
}
|
Nikola Dragutinović (Serbian Cyrillic: Никола Драгутиновић; born 22 April 1991) is a Serbian actor.
Career
Dragutinović appeared in the 2015 Serbian film Pored Mene (Next to Me), directed by Stevan Filipović.Previously he played Sone in the 2012 drama Clip.
TV roles in Serbia have included the first season of TV series Military Academy (Vojna Akademija) (2012) and Emergency Center (2015).
He also appeared in Artiljer (2012), directed by Srdja Andjelić and played Gavrilo Princip in a drama-doc.
Nikola graduated from the Academy of Arts, Belgrade in 2015, under the tutelage of Serbian actress Mirjana Karanović.His latest theatre role is in Dear Dad (2016), directed by Mirjana Karanović and written by Milena Bogavac, at Belgrade’s Children’s Cultural Centre.
== References ==
|
place of birth
|
{
"answer_start": [
543
],
"text": [
"Belgrade"
]
}
|
Nikola Dragutinović (Serbian Cyrillic: Никола Драгутиновић; born 22 April 1991) is a Serbian actor.
Career
Dragutinović appeared in the 2015 Serbian film Pored Mene (Next to Me), directed by Stevan Filipović.Previously he played Sone in the 2012 drama Clip.
TV roles in Serbia have included the first season of TV series Military Academy (Vojna Akademija) (2012) and Emergency Center (2015).
He also appeared in Artiljer (2012), directed by Srdja Andjelić and played Gavrilo Princip in a drama-doc.
Nikola graduated from the Academy of Arts, Belgrade in 2015, under the tutelage of Serbian actress Mirjana Karanović.His latest theatre role is in Dear Dad (2016), directed by Mirjana Karanović and written by Milena Bogavac, at Belgrade’s Children’s Cultural Centre.
== References ==
|
occupation
|
{
"answer_start": [
93
],
"text": [
"actor"
]
}
|
The Cincinnati Art Museum is an art museum in the Eden Park neighborhood of Cincinnati, Ohio. Founded in 1881, it was the first purpose-built art museum west of the Alleghenies, and is one of the oldest in the United States. Its collection of over 67,000 works spanning 6,000 years of human history make it one of the most comprehensive collections in the Midwest.
Museum founders debated locating the museum in either Burnet Woods, Eden Park, or downtown Cincinnati on Washington Park. Charles West, the major donor of the early museum, cast his votes in favor of Eden Park sealing its final location. The Romanesque-revival building designed by Cincinnati architect James W. McLaughlin opened in 1886. A series of additions and renovations have considerably altered the building over its 137-year history.
In 2003, a major addition, The Cincinnati Wing was added to house a permanent exhibit of art created for Cincinnati or by Cincinnati artists since 1788. The Cincinnati Wing includes fifteen new galleries covering 18,000 square feet (1,700 m2) of well-appointed space, and 400 objects. The Odoardo Fantacchiotti angels are two of the largest pieces in the collection. Fantacchiotti created these angels for the main altar of St. Peter in Chains Cathedral in the late 1840s. They were among the first European sculptures to come to Cincinnati. The Cincinnati Wing also contains the work of Frank Duveneck, Rookwood Pottery, Robert Scott Duncanson, Mitchell & Rammelsberg Furniture, and a tall case clock by Luman Watson.
The CAM is part of the Monuments Men and Women Museum Network, launched in 2021 by the Monuments Men Foundation for the Preservation of Art.
History
In the late nineteenth century, public art museums were still very much a new phenomenon, especially as far west as Cincinnati. Following the success of the 1876 Centennial Exhibition held in Philadelphia, the Women's Art Museum Association was organized in Cincinnati with the intent of bringing such an institution to the region for the benefit of all citizens. Enthusiasm for these goals grew steadily and by 1881 the Cincinnati Museum Association was incorporated. The art museum was at first temporarily housed in the south wing of Music Hall in Over-the-Rhine. Just five years later, or on May 17, 1886, the Art Museum building in Eden Park was dedicated with elaborate ceremonies. In November 1887, the McMicken School relocated to the newly built museum campus and was renamed the Art Academy of Cincinnati.The Cincinnati Art Museum enjoyed the support of the community from the beginning. Generous donations from a number of prominent Cincinnatians, including Melville E. Ingalls, grew the collection to number in the tens of thousands of objects, which soon necessitated the addition of the first of several Art Museum expansions.
In 1907 the Schmidlapp Wing opened, which was followed by a series of building projects. The addition of the Emery (named after Cincinnati philanthropists Thomas J. Emery and his wife Mary Emery), Hanna and French wings in the 1930s enclosed the courtyard and gave the Art Museum its current rectangular shape and provided the space in which the American, European and Asian collections are currently shown.
Renovations during the late 1940s and early 1950s divided the Great Hall into two floors and the present main entrance to the Art Museum was established. The 1965 completion of the Adams-Emery wing increased our facility resources yet further, adding space for the permanent collection, lecture halls and temporary exhibition galleries.
In 1993, a $13 million project restored the grandeur of the Art Museum's interior architecture and uncovered long-hidden architectural details. This project included the renovation of one of the Art Museum's signature spaces, the Great Hall. In addition, new gallery space was created and lighting and climate control were improved. The Art Museum's temporary exhibition space was expanded to approximately 10,000 square feet (930 m2) to accommodate major temporary exhibitions. In 1998, the museum's board decided to separate the museum from the Art Academy of Cincinnati.By the turn of the twenty-first century, the Art Museum's collection numbered over 60,000 objects and, today, is the largest in the state of Ohio. In 2003, the Cincinnati Art Museum deepened its ties with the Greater Cincinnati community by opening the popular and expansive Cincinnati Wing, the first permanent display of a city's art history in the nation. In addition, on May 17, 2003, the Art Museum eliminated its general admission fee forever, made possible by The Lois and Richard Rosenthal Foundation. In 2005, the Art Academy of Cincinnati officially left the museum's Eden Park campus, relocating to Over-the-Rhine.As of June 2020, Walnut Hills, home of the Cincinnati Art Museum and Cincinnati Playhouse in the Park, was undergoing major renovation, including a new outdoor civic and art space titled "Art Climb". Art Climb includes a staircase from the sidewalk near the intersection of Eden Park Drive and Gilbert Avenue leading to the art museum entrance. Consisting of multiple flights of steps, Art Climb opens up the museum grounds, connects the museum to its neighbors, and provides a space to incorporate outdoor artworks.
Collection
The art museum has paintings by several European masters, including: Master of San Baudelio, Jorge Ingles, Sandro Botticelli (Judith with Head of Holofernes), Matteo di Giovanni, Domenico Tintoretto (Portrait of Venetian dux Marino Grimani), Mattia Preti, Bernardo Strozzi, Frans Hals, Bartolomé Esteban Murillo (St. Thomas of Villanueva), Peter Paul Rubens (Samson and Delilah) and Aert van der Neer. The collection also includes works by Jean-Baptiste-Camille Corot, Pierre-Auguste Renoir, Camille Pissarro, Claude Monet (Rocks At Belle Isle), Vincent van Gogh, and Pablo Picasso. The museum also has a large collection of paintings by American painter Frank Duveneck (Elizabeth B. Duveneck).
The museum's Decorative Arts and Design collection includes over 7,000 works, including works by Paul de Lamerie, Karen LaMonte, Kitaro Shirayamadani, Jean-Pierre Latz, and many more.
Selections from the permanent collection
Exhibitions
The Cincinnati Art Museum hosts several national and international special exhibitions each year. Each exhibition is accompanied by public programs, activities and special events. Exhibitions included Paintings, Politics and the Monuments Men: The Berlin Masterpieces in America, Hank Willis Thomas: All Things Being Equal..., and No Spectators: The Art of Burning Man.The Cincinnati Art Museum's approach to hosting special exhibitions has changed over time. The museum found it impractical to spend as much as $2.5 million a year on special exhibitions when it has unexploited holdings like circus posters and Dutch contemporary design, especially given its declining endowment. As a result, in 2010 the museum mounted "See America", nine small shows that highlighted different parts of the country through the museum’s collection. Attendance at the museum has increased by 30 percent since it started emphasizing its permanent collection.
Management
Admission and hours of operation
General admission is always free to the Cincinnati Art Museum’s 73 permanent collection galleries and the Rosenthal Education Center (REC) family interactive center of the museum, thanks to the Richard and Lois Rosenthal Foundation, the Thomas J. Emery Endowment and an endowment established by the Cincinnati Financial Corporation/The Cincinnati Insurance Companies. Education program fees may apply to adults and children. Special exhibition pricing varies.
The Art Museum, located at 953 Eden Park Drive in Eden Park, is open Tuesdays through Sundays. Parking is free every day.
Funding
By 2011, the museum's endowment was down to about $70 million from about $80 million in 2008. The endowment soon recovered to pre-recession levels, valued at $87 million in 2014.
References
External links
Official website
Virtual tour of the Cincinnati Art Museum provided by Google Arts & Culture
Media related to Cincinnati Art Museum at Wikimedia Commons
|
instance of
|
{
"answer_start": [
32
],
"text": [
"art museum"
]
}
|
The Cincinnati Art Museum is an art museum in the Eden Park neighborhood of Cincinnati, Ohio. Founded in 1881, it was the first purpose-built art museum west of the Alleghenies, and is one of the oldest in the United States. Its collection of over 67,000 works spanning 6,000 years of human history make it one of the most comprehensive collections in the Midwest.
Museum founders debated locating the museum in either Burnet Woods, Eden Park, or downtown Cincinnati on Washington Park. Charles West, the major donor of the early museum, cast his votes in favor of Eden Park sealing its final location. The Romanesque-revival building designed by Cincinnati architect James W. McLaughlin opened in 1886. A series of additions and renovations have considerably altered the building over its 137-year history.
In 2003, a major addition, The Cincinnati Wing was added to house a permanent exhibit of art created for Cincinnati or by Cincinnati artists since 1788. The Cincinnati Wing includes fifteen new galleries covering 18,000 square feet (1,700 m2) of well-appointed space, and 400 objects. The Odoardo Fantacchiotti angels are two of the largest pieces in the collection. Fantacchiotti created these angels for the main altar of St. Peter in Chains Cathedral in the late 1840s. They were among the first European sculptures to come to Cincinnati. The Cincinnati Wing also contains the work of Frank Duveneck, Rookwood Pottery, Robert Scott Duncanson, Mitchell & Rammelsberg Furniture, and a tall case clock by Luman Watson.
The CAM is part of the Monuments Men and Women Museum Network, launched in 2021 by the Monuments Men Foundation for the Preservation of Art.
History
In the late nineteenth century, public art museums were still very much a new phenomenon, especially as far west as Cincinnati. Following the success of the 1876 Centennial Exhibition held in Philadelphia, the Women's Art Museum Association was organized in Cincinnati with the intent of bringing such an institution to the region for the benefit of all citizens. Enthusiasm for these goals grew steadily and by 1881 the Cincinnati Museum Association was incorporated. The art museum was at first temporarily housed in the south wing of Music Hall in Over-the-Rhine. Just five years later, or on May 17, 1886, the Art Museum building in Eden Park was dedicated with elaborate ceremonies. In November 1887, the McMicken School relocated to the newly built museum campus and was renamed the Art Academy of Cincinnati.The Cincinnati Art Museum enjoyed the support of the community from the beginning. Generous donations from a number of prominent Cincinnatians, including Melville E. Ingalls, grew the collection to number in the tens of thousands of objects, which soon necessitated the addition of the first of several Art Museum expansions.
In 1907 the Schmidlapp Wing opened, which was followed by a series of building projects. The addition of the Emery (named after Cincinnati philanthropists Thomas J. Emery and his wife Mary Emery), Hanna and French wings in the 1930s enclosed the courtyard and gave the Art Museum its current rectangular shape and provided the space in which the American, European and Asian collections are currently shown.
Renovations during the late 1940s and early 1950s divided the Great Hall into two floors and the present main entrance to the Art Museum was established. The 1965 completion of the Adams-Emery wing increased our facility resources yet further, adding space for the permanent collection, lecture halls and temporary exhibition galleries.
In 1993, a $13 million project restored the grandeur of the Art Museum's interior architecture and uncovered long-hidden architectural details. This project included the renovation of one of the Art Museum's signature spaces, the Great Hall. In addition, new gallery space was created and lighting and climate control were improved. The Art Museum's temporary exhibition space was expanded to approximately 10,000 square feet (930 m2) to accommodate major temporary exhibitions. In 1998, the museum's board decided to separate the museum from the Art Academy of Cincinnati.By the turn of the twenty-first century, the Art Museum's collection numbered over 60,000 objects and, today, is the largest in the state of Ohio. In 2003, the Cincinnati Art Museum deepened its ties with the Greater Cincinnati community by opening the popular and expansive Cincinnati Wing, the first permanent display of a city's art history in the nation. In addition, on May 17, 2003, the Art Museum eliminated its general admission fee forever, made possible by The Lois and Richard Rosenthal Foundation. In 2005, the Art Academy of Cincinnati officially left the museum's Eden Park campus, relocating to Over-the-Rhine.As of June 2020, Walnut Hills, home of the Cincinnati Art Museum and Cincinnati Playhouse in the Park, was undergoing major renovation, including a new outdoor civic and art space titled "Art Climb". Art Climb includes a staircase from the sidewalk near the intersection of Eden Park Drive and Gilbert Avenue leading to the art museum entrance. Consisting of multiple flights of steps, Art Climb opens up the museum grounds, connects the museum to its neighbors, and provides a space to incorporate outdoor artworks.
Collection
The art museum has paintings by several European masters, including: Master of San Baudelio, Jorge Ingles, Sandro Botticelli (Judith with Head of Holofernes), Matteo di Giovanni, Domenico Tintoretto (Portrait of Venetian dux Marino Grimani), Mattia Preti, Bernardo Strozzi, Frans Hals, Bartolomé Esteban Murillo (St. Thomas of Villanueva), Peter Paul Rubens (Samson and Delilah) and Aert van der Neer. The collection also includes works by Jean-Baptiste-Camille Corot, Pierre-Auguste Renoir, Camille Pissarro, Claude Monet (Rocks At Belle Isle), Vincent van Gogh, and Pablo Picasso. The museum also has a large collection of paintings by American painter Frank Duveneck (Elizabeth B. Duveneck).
The museum's Decorative Arts and Design collection includes over 7,000 works, including works by Paul de Lamerie, Karen LaMonte, Kitaro Shirayamadani, Jean-Pierre Latz, and many more.
Selections from the permanent collection
Exhibitions
The Cincinnati Art Museum hosts several national and international special exhibitions each year. Each exhibition is accompanied by public programs, activities and special events. Exhibitions included Paintings, Politics and the Monuments Men: The Berlin Masterpieces in America, Hank Willis Thomas: All Things Being Equal..., and No Spectators: The Art of Burning Man.The Cincinnati Art Museum's approach to hosting special exhibitions has changed over time. The museum found it impractical to spend as much as $2.5 million a year on special exhibitions when it has unexploited holdings like circus posters and Dutch contemporary design, especially given its declining endowment. As a result, in 2010 the museum mounted "See America", nine small shows that highlighted different parts of the country through the museum’s collection. Attendance at the museum has increased by 30 percent since it started emphasizing its permanent collection.
Management
Admission and hours of operation
General admission is always free to the Cincinnati Art Museum’s 73 permanent collection galleries and the Rosenthal Education Center (REC) family interactive center of the museum, thanks to the Richard and Lois Rosenthal Foundation, the Thomas J. Emery Endowment and an endowment established by the Cincinnati Financial Corporation/The Cincinnati Insurance Companies. Education program fees may apply to adults and children. Special exhibition pricing varies.
The Art Museum, located at 953 Eden Park Drive in Eden Park, is open Tuesdays through Sundays. Parking is free every day.
Funding
By 2011, the museum's endowment was down to about $70 million from about $80 million in 2008. The endowment soon recovered to pre-recession levels, valued at $87 million in 2014.
References
External links
Official website
Virtual tour of the Cincinnati Art Museum provided by Google Arts & Culture
Media related to Cincinnati Art Museum at Wikimedia Commons
|
architect
|
{
"answer_start": [
668
],
"text": [
"James W. McLaughlin"
]
}
|
The Cincinnati Art Museum is an art museum in the Eden Park neighborhood of Cincinnati, Ohio. Founded in 1881, it was the first purpose-built art museum west of the Alleghenies, and is one of the oldest in the United States. Its collection of over 67,000 works spanning 6,000 years of human history make it one of the most comprehensive collections in the Midwest.
Museum founders debated locating the museum in either Burnet Woods, Eden Park, or downtown Cincinnati on Washington Park. Charles West, the major donor of the early museum, cast his votes in favor of Eden Park sealing its final location. The Romanesque-revival building designed by Cincinnati architect James W. McLaughlin opened in 1886. A series of additions and renovations have considerably altered the building over its 137-year history.
In 2003, a major addition, The Cincinnati Wing was added to house a permanent exhibit of art created for Cincinnati or by Cincinnati artists since 1788. The Cincinnati Wing includes fifteen new galleries covering 18,000 square feet (1,700 m2) of well-appointed space, and 400 objects. The Odoardo Fantacchiotti angels are two of the largest pieces in the collection. Fantacchiotti created these angels for the main altar of St. Peter in Chains Cathedral in the late 1840s. They were among the first European sculptures to come to Cincinnati. The Cincinnati Wing also contains the work of Frank Duveneck, Rookwood Pottery, Robert Scott Duncanson, Mitchell & Rammelsberg Furniture, and a tall case clock by Luman Watson.
The CAM is part of the Monuments Men and Women Museum Network, launched in 2021 by the Monuments Men Foundation for the Preservation of Art.
History
In the late nineteenth century, public art museums were still very much a new phenomenon, especially as far west as Cincinnati. Following the success of the 1876 Centennial Exhibition held in Philadelphia, the Women's Art Museum Association was organized in Cincinnati with the intent of bringing such an institution to the region for the benefit of all citizens. Enthusiasm for these goals grew steadily and by 1881 the Cincinnati Museum Association was incorporated. The art museum was at first temporarily housed in the south wing of Music Hall in Over-the-Rhine. Just five years later, or on May 17, 1886, the Art Museum building in Eden Park was dedicated with elaborate ceremonies. In November 1887, the McMicken School relocated to the newly built museum campus and was renamed the Art Academy of Cincinnati.The Cincinnati Art Museum enjoyed the support of the community from the beginning. Generous donations from a number of prominent Cincinnatians, including Melville E. Ingalls, grew the collection to number in the tens of thousands of objects, which soon necessitated the addition of the first of several Art Museum expansions.
In 1907 the Schmidlapp Wing opened, which was followed by a series of building projects. The addition of the Emery (named after Cincinnati philanthropists Thomas J. Emery and his wife Mary Emery), Hanna and French wings in the 1930s enclosed the courtyard and gave the Art Museum its current rectangular shape and provided the space in which the American, European and Asian collections are currently shown.
Renovations during the late 1940s and early 1950s divided the Great Hall into two floors and the present main entrance to the Art Museum was established. The 1965 completion of the Adams-Emery wing increased our facility resources yet further, adding space for the permanent collection, lecture halls and temporary exhibition galleries.
In 1993, a $13 million project restored the grandeur of the Art Museum's interior architecture and uncovered long-hidden architectural details. This project included the renovation of one of the Art Museum's signature spaces, the Great Hall. In addition, new gallery space was created and lighting and climate control were improved. The Art Museum's temporary exhibition space was expanded to approximately 10,000 square feet (930 m2) to accommodate major temporary exhibitions. In 1998, the museum's board decided to separate the museum from the Art Academy of Cincinnati.By the turn of the twenty-first century, the Art Museum's collection numbered over 60,000 objects and, today, is the largest in the state of Ohio. In 2003, the Cincinnati Art Museum deepened its ties with the Greater Cincinnati community by opening the popular and expansive Cincinnati Wing, the first permanent display of a city's art history in the nation. In addition, on May 17, 2003, the Art Museum eliminated its general admission fee forever, made possible by The Lois and Richard Rosenthal Foundation. In 2005, the Art Academy of Cincinnati officially left the museum's Eden Park campus, relocating to Over-the-Rhine.As of June 2020, Walnut Hills, home of the Cincinnati Art Museum and Cincinnati Playhouse in the Park, was undergoing major renovation, including a new outdoor civic and art space titled "Art Climb". Art Climb includes a staircase from the sidewalk near the intersection of Eden Park Drive and Gilbert Avenue leading to the art museum entrance. Consisting of multiple flights of steps, Art Climb opens up the museum grounds, connects the museum to its neighbors, and provides a space to incorporate outdoor artworks.
Collection
The art museum has paintings by several European masters, including: Master of San Baudelio, Jorge Ingles, Sandro Botticelli (Judith with Head of Holofernes), Matteo di Giovanni, Domenico Tintoretto (Portrait of Venetian dux Marino Grimani), Mattia Preti, Bernardo Strozzi, Frans Hals, Bartolomé Esteban Murillo (St. Thomas of Villanueva), Peter Paul Rubens (Samson and Delilah) and Aert van der Neer. The collection also includes works by Jean-Baptiste-Camille Corot, Pierre-Auguste Renoir, Camille Pissarro, Claude Monet (Rocks At Belle Isle), Vincent van Gogh, and Pablo Picasso. The museum also has a large collection of paintings by American painter Frank Duveneck (Elizabeth B. Duveneck).
The museum's Decorative Arts and Design collection includes over 7,000 works, including works by Paul de Lamerie, Karen LaMonte, Kitaro Shirayamadani, Jean-Pierre Latz, and many more.
Selections from the permanent collection
Exhibitions
The Cincinnati Art Museum hosts several national and international special exhibitions each year. Each exhibition is accompanied by public programs, activities and special events. Exhibitions included Paintings, Politics and the Monuments Men: The Berlin Masterpieces in America, Hank Willis Thomas: All Things Being Equal..., and No Spectators: The Art of Burning Man.The Cincinnati Art Museum's approach to hosting special exhibitions has changed over time. The museum found it impractical to spend as much as $2.5 million a year on special exhibitions when it has unexploited holdings like circus posters and Dutch contemporary design, especially given its declining endowment. As a result, in 2010 the museum mounted "See America", nine small shows that highlighted different parts of the country through the museum’s collection. Attendance at the museum has increased by 30 percent since it started emphasizing its permanent collection.
Management
Admission and hours of operation
General admission is always free to the Cincinnati Art Museum’s 73 permanent collection galleries and the Rosenthal Education Center (REC) family interactive center of the museum, thanks to the Richard and Lois Rosenthal Foundation, the Thomas J. Emery Endowment and an endowment established by the Cincinnati Financial Corporation/The Cincinnati Insurance Companies. Education program fees may apply to adults and children. Special exhibition pricing varies.
The Art Museum, located at 953 Eden Park Drive in Eden Park, is open Tuesdays through Sundays. Parking is free every day.
Funding
By 2011, the museum's endowment was down to about $70 million from about $80 million in 2008. The endowment soon recovered to pre-recession levels, valued at $87 million in 2014.
References
External links
Official website
Virtual tour of the Cincinnati Art Museum provided by Google Arts & Culture
Media related to Cincinnati Art Museum at Wikimedia Commons
|
located in the administrative territorial entity
|
{
"answer_start": [
50
],
"text": [
"Eden Park"
]
}
|
The Cincinnati Art Museum is an art museum in the Eden Park neighborhood of Cincinnati, Ohio. Founded in 1881, it was the first purpose-built art museum west of the Alleghenies, and is one of the oldest in the United States. Its collection of over 67,000 works spanning 6,000 years of human history make it one of the most comprehensive collections in the Midwest.
Museum founders debated locating the museum in either Burnet Woods, Eden Park, or downtown Cincinnati on Washington Park. Charles West, the major donor of the early museum, cast his votes in favor of Eden Park sealing its final location. The Romanesque-revival building designed by Cincinnati architect James W. McLaughlin opened in 1886. A series of additions and renovations have considerably altered the building over its 137-year history.
In 2003, a major addition, The Cincinnati Wing was added to house a permanent exhibit of art created for Cincinnati or by Cincinnati artists since 1788. The Cincinnati Wing includes fifteen new galleries covering 18,000 square feet (1,700 m2) of well-appointed space, and 400 objects. The Odoardo Fantacchiotti angels are two of the largest pieces in the collection. Fantacchiotti created these angels for the main altar of St. Peter in Chains Cathedral in the late 1840s. They were among the first European sculptures to come to Cincinnati. The Cincinnati Wing also contains the work of Frank Duveneck, Rookwood Pottery, Robert Scott Duncanson, Mitchell & Rammelsberg Furniture, and a tall case clock by Luman Watson.
The CAM is part of the Monuments Men and Women Museum Network, launched in 2021 by the Monuments Men Foundation for the Preservation of Art.
History
In the late nineteenth century, public art museums were still very much a new phenomenon, especially as far west as Cincinnati. Following the success of the 1876 Centennial Exhibition held in Philadelphia, the Women's Art Museum Association was organized in Cincinnati with the intent of bringing such an institution to the region for the benefit of all citizens. Enthusiasm for these goals grew steadily and by 1881 the Cincinnati Museum Association was incorporated. The art museum was at first temporarily housed in the south wing of Music Hall in Over-the-Rhine. Just five years later, or on May 17, 1886, the Art Museum building in Eden Park was dedicated with elaborate ceremonies. In November 1887, the McMicken School relocated to the newly built museum campus and was renamed the Art Academy of Cincinnati.The Cincinnati Art Museum enjoyed the support of the community from the beginning. Generous donations from a number of prominent Cincinnatians, including Melville E. Ingalls, grew the collection to number in the tens of thousands of objects, which soon necessitated the addition of the first of several Art Museum expansions.
In 1907 the Schmidlapp Wing opened, which was followed by a series of building projects. The addition of the Emery (named after Cincinnati philanthropists Thomas J. Emery and his wife Mary Emery), Hanna and French wings in the 1930s enclosed the courtyard and gave the Art Museum its current rectangular shape and provided the space in which the American, European and Asian collections are currently shown.
Renovations during the late 1940s and early 1950s divided the Great Hall into two floors and the present main entrance to the Art Museum was established. The 1965 completion of the Adams-Emery wing increased our facility resources yet further, adding space for the permanent collection, lecture halls and temporary exhibition galleries.
In 1993, a $13 million project restored the grandeur of the Art Museum's interior architecture and uncovered long-hidden architectural details. This project included the renovation of one of the Art Museum's signature spaces, the Great Hall. In addition, new gallery space was created and lighting and climate control were improved. The Art Museum's temporary exhibition space was expanded to approximately 10,000 square feet (930 m2) to accommodate major temporary exhibitions. In 1998, the museum's board decided to separate the museum from the Art Academy of Cincinnati.By the turn of the twenty-first century, the Art Museum's collection numbered over 60,000 objects and, today, is the largest in the state of Ohio. In 2003, the Cincinnati Art Museum deepened its ties with the Greater Cincinnati community by opening the popular and expansive Cincinnati Wing, the first permanent display of a city's art history in the nation. In addition, on May 17, 2003, the Art Museum eliminated its general admission fee forever, made possible by The Lois and Richard Rosenthal Foundation. In 2005, the Art Academy of Cincinnati officially left the museum's Eden Park campus, relocating to Over-the-Rhine.As of June 2020, Walnut Hills, home of the Cincinnati Art Museum and Cincinnati Playhouse in the Park, was undergoing major renovation, including a new outdoor civic and art space titled "Art Climb". Art Climb includes a staircase from the sidewalk near the intersection of Eden Park Drive and Gilbert Avenue leading to the art museum entrance. Consisting of multiple flights of steps, Art Climb opens up the museum grounds, connects the museum to its neighbors, and provides a space to incorporate outdoor artworks.
Collection
The art museum has paintings by several European masters, including: Master of San Baudelio, Jorge Ingles, Sandro Botticelli (Judith with Head of Holofernes), Matteo di Giovanni, Domenico Tintoretto (Portrait of Venetian dux Marino Grimani), Mattia Preti, Bernardo Strozzi, Frans Hals, Bartolomé Esteban Murillo (St. Thomas of Villanueva), Peter Paul Rubens (Samson and Delilah) and Aert van der Neer. The collection also includes works by Jean-Baptiste-Camille Corot, Pierre-Auguste Renoir, Camille Pissarro, Claude Monet (Rocks At Belle Isle), Vincent van Gogh, and Pablo Picasso. The museum also has a large collection of paintings by American painter Frank Duveneck (Elizabeth B. Duveneck).
The museum's Decorative Arts and Design collection includes over 7,000 works, including works by Paul de Lamerie, Karen LaMonte, Kitaro Shirayamadani, Jean-Pierre Latz, and many more.
Selections from the permanent collection
Exhibitions
The Cincinnati Art Museum hosts several national and international special exhibitions each year. Each exhibition is accompanied by public programs, activities and special events. Exhibitions included Paintings, Politics and the Monuments Men: The Berlin Masterpieces in America, Hank Willis Thomas: All Things Being Equal..., and No Spectators: The Art of Burning Man.The Cincinnati Art Museum's approach to hosting special exhibitions has changed over time. The museum found it impractical to spend as much as $2.5 million a year on special exhibitions when it has unexploited holdings like circus posters and Dutch contemporary design, especially given its declining endowment. As a result, in 2010 the museum mounted "See America", nine small shows that highlighted different parts of the country through the museum’s collection. Attendance at the museum has increased by 30 percent since it started emphasizing its permanent collection.
Management
Admission and hours of operation
General admission is always free to the Cincinnati Art Museum’s 73 permanent collection galleries and the Rosenthal Education Center (REC) family interactive center of the museum, thanks to the Richard and Lois Rosenthal Foundation, the Thomas J. Emery Endowment and an endowment established by the Cincinnati Financial Corporation/The Cincinnati Insurance Companies. Education program fees may apply to adults and children. Special exhibition pricing varies.
The Art Museum, located at 953 Eden Park Drive in Eden Park, is open Tuesdays through Sundays. Parking is free every day.
Funding
By 2011, the museum's endowment was down to about $70 million from about $80 million in 2008. The endowment soon recovered to pre-recession levels, valued at $87 million in 2014.
References
External links
Official website
Virtual tour of the Cincinnati Art Museum provided by Google Arts & Culture
Media related to Cincinnati Art Museum at Wikimedia Commons
|
headquarters location
|
{
"answer_start": [
4
],
"text": [
"Cincinnati"
]
}
|
The Cincinnati Art Museum is an art museum in the Eden Park neighborhood of Cincinnati, Ohio. Founded in 1881, it was the first purpose-built art museum west of the Alleghenies, and is one of the oldest in the United States. Its collection of over 67,000 works spanning 6,000 years of human history make it one of the most comprehensive collections in the Midwest.
Museum founders debated locating the museum in either Burnet Woods, Eden Park, or downtown Cincinnati on Washington Park. Charles West, the major donor of the early museum, cast his votes in favor of Eden Park sealing its final location. The Romanesque-revival building designed by Cincinnati architect James W. McLaughlin opened in 1886. A series of additions and renovations have considerably altered the building over its 137-year history.
In 2003, a major addition, The Cincinnati Wing was added to house a permanent exhibit of art created for Cincinnati or by Cincinnati artists since 1788. The Cincinnati Wing includes fifteen new galleries covering 18,000 square feet (1,700 m2) of well-appointed space, and 400 objects. The Odoardo Fantacchiotti angels are two of the largest pieces in the collection. Fantacchiotti created these angels for the main altar of St. Peter in Chains Cathedral in the late 1840s. They were among the first European sculptures to come to Cincinnati. The Cincinnati Wing also contains the work of Frank Duveneck, Rookwood Pottery, Robert Scott Duncanson, Mitchell & Rammelsberg Furniture, and a tall case clock by Luman Watson.
The CAM is part of the Monuments Men and Women Museum Network, launched in 2021 by the Monuments Men Foundation for the Preservation of Art.
History
In the late nineteenth century, public art museums were still very much a new phenomenon, especially as far west as Cincinnati. Following the success of the 1876 Centennial Exhibition held in Philadelphia, the Women's Art Museum Association was organized in Cincinnati with the intent of bringing such an institution to the region for the benefit of all citizens. Enthusiasm for these goals grew steadily and by 1881 the Cincinnati Museum Association was incorporated. The art museum was at first temporarily housed in the south wing of Music Hall in Over-the-Rhine. Just five years later, or on May 17, 1886, the Art Museum building in Eden Park was dedicated with elaborate ceremonies. In November 1887, the McMicken School relocated to the newly built museum campus and was renamed the Art Academy of Cincinnati.The Cincinnati Art Museum enjoyed the support of the community from the beginning. Generous donations from a number of prominent Cincinnatians, including Melville E. Ingalls, grew the collection to number in the tens of thousands of objects, which soon necessitated the addition of the first of several Art Museum expansions.
In 1907 the Schmidlapp Wing opened, which was followed by a series of building projects. The addition of the Emery (named after Cincinnati philanthropists Thomas J. Emery and his wife Mary Emery), Hanna and French wings in the 1930s enclosed the courtyard and gave the Art Museum its current rectangular shape and provided the space in which the American, European and Asian collections are currently shown.
Renovations during the late 1940s and early 1950s divided the Great Hall into two floors and the present main entrance to the Art Museum was established. The 1965 completion of the Adams-Emery wing increased our facility resources yet further, adding space for the permanent collection, lecture halls and temporary exhibition galleries.
In 1993, a $13 million project restored the grandeur of the Art Museum's interior architecture and uncovered long-hidden architectural details. This project included the renovation of one of the Art Museum's signature spaces, the Great Hall. In addition, new gallery space was created and lighting and climate control were improved. The Art Museum's temporary exhibition space was expanded to approximately 10,000 square feet (930 m2) to accommodate major temporary exhibitions. In 1998, the museum's board decided to separate the museum from the Art Academy of Cincinnati.By the turn of the twenty-first century, the Art Museum's collection numbered over 60,000 objects and, today, is the largest in the state of Ohio. In 2003, the Cincinnati Art Museum deepened its ties with the Greater Cincinnati community by opening the popular and expansive Cincinnati Wing, the first permanent display of a city's art history in the nation. In addition, on May 17, 2003, the Art Museum eliminated its general admission fee forever, made possible by The Lois and Richard Rosenthal Foundation. In 2005, the Art Academy of Cincinnati officially left the museum's Eden Park campus, relocating to Over-the-Rhine.As of June 2020, Walnut Hills, home of the Cincinnati Art Museum and Cincinnati Playhouse in the Park, was undergoing major renovation, including a new outdoor civic and art space titled "Art Climb". Art Climb includes a staircase from the sidewalk near the intersection of Eden Park Drive and Gilbert Avenue leading to the art museum entrance. Consisting of multiple flights of steps, Art Climb opens up the museum grounds, connects the museum to its neighbors, and provides a space to incorporate outdoor artworks.
Collection
The art museum has paintings by several European masters, including: Master of San Baudelio, Jorge Ingles, Sandro Botticelli (Judith with Head of Holofernes), Matteo di Giovanni, Domenico Tintoretto (Portrait of Venetian dux Marino Grimani), Mattia Preti, Bernardo Strozzi, Frans Hals, Bartolomé Esteban Murillo (St. Thomas of Villanueva), Peter Paul Rubens (Samson and Delilah) and Aert van der Neer. The collection also includes works by Jean-Baptiste-Camille Corot, Pierre-Auguste Renoir, Camille Pissarro, Claude Monet (Rocks At Belle Isle), Vincent van Gogh, and Pablo Picasso. The museum also has a large collection of paintings by American painter Frank Duveneck (Elizabeth B. Duveneck).
The museum's Decorative Arts and Design collection includes over 7,000 works, including works by Paul de Lamerie, Karen LaMonte, Kitaro Shirayamadani, Jean-Pierre Latz, and many more.
Selections from the permanent collection
Exhibitions
The Cincinnati Art Museum hosts several national and international special exhibitions each year. Each exhibition is accompanied by public programs, activities and special events. Exhibitions included Paintings, Politics and the Monuments Men: The Berlin Masterpieces in America, Hank Willis Thomas: All Things Being Equal..., and No Spectators: The Art of Burning Man.The Cincinnati Art Museum's approach to hosting special exhibitions has changed over time. The museum found it impractical to spend as much as $2.5 million a year on special exhibitions when it has unexploited holdings like circus posters and Dutch contemporary design, especially given its declining endowment. As a result, in 2010 the museum mounted "See America", nine small shows that highlighted different parts of the country through the museum’s collection. Attendance at the museum has increased by 30 percent since it started emphasizing its permanent collection.
Management
Admission and hours of operation
General admission is always free to the Cincinnati Art Museum’s 73 permanent collection galleries and the Rosenthal Education Center (REC) family interactive center of the museum, thanks to the Richard and Lois Rosenthal Foundation, the Thomas J. Emery Endowment and an endowment established by the Cincinnati Financial Corporation/The Cincinnati Insurance Companies. Education program fees may apply to adults and children. Special exhibition pricing varies.
The Art Museum, located at 953 Eden Park Drive in Eden Park, is open Tuesdays through Sundays. Parking is free every day.
Funding
By 2011, the museum's endowment was down to about $70 million from about $80 million in 2008. The endowment soon recovered to pre-recession levels, valued at $87 million in 2014.
References
External links
Official website
Virtual tour of the Cincinnati Art Museum provided by Google Arts & Culture
Media related to Cincinnati Art Museum at Wikimedia Commons
|
location
|
{
"answer_start": [
50
],
"text": [
"Eden Park"
]
}
|
The Cincinnati Art Museum is an art museum in the Eden Park neighborhood of Cincinnati, Ohio. Founded in 1881, it was the first purpose-built art museum west of the Alleghenies, and is one of the oldest in the United States. Its collection of over 67,000 works spanning 6,000 years of human history make it one of the most comprehensive collections in the Midwest.
Museum founders debated locating the museum in either Burnet Woods, Eden Park, or downtown Cincinnati on Washington Park. Charles West, the major donor of the early museum, cast his votes in favor of Eden Park sealing its final location. The Romanesque-revival building designed by Cincinnati architect James W. McLaughlin opened in 1886. A series of additions and renovations have considerably altered the building over its 137-year history.
In 2003, a major addition, The Cincinnati Wing was added to house a permanent exhibit of art created for Cincinnati or by Cincinnati artists since 1788. The Cincinnati Wing includes fifteen new galleries covering 18,000 square feet (1,700 m2) of well-appointed space, and 400 objects. The Odoardo Fantacchiotti angels are two of the largest pieces in the collection. Fantacchiotti created these angels for the main altar of St. Peter in Chains Cathedral in the late 1840s. They were among the first European sculptures to come to Cincinnati. The Cincinnati Wing also contains the work of Frank Duveneck, Rookwood Pottery, Robert Scott Duncanson, Mitchell & Rammelsberg Furniture, and a tall case clock by Luman Watson.
The CAM is part of the Monuments Men and Women Museum Network, launched in 2021 by the Monuments Men Foundation for the Preservation of Art.
History
In the late nineteenth century, public art museums were still very much a new phenomenon, especially as far west as Cincinnati. Following the success of the 1876 Centennial Exhibition held in Philadelphia, the Women's Art Museum Association was organized in Cincinnati with the intent of bringing such an institution to the region for the benefit of all citizens. Enthusiasm for these goals grew steadily and by 1881 the Cincinnati Museum Association was incorporated. The art museum was at first temporarily housed in the south wing of Music Hall in Over-the-Rhine. Just five years later, or on May 17, 1886, the Art Museum building in Eden Park was dedicated with elaborate ceremonies. In November 1887, the McMicken School relocated to the newly built museum campus and was renamed the Art Academy of Cincinnati.The Cincinnati Art Museum enjoyed the support of the community from the beginning. Generous donations from a number of prominent Cincinnatians, including Melville E. Ingalls, grew the collection to number in the tens of thousands of objects, which soon necessitated the addition of the first of several Art Museum expansions.
In 1907 the Schmidlapp Wing opened, which was followed by a series of building projects. The addition of the Emery (named after Cincinnati philanthropists Thomas J. Emery and his wife Mary Emery), Hanna and French wings in the 1930s enclosed the courtyard and gave the Art Museum its current rectangular shape and provided the space in which the American, European and Asian collections are currently shown.
Renovations during the late 1940s and early 1950s divided the Great Hall into two floors and the present main entrance to the Art Museum was established. The 1965 completion of the Adams-Emery wing increased our facility resources yet further, adding space for the permanent collection, lecture halls and temporary exhibition galleries.
In 1993, a $13 million project restored the grandeur of the Art Museum's interior architecture and uncovered long-hidden architectural details. This project included the renovation of one of the Art Museum's signature spaces, the Great Hall. In addition, new gallery space was created and lighting and climate control were improved. The Art Museum's temporary exhibition space was expanded to approximately 10,000 square feet (930 m2) to accommodate major temporary exhibitions. In 1998, the museum's board decided to separate the museum from the Art Academy of Cincinnati.By the turn of the twenty-first century, the Art Museum's collection numbered over 60,000 objects and, today, is the largest in the state of Ohio. In 2003, the Cincinnati Art Museum deepened its ties with the Greater Cincinnati community by opening the popular and expansive Cincinnati Wing, the first permanent display of a city's art history in the nation. In addition, on May 17, 2003, the Art Museum eliminated its general admission fee forever, made possible by The Lois and Richard Rosenthal Foundation. In 2005, the Art Academy of Cincinnati officially left the museum's Eden Park campus, relocating to Over-the-Rhine.As of June 2020, Walnut Hills, home of the Cincinnati Art Museum and Cincinnati Playhouse in the Park, was undergoing major renovation, including a new outdoor civic and art space titled "Art Climb". Art Climb includes a staircase from the sidewalk near the intersection of Eden Park Drive and Gilbert Avenue leading to the art museum entrance. Consisting of multiple flights of steps, Art Climb opens up the museum grounds, connects the museum to its neighbors, and provides a space to incorporate outdoor artworks.
Collection
The art museum has paintings by several European masters, including: Master of San Baudelio, Jorge Ingles, Sandro Botticelli (Judith with Head of Holofernes), Matteo di Giovanni, Domenico Tintoretto (Portrait of Venetian dux Marino Grimani), Mattia Preti, Bernardo Strozzi, Frans Hals, Bartolomé Esteban Murillo (St. Thomas of Villanueva), Peter Paul Rubens (Samson and Delilah) and Aert van der Neer. The collection also includes works by Jean-Baptiste-Camille Corot, Pierre-Auguste Renoir, Camille Pissarro, Claude Monet (Rocks At Belle Isle), Vincent van Gogh, and Pablo Picasso. The museum also has a large collection of paintings by American painter Frank Duveneck (Elizabeth B. Duveneck).
The museum's Decorative Arts and Design collection includes over 7,000 works, including works by Paul de Lamerie, Karen LaMonte, Kitaro Shirayamadani, Jean-Pierre Latz, and many more.
Selections from the permanent collection
Exhibitions
The Cincinnati Art Museum hosts several national and international special exhibitions each year. Each exhibition is accompanied by public programs, activities and special events. Exhibitions included Paintings, Politics and the Monuments Men: The Berlin Masterpieces in America, Hank Willis Thomas: All Things Being Equal..., and No Spectators: The Art of Burning Man.The Cincinnati Art Museum's approach to hosting special exhibitions has changed over time. The museum found it impractical to spend as much as $2.5 million a year on special exhibitions when it has unexploited holdings like circus posters and Dutch contemporary design, especially given its declining endowment. As a result, in 2010 the museum mounted "See America", nine small shows that highlighted different parts of the country through the museum’s collection. Attendance at the museum has increased by 30 percent since it started emphasizing its permanent collection.
Management
Admission and hours of operation
General admission is always free to the Cincinnati Art Museum’s 73 permanent collection galleries and the Rosenthal Education Center (REC) family interactive center of the museum, thanks to the Richard and Lois Rosenthal Foundation, the Thomas J. Emery Endowment and an endowment established by the Cincinnati Financial Corporation/The Cincinnati Insurance Companies. Education program fees may apply to adults and children. Special exhibition pricing varies.
The Art Museum, located at 953 Eden Park Drive in Eden Park, is open Tuesdays through Sundays. Parking is free every day.
Funding
By 2011, the museum's endowment was down to about $70 million from about $80 million in 2008. The endowment soon recovered to pre-recession levels, valued at $87 million in 2014.
References
External links
Official website
Virtual tour of the Cincinnati Art Museum provided by Google Arts & Culture
Media related to Cincinnati Art Museum at Wikimedia Commons
|
Commons category
|
{
"answer_start": [
4
],
"text": [
"Cincinnati Art Museum"
]
}
|
The Cincinnati Art Museum is an art museum in the Eden Park neighborhood of Cincinnati, Ohio. Founded in 1881, it was the first purpose-built art museum west of the Alleghenies, and is one of the oldest in the United States. Its collection of over 67,000 works spanning 6,000 years of human history make it one of the most comprehensive collections in the Midwest.
Museum founders debated locating the museum in either Burnet Woods, Eden Park, or downtown Cincinnati on Washington Park. Charles West, the major donor of the early museum, cast his votes in favor of Eden Park sealing its final location. The Romanesque-revival building designed by Cincinnati architect James W. McLaughlin opened in 1886. A series of additions and renovations have considerably altered the building over its 137-year history.
In 2003, a major addition, The Cincinnati Wing was added to house a permanent exhibit of art created for Cincinnati or by Cincinnati artists since 1788. The Cincinnati Wing includes fifteen new galleries covering 18,000 square feet (1,700 m2) of well-appointed space, and 400 objects. The Odoardo Fantacchiotti angels are two of the largest pieces in the collection. Fantacchiotti created these angels for the main altar of St. Peter in Chains Cathedral in the late 1840s. They were among the first European sculptures to come to Cincinnati. The Cincinnati Wing also contains the work of Frank Duveneck, Rookwood Pottery, Robert Scott Duncanson, Mitchell & Rammelsberg Furniture, and a tall case clock by Luman Watson.
The CAM is part of the Monuments Men and Women Museum Network, launched in 2021 by the Monuments Men Foundation for the Preservation of Art.
History
In the late nineteenth century, public art museums were still very much a new phenomenon, especially as far west as Cincinnati. Following the success of the 1876 Centennial Exhibition held in Philadelphia, the Women's Art Museum Association was organized in Cincinnati with the intent of bringing such an institution to the region for the benefit of all citizens. Enthusiasm for these goals grew steadily and by 1881 the Cincinnati Museum Association was incorporated. The art museum was at first temporarily housed in the south wing of Music Hall in Over-the-Rhine. Just five years later, or on May 17, 1886, the Art Museum building in Eden Park was dedicated with elaborate ceremonies. In November 1887, the McMicken School relocated to the newly built museum campus and was renamed the Art Academy of Cincinnati.The Cincinnati Art Museum enjoyed the support of the community from the beginning. Generous donations from a number of prominent Cincinnatians, including Melville E. Ingalls, grew the collection to number in the tens of thousands of objects, which soon necessitated the addition of the first of several Art Museum expansions.
In 1907 the Schmidlapp Wing opened, which was followed by a series of building projects. The addition of the Emery (named after Cincinnati philanthropists Thomas J. Emery and his wife Mary Emery), Hanna and French wings in the 1930s enclosed the courtyard and gave the Art Museum its current rectangular shape and provided the space in which the American, European and Asian collections are currently shown.
Renovations during the late 1940s and early 1950s divided the Great Hall into two floors and the present main entrance to the Art Museum was established. The 1965 completion of the Adams-Emery wing increased our facility resources yet further, adding space for the permanent collection, lecture halls and temporary exhibition galleries.
In 1993, a $13 million project restored the grandeur of the Art Museum's interior architecture and uncovered long-hidden architectural details. This project included the renovation of one of the Art Museum's signature spaces, the Great Hall. In addition, new gallery space was created and lighting and climate control were improved. The Art Museum's temporary exhibition space was expanded to approximately 10,000 square feet (930 m2) to accommodate major temporary exhibitions. In 1998, the museum's board decided to separate the museum from the Art Academy of Cincinnati.By the turn of the twenty-first century, the Art Museum's collection numbered over 60,000 objects and, today, is the largest in the state of Ohio. In 2003, the Cincinnati Art Museum deepened its ties with the Greater Cincinnati community by opening the popular and expansive Cincinnati Wing, the first permanent display of a city's art history in the nation. In addition, on May 17, 2003, the Art Museum eliminated its general admission fee forever, made possible by The Lois and Richard Rosenthal Foundation. In 2005, the Art Academy of Cincinnati officially left the museum's Eden Park campus, relocating to Over-the-Rhine.As of June 2020, Walnut Hills, home of the Cincinnati Art Museum and Cincinnati Playhouse in the Park, was undergoing major renovation, including a new outdoor civic and art space titled "Art Climb". Art Climb includes a staircase from the sidewalk near the intersection of Eden Park Drive and Gilbert Avenue leading to the art museum entrance. Consisting of multiple flights of steps, Art Climb opens up the museum grounds, connects the museum to its neighbors, and provides a space to incorporate outdoor artworks.
Collection
The art museum has paintings by several European masters, including: Master of San Baudelio, Jorge Ingles, Sandro Botticelli (Judith with Head of Holofernes), Matteo di Giovanni, Domenico Tintoretto (Portrait of Venetian dux Marino Grimani), Mattia Preti, Bernardo Strozzi, Frans Hals, Bartolomé Esteban Murillo (St. Thomas of Villanueva), Peter Paul Rubens (Samson and Delilah) and Aert van der Neer. The collection also includes works by Jean-Baptiste-Camille Corot, Pierre-Auguste Renoir, Camille Pissarro, Claude Monet (Rocks At Belle Isle), Vincent van Gogh, and Pablo Picasso. The museum also has a large collection of paintings by American painter Frank Duveneck (Elizabeth B. Duveneck).
The museum's Decorative Arts and Design collection includes over 7,000 works, including works by Paul de Lamerie, Karen LaMonte, Kitaro Shirayamadani, Jean-Pierre Latz, and many more.
Selections from the permanent collection
Exhibitions
The Cincinnati Art Museum hosts several national and international special exhibitions each year. Each exhibition is accompanied by public programs, activities and special events. Exhibitions included Paintings, Politics and the Monuments Men: The Berlin Masterpieces in America, Hank Willis Thomas: All Things Being Equal..., and No Spectators: The Art of Burning Man.The Cincinnati Art Museum's approach to hosting special exhibitions has changed over time. The museum found it impractical to spend as much as $2.5 million a year on special exhibitions when it has unexploited holdings like circus posters and Dutch contemporary design, especially given its declining endowment. As a result, in 2010 the museum mounted "See America", nine small shows that highlighted different parts of the country through the museum’s collection. Attendance at the museum has increased by 30 percent since it started emphasizing its permanent collection.
Management
Admission and hours of operation
General admission is always free to the Cincinnati Art Museum’s 73 permanent collection galleries and the Rosenthal Education Center (REC) family interactive center of the museum, thanks to the Richard and Lois Rosenthal Foundation, the Thomas J. Emery Endowment and an endowment established by the Cincinnati Financial Corporation/The Cincinnati Insurance Companies. Education program fees may apply to adults and children. Special exhibition pricing varies.
The Art Museum, located at 953 Eden Park Drive in Eden Park, is open Tuesdays through Sundays. Parking is free every day.
Funding
By 2011, the museum's endowment was down to about $70 million from about $80 million in 2008. The endowment soon recovered to pre-recession levels, valued at $87 million in 2014.
References
External links
Official website
Virtual tour of the Cincinnati Art Museum provided by Google Arts & Culture
Media related to Cincinnati Art Museum at Wikimedia Commons
|
Commons Institution page
|
{
"answer_start": [
4
],
"text": [
"Cincinnati Art Museum"
]
}
|
The Reformation in Economics is a book written by the Irish economist Philip Pilkington. It is a book that aims to deconstruct contemporary neoclassical economic theory in order to determine to what extent it is scientific and to what extent it is ideological. The book is divided into three sections: Ideology and Methodology, Stripped-Down Macroeconomics and Approaching the Real World. The first section of the book engages in a deconstruction of economic theory that seeks to weed out the ideological elements of economic theory while introducing a coherent methodology that allows for the reconstruction that follows. The second section lays out a theory of the macroeconomy that builds on the methodology described in the first section and tackles: money, prices, profits, income distribution, income determination, investment and finance. The final section sketches out how such a theory should be applied to real-world empirical data, with a particular emphasis on the fact that working economists are faced with fundamental uncertainty and so applying their theories is not as simple or straightforward as applying theories in the hard sciences, like physics.
Themes
Economics and Ideology
The author considers a lot of contemporary neoclassical economic theory to be ideology. In an article that accompanied the release of the book, Pilkington compared neoclassical economics to the 19th century ideological pseudoscience of phrenology:
"What made phrenology so popular was what also made economics so popular at the time: it gave a rationale for a society based on Progress and also provided a blueprint for how this could be achieved. The phrenological doctrine, being so vague in its pronouncements, was highly malleable and could be used to justify whatever those in power needed justifying. So, for example, in 19th century England phrenology was used to justify laissez faire economic policies by emphasising unequal natural capacities amongst the population while in early 20th century Belgian Rwanda it was used to justify the supposed superiority of the Tutsis over the Hutus. In my book The Reformation in Economics I take the position that modern economics is more similar to phrenology than it is to, say, physics."
The book seeks to show that much of the ideology in economics is due to microeconomics and attempts made by economists to try to understand the behaviour of individuals based on fixed and unchanging laws. Pilkington argues that only macroeconomics, which deals with large aggregates of people, can allow for the abstraction necessary to generate scientific statements about the economics.
Epistemology, Modelling and Bias
Pilkington argues that economists do not actually understand what they are doing when they build economic models. He argues that this is because economists have no coherent epistemology. In order to ground economics in a proper epistemology and render it useful and clear he draws on the work of the philosophers George Berkeley and Immanuel Kant. He argues that economics should move away from models altogether and toward a form of schematism as outlined in the philosophy of Kant. He also argues that since economists deal with abstractions they must be careful in order to ensure that their theories remain close to reality.
The book also argues that disciplines like economics can be subject to extreme biases that can have a highly negative impact on both theory and empirical studies. Pilkington writes that the reason for this is that economic studies cannot provide repeatable controlled experiments and so they can reach extremely biased results. In order to counter this he claims that economists should be aware of their biases and lays out a theory of bias in science to help elucidate this.
Equilibrium
The book also argues that there are many different conceptions of equilibrium in economics but that most economists are not aware of this. For this reason economists often do not understand how their theory applies to reality. Based on this Pilkington argues against the Walrasian conception of a general equilibrium as is used in most economics models. He makes this case on the basis of his epistemological realism.
The Efficient Markets Hypothesis
In the book the author argues that the efficient-market hypothesis (EMH) theory of financial markets is not only wrong but not even a theory. He lays out an argument that the theory is not a theory at all but rather a tautological fallacy that arises out of a confusion between statistical averages and single investors. He makes the case that the whole theory rests on an implicit view of successful investors as simply lucky, but if this same criteria were applied to successful members of any other profession, the statement would be readily seen as absurd.
Uncertainty and Probability
Pilkington argues that economics and any disciplines that deal with historical data rather than repeatable controlled experiments deal with material that is fundamentally uncertain. Such material can never be assumed to adhere to fixed laws in the way that, say, chemistry and physics can be thought to adhere to fixed laws. Neoclassical economists and econometricians evade this by claiming that economic and historical processes are characterised by known probability distributions. But Pilkington shows that this is impossible because economic and historical processes are open, not closed systems and so rather than dealing with a series of bounded probabilities we in fact deal with a series of unbounded possibilities.
The author lays out some guidelines for how such material should and should not be dealt with in both theory and in practice. He highlights the British economist Wynne Godley's approach which he refers to as the "unsustainable processes" approach as a novel and robust way to deal with uncertain, open systems material. This methodology seeks to locate economic processes that are unsustainable so that the economist can make a prediction that they will come to an end. Such an approach is not forecasting, as no exact date is given and no attempt at predicting specific variables is undertaken. Pilkington argues that this is the best approach to such open systems material.
Macroeconomic Theory
In addition to these broad themes, a good deal of the book is concerned with laying out an alternative, "stripped-down" theory of the macroeconomy. This theory rests on the kaleidostatics approach of the British economist G.L.S. Shackle. Pilkington formulates much of this theory in mathematical terms but does so in such a way that it remains an open systems approach. The theory that results is closely linked to the Post-Keynesian school of economic thought.
Interest Rates
In the book Pilkington lays out a novel theory of interest rate determination. In contrast to neoclassical and even Keynesian theories of the interest rate as primarily a price for money, Pilkington argues that the interest rate at the most basic level is determined by the relative social powers of creditors and debtors. This relationship is mediated by historically contingent legal and economic institutions, like the central banks, which subordinate creditor power to the whims of governments, courts and technocrats. It is only based on these fundamentally-determined interest rates that the price mechanism comes into play.
Reviews
In the Financial Times, journalist Martin Sandbu wrote that Pilkington "usefully revisits forgotten writers from the history of economic thought but insists a little too rashly that they alone were right and the entire direction the field took instead was misguided. He correctly points out the dangers of mathematising economic argument - but somewhat undermines his point by introducing equations of his own."In the Irish Times Cillian Doyle wrote that Pilkington "dispenses with such appeals by making his pitch to the next generation, those who are currently cutting their teeth in undergraduate or postgraduate courses" and that he sees "economics as ripe for the kind of transformation experienced by religion half a millennia ago and with the same irreverence that Martin Luther once besieged the Church". Doyle writes that Pilkington has provided a basis on which the student movements protesting the current curriculum can build.
In the journal American Affairs, economist Marc Morgan writes that the book "is a deeply informed, lucid, and concise critique of the edifice and history of the current dominant economics paradigm—what the author refers to as “marginalist economics”—coupled with a foundational reconstruction from first principles, “a firm grounding, a shrub that can, given time, grow into something far more robust.” It is a bold task, but one the author largely accomplishes with great precision, and more importantly, pedagogy. Its depth comes from its excursions into other fields of epistemological inquiry."
References
Pilkington, Philip (2016). The Reformation in Economics: A Deconstruction and Reconstruction of Economic Theory. Palgrave Macmillan.
|
publisher
|
{
"answer_start": [
9029
],
"text": [
"Palgrave Macmillan"
]
}
|
Guillaume Victorin (born 26 May 1990) is a French athlete specialising in the long jump. He won a bronze medal at the 2011 European U23 Championships. He also finished eighth at the 2018 European Championships.
His personal bests in the event are 8.00 metres outdoors (+1.7 m/s, Albi 2018) and 7.91 metres indoors (New York 2014).
International competitions
== References ==
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Guillaume Victorin"
]
}
|
Guillaume Victorin (born 26 May 1990) is a French athlete specialising in the long jump. He won a bronze medal at the 2011 European U23 Championships. He also finished eighth at the 2018 European Championships.
His personal bests in the event are 8.00 metres outdoors (+1.7 m/s, Albi 2018) and 7.91 metres indoors (New York 2014).
International competitions
== References ==
|
given name
|
{
"answer_start": [
0
],
"text": [
"Guillaume"
]
}
|
Guillaume Victorin (born 26 May 1990) is a French athlete specialising in the long jump. He won a bronze medal at the 2011 European U23 Championships. He also finished eighth at the 2018 European Championships.
His personal bests in the event are 8.00 metres outdoors (+1.7 m/s, Albi 2018) and 7.91 metres indoors (New York 2014).
International competitions
== References ==
|
languages spoken, written or signed
|
{
"answer_start": [
43
],
"text": [
"French"
]
}
|
Guillaume Victorin (born 26 May 1990) is a French athlete specialising in the long jump. He won a bronze medal at the 2011 European U23 Championships. He also finished eighth at the 2018 European Championships.
His personal bests in the event are 8.00 metres outdoors (+1.7 m/s, Albi 2018) and 7.91 metres indoors (New York 2014).
International competitions
== References ==
|
name in native language
|
{
"answer_start": [
0
],
"text": [
"Guillaume Victorin"
]
}
|
Olne (French pronunciation: [ɔln]; Walloon: Ône) is a municipality of Wallonia located in the province of Liège, Belgium.
On January 1, 2006, Olne had a total population of 3,793. The total area is 15.99 km² which gives a population density of 237 inhabitants per km².
Olne was the 24th village to join Les Plus Beaux Villages de Wallonie.
See also
List of protected heritage sites in Olne
References
External links
Media related to Olne at Wikimedia Commons
(in French) Official website
|
country
|
{
"answer_start": [
114
],
"text": [
"Belgium"
]
}
|
Olne (French pronunciation: [ɔln]; Walloon: Ône) is a municipality of Wallonia located in the province of Liège, Belgium.
On January 1, 2006, Olne had a total population of 3,793. The total area is 15.99 km² which gives a population density of 237 inhabitants per km².
Olne was the 24th village to join Les Plus Beaux Villages de Wallonie.
See also
List of protected heritage sites in Olne
References
External links
Media related to Olne at Wikimedia Commons
(in French) Official website
|
capital
|
{
"answer_start": [
0
],
"text": [
"Olne"
]
}
|
Olne (French pronunciation: [ɔln]; Walloon: Ône) is a municipality of Wallonia located in the province of Liège, Belgium.
On January 1, 2006, Olne had a total population of 3,793. The total area is 15.99 km² which gives a population density of 237 inhabitants per km².
Olne was the 24th village to join Les Plus Beaux Villages de Wallonie.
See also
List of protected heritage sites in Olne
References
External links
Media related to Olne at Wikimedia Commons
(in French) Official website
|
official language
|
{
"answer_start": [
6
],
"text": [
"French"
]
}
|
Olne (French pronunciation: [ɔln]; Walloon: Ône) is a municipality of Wallonia located in the province of Liège, Belgium.
On January 1, 2006, Olne had a total population of 3,793. The total area is 15.99 km² which gives a population density of 237 inhabitants per km².
Olne was the 24th village to join Les Plus Beaux Villages de Wallonie.
See also
List of protected heritage sites in Olne
References
External links
Media related to Olne at Wikimedia Commons
(in French) Official website
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Olne"
]
}
|
Olne (French pronunciation: [ɔln]; Walloon: Ône) is a municipality of Wallonia located in the province of Liège, Belgium.
On January 1, 2006, Olne had a total population of 3,793. The total area is 15.99 km² which gives a population density of 237 inhabitants per km².
Olne was the 24th village to join Les Plus Beaux Villages de Wallonie.
See also
List of protected heritage sites in Olne
References
External links
Media related to Olne at Wikimedia Commons
(in French) Official website
|
instance of
|
{
"answer_start": [
289
],
"text": [
"village"
]
}
|
Olne (French pronunciation: [ɔln]; Walloon: Ône) is a municipality of Wallonia located in the province of Liège, Belgium.
On January 1, 2006, Olne had a total population of 3,793. The total area is 15.99 km² which gives a population density of 237 inhabitants per km².
Olne was the 24th village to join Les Plus Beaux Villages de Wallonie.
See also
List of protected heritage sites in Olne
References
External links
Media related to Olne at Wikimedia Commons
(in French) Official website
|
located in the administrative territorial entity
|
{
"answer_start": [
0
],
"text": [
"Olne"
]
}
|
Olne (French pronunciation: [ɔln]; Walloon: Ône) is a municipality of Wallonia located in the province of Liège, Belgium.
On January 1, 2006, Olne had a total population of 3,793. The total area is 15.99 km² which gives a population density of 237 inhabitants per km².
Olne was the 24th village to join Les Plus Beaux Villages de Wallonie.
See also
List of protected heritage sites in Olne
References
External links
Media related to Olne at Wikimedia Commons
(in French) Official website
|
capital of
|
{
"answer_start": [
0
],
"text": [
"Olne"
]
}
|
Olne (French pronunciation: [ɔln]; Walloon: Ône) is a municipality of Wallonia located in the province of Liège, Belgium.
On January 1, 2006, Olne had a total population of 3,793. The total area is 15.99 km² which gives a population density of 237 inhabitants per km².
Olne was the 24th village to join Les Plus Beaux Villages de Wallonie.
See also
List of protected heritage sites in Olne
References
External links
Media related to Olne at Wikimedia Commons
(in French) Official website
|
area
|
{
"answer_start": [
200
],
"text": [
"15.99"
]
}
|
Olne (French pronunciation: [ɔln]; Walloon: Ône) is a municipality of Wallonia located in the province of Liège, Belgium.
On January 1, 2006, Olne had a total population of 3,793. The total area is 15.99 km² which gives a population density of 237 inhabitants per km².
Olne was the 24th village to join Les Plus Beaux Villages de Wallonie.
See also
List of protected heritage sites in Olne
References
External links
Media related to Olne at Wikimedia Commons
(in French) Official website
|
part of
|
{
"answer_start": [
0
],
"text": [
"Olne"
]
}
|
Antal Kagerbauer (born as Anton Kagerbauer; 5 July 1814 – 8 October 1872) was a Transylvanian Hungarian-German architect who worked in Cluj during the mid-nineteenth century.
Kagerbauer studied under György Winkler in the city of Cluj and then became his associate. After Winkler's death, Kagerbauer completed the St. George housing district (1834–36) and also the 'double barrelled' reformed church. Kagerbauer's design for a new city hall, built to replace the old one which was burnt down, was realised with some alterations in 1841. He also designed the church of St. Peter which was built between 1844 and 1846. He worked on various castles in the area also: the Banffy castle and marosujvari castle. The theatre building on Farkas street was also his work. In 1858 he planned the city's water system.
|
occupation
|
{
"answer_start": [
111
],
"text": [
"architect"
]
}
|
Antal Kagerbauer (born as Anton Kagerbauer; 5 July 1814 – 8 October 1872) was a Transylvanian Hungarian-German architect who worked in Cluj during the mid-nineteenth century.
Kagerbauer studied under György Winkler in the city of Cluj and then became his associate. After Winkler's death, Kagerbauer completed the St. George housing district (1834–36) and also the 'double barrelled' reformed church. Kagerbauer's design for a new city hall, built to replace the old one which was burnt down, was realised with some alterations in 1841. He also designed the church of St. Peter which was built between 1844 and 1846. He worked on various castles in the area also: the Banffy castle and marosujvari castle. The theatre building on Farkas street was also his work. In 1858 he planned the city's water system.
|
given name
|
{
"answer_start": [
0
],
"text": [
"Antal"
]
}
|
The 2008 San Diego County Credit Union Poinsettia Bowl was the fourth edition of the college football bowl game, and was played at Qualcomm Stadium in San Diego, California. The game started at 5 PM US PST on Tuesday, December 23, 2008. The game, simulcast on ESPN and ESPN Radio with Rece Davis, Mark May, and Lou Holtz announcing, pit the Boise State Broncos against the Texas Christian Horned Frogs. In the game, TCU overcame a 13–0 deficit to pull off an impressive 17–16 win over Boise State.
With Boise State ranked 9th and TCU ranked 11th, this bowl pairing featured teams both ranked higher than the teams playing in a BCS game during the same season, the 2009 Orange Bowl, which featured #12 Cincinnati against #21 Virginia Tech, a first in BCS history.
TCU and Boise State would face off in a bowl game again the following season when both played in a BCS game, the 2010 Fiesta Bowl.
Scoring summary
== References ==
|
instance of
|
{
"answer_start": [
102
],
"text": [
"bowl game"
]
}
|
The Benham Historic District is a historic district encompassing ten buildings and a public park in Benham, Kentucky. The buildings form the historic center of the coal town of Benham. Benham was founded by Wisconsin Steel, a subsidiary of International Harvester, in 1912; its major buildings were built between 1919 and 1928, replacing the original buildings as the town grew. Mining operations declined during the Great Depression, and as a result the district represents the main period of development in the town. The buildings in the district include Benham's city hall, post office, grade school, Methodist church, jail, theatre, hospital, firehouse, company store, and meat market.The district was added to the National Register of Historic Places on July 21, 1983. The company store is now home to the Kentucky Coal Museum.
== References ==
|
instance of
|
{
"answer_start": [
34
],
"text": [
"historic district"
]
}
|
The Benham Historic District is a historic district encompassing ten buildings and a public park in Benham, Kentucky. The buildings form the historic center of the coal town of Benham. Benham was founded by Wisconsin Steel, a subsidiary of International Harvester, in 1912; its major buildings were built between 1919 and 1928, replacing the original buildings as the town grew. Mining operations declined during the Great Depression, and as a result the district represents the main period of development in the town. The buildings in the district include Benham's city hall, post office, grade school, Methodist church, jail, theatre, hospital, firehouse, company store, and meat market.The district was added to the National Register of Historic Places on July 21, 1983. The company store is now home to the Kentucky Coal Museum.
== References ==
|
located in the administrative territorial entity
|
{
"answer_start": [
4
],
"text": [
"Benham"
]
}
|
Tower of Strength may refer to:
a phrase taken from the Book of Common Prayer of 1549, and later used inRichard III (Act V, Scene 3) by William Shakespeare
"Tower of Strength" (Skin song), song on 1994 album Skin by band Skin
"Tower of Strength" (Gene McDaniels song), 1961 charting single by Gene McDaniels
"Tower of Strength" (The Mission song), 1988 charting single by The Mission
"Tower of Strength" (Frankie Vaughan single), 1961 UK Christmas Number One recording (cover of Gene McDaniels song)
|
performer
|
{
"answer_start": [
249
],
"text": [
"Gene McDaniels"
]
}
|
Tower of Strength may refer to:
a phrase taken from the Book of Common Prayer of 1549, and later used inRichard III (Act V, Scene 3) by William Shakespeare
"Tower of Strength" (Skin song), song on 1994 album Skin by band Skin
"Tower of Strength" (Gene McDaniels song), 1961 charting single by Gene McDaniels
"Tower of Strength" (The Mission song), 1988 charting single by The Mission
"Tower of Strength" (Frankie Vaughan single), 1961 UK Christmas Number One recording (cover of Gene McDaniels song)
|
part of
|
{
"answer_start": [
0
],
"text": [
"Tower of Strength"
]
}
|
Tower of Strength may refer to:
a phrase taken from the Book of Common Prayer of 1549, and later used inRichard III (Act V, Scene 3) by William Shakespeare
"Tower of Strength" (Skin song), song on 1994 album Skin by band Skin
"Tower of Strength" (Gene McDaniels song), 1961 charting single by Gene McDaniels
"Tower of Strength" (The Mission song), 1988 charting single by The Mission
"Tower of Strength" (Frankie Vaughan single), 1961 UK Christmas Number One recording (cover of Gene McDaniels song)
|
form of creative work
|
{
"answer_start": [
184
],
"text": [
"song"
]
}
|
Chris McMeekin (married Whittingham; born 1 December 1956) is a British middle-distance runner. She competed in the women's 800 metres at the 1976 Summer Olympics.
== References ==
|
family name
|
{
"answer_start": [
6
],
"text": [
"McMeekin"
]
}
|
Chris McMeekin (married Whittingham; born 1 December 1956) is a British middle-distance runner. She competed in the women's 800 metres at the 1976 Summer Olympics.
== References ==
|
given name
|
{
"answer_start": [
0
],
"text": [
"Chris"
]
}
|
Chris McMeekin (married Whittingham; born 1 December 1956) is a British middle-distance runner. She competed in the women's 800 metres at the 1976 Summer Olympics.
== References ==
|
participant in
|
{
"answer_start": [
142
],
"text": [
"1976 Summer Olympics"
]
}
|
Kang Da Ri Airport is an airport in Wonsan, Kangwon-do, North Korea. It is immediately adjacent to the nearby Kang Da Ri Highway Strip.
Facilities
The airfield has a single asphalt runway 04/22 measuring 1560 x 46 feet (475 x 14 m). It is sited across a river from the Kang Da Ri Highway strip, and recent satellite photos appear to show a bridge connecting the two under construction. The reported runway appears to be on substantial fill and possibly extends through a nearby hill and emerges on the other side. The field is a few miles southwest of Wonsan Airport.
== References ==
|
country
|
{
"answer_start": [
56
],
"text": [
"North Korea"
]
}
|
Kang Da Ri Airport is an airport in Wonsan, Kangwon-do, North Korea. It is immediately adjacent to the nearby Kang Da Ri Highway Strip.
Facilities
The airfield has a single asphalt runway 04/22 measuring 1560 x 46 feet (475 x 14 m). It is sited across a river from the Kang Da Ri Highway strip, and recent satellite photos appear to show a bridge connecting the two under construction. The reported runway appears to be on substantial fill and possibly extends through a nearby hill and emerges on the other side. The field is a few miles southwest of Wonsan Airport.
== References ==
|
instance of
|
{
"answer_start": [
25
],
"text": [
"airport"
]
}
|
Kang Da Ri Airport is an airport in Wonsan, Kangwon-do, North Korea. It is immediately adjacent to the nearby Kang Da Ri Highway Strip.
Facilities
The airfield has a single asphalt runway 04/22 measuring 1560 x 46 feet (475 x 14 m). It is sited across a river from the Kang Da Ri Highway strip, and recent satellite photos appear to show a bridge connecting the two under construction. The reported runway appears to be on substantial fill and possibly extends through a nearby hill and emerges on the other side. The field is a few miles southwest of Wonsan Airport.
== References ==
|
place served by transport hub
|
{
"answer_start": [
36
],
"text": [
"Wonsan"
]
}
|
William G. Parrett (born June 4, 1945) is an American businessman and senior manager who has served public, private, governmental, and state-owned clients worldwide. In October 2008, Parrett was elected to the board of directors of UBS AG and, in November 2014, to the Board of Directors of UBS Group AG. In May 2018, he stepped down from this role and was focussing on the position of President of UBS Americas Holding LLC.
Education
Parrett graduated with an undergraduate degree (BBA) in accounting from St. Francis College, New York, in 1967. He then became a certified public accountant.
In April 2007, he was given an honorary degree of Doctor of Humane Letters by his alma mater.
Career
Parrett was the chairman of the board of the United States Council for International Business from April 2005 through March 2010. Prior to that, Parrett was the CEO of Deloitte Touche Tohmatsu from 2003 until he retired from his position in 2007. In 1995, he founded US Deloitte's Global Financial Services Industry Group. He served on Deloitte's Global Executive Committee from 1999 to 2007. In 1997, he also founded the Global Financial Services Industry Group, which he led as chairman. In UBS, Parrett chaired the Audit Committee since 2009, had been a member of the Corporate Culture and Responsibility Committee since 2012 and member of the Compensation Committee since 2015.His previous positions include a board membership at the International Chamber of Commerce, chairman of the board of the United Way Worldwide and a trustee of the Catholic University of America.
He has provided service to many of the Deloitte's leading clients serving as an Advisory or Leadership Partner, among others to General Motors, Merrill Lynch & Co., Abbott Laboratories, Metropolitan Life Insurance Company, Royal Bank of Canada, BASF, Bridgestone Corp., The Charles Schwab Corp., Marsh & McLennan Companies and The Procter & Gamble Company.
Other activities and functions
Board member of the Eastman Kodak Company (chairman of the audit committee)
Board member of the Blackstone Group LP (chairman of the audit committee and chairman of the conflicts committee)
Board member of Thermo Fisher Scientific Inc. (chairman of the audit committee)
Member of the Committee on Capital Markets Regulation
Member of the Carnegie Hall Board of Trustees.As a member of the boards of Kodak, Blackstone Group, and Thermo Fisher Scientific, he is required to publicly report his interests in those companies, amounting approximately to US$4 million, as of 2016.
Family
Wife - Diane Parrett
Daughters - Debra Volpe, Suzie Vallerie, Courtney Balsam, Christie Parrett
Sons - Steven Parrett, Gregory Parrett
Grandchildren - Brooke Volpe, Paige Volpe,
Steven Parrett Jr, Ellie Volpe, Lila Volpe, Sarah Parrett, Ray Vallerie, Cynthia Parrett, Luke Balsam, Dominic Parrett, Connor Balsam
References
Further reading
Parrett, William G. (2007). The Sentinel CEO: Perspectives on Security, Risk, and Leadership in a Post-9/11 World. John Wiley & Sons. ISBN 978-0-470-14796-2.
Jacobi, Jeffrey (2009). How to Say It with Your Voice. Prentice Hall Press. ISBN 978-0-735-20449-2.
External links
Curriculum vitae on UBS website
|
educated at
|
{
"answer_start": [
508
],
"text": [
"St. Francis College"
]
}
|
William G. Parrett (born June 4, 1945) is an American businessman and senior manager who has served public, private, governmental, and state-owned clients worldwide. In October 2008, Parrett was elected to the board of directors of UBS AG and, in November 2014, to the Board of Directors of UBS Group AG. In May 2018, he stepped down from this role and was focussing on the position of President of UBS Americas Holding LLC.
Education
Parrett graduated with an undergraduate degree (BBA) in accounting from St. Francis College, New York, in 1967. He then became a certified public accountant.
In April 2007, he was given an honorary degree of Doctor of Humane Letters by his alma mater.
Career
Parrett was the chairman of the board of the United States Council for International Business from April 2005 through March 2010. Prior to that, Parrett was the CEO of Deloitte Touche Tohmatsu from 2003 until he retired from his position in 2007. In 1995, he founded US Deloitte's Global Financial Services Industry Group. He served on Deloitte's Global Executive Committee from 1999 to 2007. In 1997, he also founded the Global Financial Services Industry Group, which he led as chairman. In UBS, Parrett chaired the Audit Committee since 2009, had been a member of the Corporate Culture and Responsibility Committee since 2012 and member of the Compensation Committee since 2015.His previous positions include a board membership at the International Chamber of Commerce, chairman of the board of the United Way Worldwide and a trustee of the Catholic University of America.
He has provided service to many of the Deloitte's leading clients serving as an Advisory or Leadership Partner, among others to General Motors, Merrill Lynch & Co., Abbott Laboratories, Metropolitan Life Insurance Company, Royal Bank of Canada, BASF, Bridgestone Corp., The Charles Schwab Corp., Marsh & McLennan Companies and The Procter & Gamble Company.
Other activities and functions
Board member of the Eastman Kodak Company (chairman of the audit committee)
Board member of the Blackstone Group LP (chairman of the audit committee and chairman of the conflicts committee)
Board member of Thermo Fisher Scientific Inc. (chairman of the audit committee)
Member of the Committee on Capital Markets Regulation
Member of the Carnegie Hall Board of Trustees.As a member of the boards of Kodak, Blackstone Group, and Thermo Fisher Scientific, he is required to publicly report his interests in those companies, amounting approximately to US$4 million, as of 2016.
Family
Wife - Diane Parrett
Daughters - Debra Volpe, Suzie Vallerie, Courtney Balsam, Christie Parrett
Sons - Steven Parrett, Gregory Parrett
Grandchildren - Brooke Volpe, Paige Volpe,
Steven Parrett Jr, Ellie Volpe, Lila Volpe, Sarah Parrett, Ray Vallerie, Cynthia Parrett, Luke Balsam, Dominic Parrett, Connor Balsam
References
Further reading
Parrett, William G. (2007). The Sentinel CEO: Perspectives on Security, Risk, and Leadership in a Post-9/11 World. John Wiley & Sons. ISBN 978-0-470-14796-2.
Jacobi, Jeffrey (2009). How to Say It with Your Voice. Prentice Hall Press. ISBN 978-0-735-20449-2.
External links
Curriculum vitae on UBS website
|
given name
|
{
"answer_start": [
0
],
"text": [
"William"
]
}
|
William G. Parrett (born June 4, 1945) is an American businessman and senior manager who has served public, private, governmental, and state-owned clients worldwide. In October 2008, Parrett was elected to the board of directors of UBS AG and, in November 2014, to the Board of Directors of UBS Group AG. In May 2018, he stepped down from this role and was focussing on the position of President of UBS Americas Holding LLC.
Education
Parrett graduated with an undergraduate degree (BBA) in accounting from St. Francis College, New York, in 1967. He then became a certified public accountant.
In April 2007, he was given an honorary degree of Doctor of Humane Letters by his alma mater.
Career
Parrett was the chairman of the board of the United States Council for International Business from April 2005 through March 2010. Prior to that, Parrett was the CEO of Deloitte Touche Tohmatsu from 2003 until he retired from his position in 2007. In 1995, he founded US Deloitte's Global Financial Services Industry Group. He served on Deloitte's Global Executive Committee from 1999 to 2007. In 1997, he also founded the Global Financial Services Industry Group, which he led as chairman. In UBS, Parrett chaired the Audit Committee since 2009, had been a member of the Corporate Culture and Responsibility Committee since 2012 and member of the Compensation Committee since 2015.His previous positions include a board membership at the International Chamber of Commerce, chairman of the board of the United Way Worldwide and a trustee of the Catholic University of America.
He has provided service to many of the Deloitte's leading clients serving as an Advisory or Leadership Partner, among others to General Motors, Merrill Lynch & Co., Abbott Laboratories, Metropolitan Life Insurance Company, Royal Bank of Canada, BASF, Bridgestone Corp., The Charles Schwab Corp., Marsh & McLennan Companies and The Procter & Gamble Company.
Other activities and functions
Board member of the Eastman Kodak Company (chairman of the audit committee)
Board member of the Blackstone Group LP (chairman of the audit committee and chairman of the conflicts committee)
Board member of Thermo Fisher Scientific Inc. (chairman of the audit committee)
Member of the Committee on Capital Markets Regulation
Member of the Carnegie Hall Board of Trustees.As a member of the boards of Kodak, Blackstone Group, and Thermo Fisher Scientific, he is required to publicly report his interests in those companies, amounting approximately to US$4 million, as of 2016.
Family
Wife - Diane Parrett
Daughters - Debra Volpe, Suzie Vallerie, Courtney Balsam, Christie Parrett
Sons - Steven Parrett, Gregory Parrett
Grandchildren - Brooke Volpe, Paige Volpe,
Steven Parrett Jr, Ellie Volpe, Lila Volpe, Sarah Parrett, Ray Vallerie, Cynthia Parrett, Luke Balsam, Dominic Parrett, Connor Balsam
References
Further reading
Parrett, William G. (2007). The Sentinel CEO: Perspectives on Security, Risk, and Leadership in a Post-9/11 World. John Wiley & Sons. ISBN 978-0-470-14796-2.
Jacobi, Jeffrey (2009). How to Say It with Your Voice. Prentice Hall Press. ISBN 978-0-735-20449-2.
External links
Curriculum vitae on UBS website
|
affiliation
|
{
"answer_start": [
866
],
"text": [
"Deloitte"
]
}
|
William G. Parrett (born June 4, 1945) is an American businessman and senior manager who has served public, private, governmental, and state-owned clients worldwide. In October 2008, Parrett was elected to the board of directors of UBS AG and, in November 2014, to the Board of Directors of UBS Group AG. In May 2018, he stepped down from this role and was focussing on the position of President of UBS Americas Holding LLC.
Education
Parrett graduated with an undergraduate degree (BBA) in accounting from St. Francis College, New York, in 1967. He then became a certified public accountant.
In April 2007, he was given an honorary degree of Doctor of Humane Letters by his alma mater.
Career
Parrett was the chairman of the board of the United States Council for International Business from April 2005 through March 2010. Prior to that, Parrett was the CEO of Deloitte Touche Tohmatsu from 2003 until he retired from his position in 2007. In 1995, he founded US Deloitte's Global Financial Services Industry Group. He served on Deloitte's Global Executive Committee from 1999 to 2007. In 1997, he also founded the Global Financial Services Industry Group, which he led as chairman. In UBS, Parrett chaired the Audit Committee since 2009, had been a member of the Corporate Culture and Responsibility Committee since 2012 and member of the Compensation Committee since 2015.His previous positions include a board membership at the International Chamber of Commerce, chairman of the board of the United Way Worldwide and a trustee of the Catholic University of America.
He has provided service to many of the Deloitte's leading clients serving as an Advisory or Leadership Partner, among others to General Motors, Merrill Lynch & Co., Abbott Laboratories, Metropolitan Life Insurance Company, Royal Bank of Canada, BASF, Bridgestone Corp., The Charles Schwab Corp., Marsh & McLennan Companies and The Procter & Gamble Company.
Other activities and functions
Board member of the Eastman Kodak Company (chairman of the audit committee)
Board member of the Blackstone Group LP (chairman of the audit committee and chairman of the conflicts committee)
Board member of Thermo Fisher Scientific Inc. (chairman of the audit committee)
Member of the Committee on Capital Markets Regulation
Member of the Carnegie Hall Board of Trustees.As a member of the boards of Kodak, Blackstone Group, and Thermo Fisher Scientific, he is required to publicly report his interests in those companies, amounting approximately to US$4 million, as of 2016.
Family
Wife - Diane Parrett
Daughters - Debra Volpe, Suzie Vallerie, Courtney Balsam, Christie Parrett
Sons - Steven Parrett, Gregory Parrett
Grandchildren - Brooke Volpe, Paige Volpe,
Steven Parrett Jr, Ellie Volpe, Lila Volpe, Sarah Parrett, Ray Vallerie, Cynthia Parrett, Luke Balsam, Dominic Parrett, Connor Balsam
References
Further reading
Parrett, William G. (2007). The Sentinel CEO: Perspectives on Security, Risk, and Leadership in a Post-9/11 World. John Wiley & Sons. ISBN 978-0-470-14796-2.
Jacobi, Jeffrey (2009). How to Say It with Your Voice. Prentice Hall Press. ISBN 978-0-735-20449-2.
External links
Curriculum vitae on UBS website
|
affiliation string
|
{
"answer_start": [
866
],
"text": [
"Deloitte Touche Tohmatsu"
]
}
|
Norbert Blei (August 23, 1935 – April 23, 2013) was an American writer of non-fiction, fiction, and poetry. In 1994, he established Cross+Roads Press, dedicated to the publication of first chapbooks by poets, short story writers, novelists and artists.
Biography
Blei was born in an ethnic (primarily Czechoslovakian) neighborhood of western Chicago, Illinois known as Little Village. An only child, Blei and his parents moved to the near-western Chicago suburb of Cicero when he was in grade school.
Blei attended Illinois State University, studying English, and graduated in 1956. He taught high school English and subsequently worked at the City News Bureau of Chicago as a reporter. In 1969, Blei left Chicago and moved to Door County, Wisconsin, a rural vacation destination for Midwesterners on the Door Peninsula in Lake Michigan. For four decades, he worked in a converted chicken coop in Ellison Bay, Wisconsin.
Blei's first book was The Hour of the Sunshine Now: Short Stories by Norbert Blei, published in 1978.
Blei was an early adopter of the Internet as a means to distribute his own work and call attention to other writers. His Poetry Dispatch was a weekly enewsletter that featured a short selection of poems by a single, noteworthy poet, while Notes from the Underground was an irregular email that featured brief essays on current topics, literary and otherwise.
Literary themes
A sense of community and threats to community were the twin themes of Blei's writing, whether he is writing about urban Chicago or rural Wisconsin:
"Norb specializes in the fleeting look at the little people of the city, the aged newsstand operators, the small restaurant owners, Greek, Bohemian, Slovak, who still provide, in out-of-the-way neighborhoods, national dishes and national atmosphere. And he is determined to get these glimpses of a disappearing Chicago on paper before they are ploughed under to make way for new high-rise apartments, or succumb to the creeping wave of debris, human and material, so characteristic of most large cities these days." (Henry Shea, 1970)
"Thus a profound feeling of loss permeates all of Blei's work. Perhaps Blei's own sense of himself as an isolated, alienated writer—a consistent self-portrait, across geographies and through years of economic and literary success and failure, prominence and reduced visibility—derives from his sense of doomed place, or, more properly, doomed community in place. Whether author imposes his vision on place (others in Cicero and Door County have found more to cheer about over the past thirty years), or place imposes itself on author, the result is an author celebrating the forgotten, the beat and defeated: others and himself." (David Pichaske, 2000)
Cross+Roads Press
In the early 1990s, Blei started Cross+Roads Press to offer established and beginning writers an opportunity to be published in chapbook form. To date, works by almost 40 writers have been published.
The Clearing
For over 30 years, Blei was writer-in-residence at The Clearing, a folk arts school founded in 1935 by landscape architect Jens Jensen. Blei's annual June writing classes drew developing writers from across the country. After 2007, Blei conducted his annual writing classes independently.
Visual arts
Blei was a watercolor artist. Following a trip to Berlin in the then-West Germany in the early 1980s, he created a series of works based on the experience. The "Die Mauer" paintings focused on the Berlin Wall and were exhibited in Santa Fe and other locations.
Writing projects
Blei collaborated with the pseudonymous Monsieur K, located in France, who created an assortment of web sites for posting writings artists judged to abide by the spirit of "free jazz". Blei regularly provided Monsieur K with commentary on significant artistic events for the Metropolis site, poetry and other material for the Basho's Road site, and artistic profiles and critiques for Poetry Dispatch & Other Notes from the Underground.
Controversy
Blei fomented local controversy when he outlined a new vision for Door County, Wisconsin in an article in the area's weekly newspaper, The Door Reminder. Published in 1992, it was titled "Shut the Damn Door". The area's residents were sharply divided on the proposal, as recounted in an essay by Blei's publisher at Ellis Press, David Pichaske: "Blei outlined a Master Plan for the Future of Door County loosely based on the 'Industrial Tourism' chapter of Ed Abbey's Desert Solitaire. Blei suggests that county officials freeze all building, property sales, and residential, commercial and public planning in the County; turn the entire County over to Nature Conservancy; close the new bridge at Sturgeon Bay and make an outdoor walking mall of it, with artsy-craftsy shops, a Ferris wheel, and Chicago style food vendors; admit tourists freely across the old bridge May through October, subject to a tax of $50 per vehicle per week and $25 per person per day, but from November through April by visa only; tear up all highways and back roads and return them to their natural state of dirt, gravel, good Door County earth; place a moratorium on new road construction in the County; encourage vandalism of commercial signs while instituting a $3,000 fine for anyone caught erecting new advertisements or newspaper mail boxes; tear up 'ugly metal road signs' and either replace them with wooden ones or leave the roads nameless. 'Take any dirt road and get lost,' Blei concludes. 'You may discover the real value of this place. You may discover yourself.'"
Works
Novels
The Second Novel: Becoming a Writer (1978)
Adventures in an American's Literature (1982)
Story collections
The Hour of the Sunshine Now: Short Stories by Norbert Blei (1978)
The Ghost of Sandburg's Phizzog (1986)
Non-fiction
Door Way: The People in the Landscape (1981)
Door Steps (1983)
Door to Door (1985)
Neighborhood (1987)
Meditations on a Small Lake (1987)
Chi-Town (1990)
Chronicles of a Rural Journalist in America (1990)
Winter Book (2002)
Poetry
Paint Me a Picture/Make Me a Poem (1987)
Collections and anthologies
Wisconsin's Rustic Roads: A Road Less Travelled; Photographs by Bob Rashid, Text By Ben Logan, George Vukelich, Jean Feraca, Norbert Blei and Bill Stokes (1995)
Rooted: Seven Midwest Writers of Place, by David Pichaske, University of Iowa Press (2006) [1]
Anthologies, selected list, (Archived August 3, 2011)
Recordings
The Quiet Time, Door County in Winter: Readings by Norb Blei/Music by Jim Spector (1997)
Readings from Door Way (1996)
Articles
Henderson dark man of Door, Door County Advocate, September 13, 1977
Bailey Harbor's Bird Carver, Door County Advocate, September 27, 1977
With Gerhard Miller, painting had to come out, and it did, Door County Advocate, November 1, 1977
Artist Miller heard sailors spin yarns on schooner decks, Door County Advocate, November 3, 1977
Woodworker Anderson example of generation seeking its own way, Door County Advocate, March 7, 1978
Kash: a potter's way in Door, Door County Advocate, July 20, 1978
Hard driving restauranteur Al Johnson doesn't mince words, Door County Advocate, June 22, 1978
'They got to let the fishermen fish' Door County Advocate, October 18, 1977
'Teacher' Phil Sweet doesn't fall back on dogmatic answers, Door County Advocate, June 15, 1978
'Clean piece Wally,' the world's greatest car salesman, Door County Advocate, December 28, 1978
Tom Collis--Socrates at Newport, January 26, 1978
Break with agency, eye trouble steps in bring Austin to Door, Door County Advocate, March 23, 1978
Phil Austin feels compelled to capture a passing beauty, Door County Advocate, March 28, 1978
"It boils down to greed" by Norbert Blei, in Conversations on Door County by Dave Crehore, Wisconsin Natural Resources, May-June 1986, Volume 10, Number 3, Wisconsin Department of Natural Resources, page 16
References
Article by Doug Moe, Wisconsin State Journal, 'Blei's words still resonate in reprint', (June 11, 2008; Archived August 20, 2008)
Barbara Fitz Vroman on Norbert Blei
'Norbert Blei: Portrait of the Artist as Outsider,' by David Pichaske, Studies in American Fiction
Marshall Cook interview with Norbert Blei (Archived July 14, 2011)
Door TourPage interview re: Crossroads Press (Archived July 14, 2011)
The Writer's Almanac with Garrison Keillor (8.23.00)
External links
poetry dispatch & other notes from the underground
Basho's Road
Outlaw Poetry Network
Spoon River Poetry Press (Archived March 1, 2019)
Chowhound: Norbert Blei's Neighborhood (Bohemian Chicago) (September 3, 2003; Archived March 5, 2016)
"The Chair Trick" at The New Yorker
Farm may not be productive but owner Norbert Blei is by Keta Steebs, Door County Advocate, February 23, 1978 (and Blei's response on February 23, 1978)
Writer - teacher Norb Blei likes the off season here by Henry Shea, Door County Advocate September 17, 1970
Norbert Blei Retrospective, recorded during Blei's public readings on March 13, 2011, December 23, 2009, and December 23, 2010
|
place of birth
|
{
"answer_start": [
343
],
"text": [
"Chicago"
]
}
|
Norbert Blei (August 23, 1935 – April 23, 2013) was an American writer of non-fiction, fiction, and poetry. In 1994, he established Cross+Roads Press, dedicated to the publication of first chapbooks by poets, short story writers, novelists and artists.
Biography
Blei was born in an ethnic (primarily Czechoslovakian) neighborhood of western Chicago, Illinois known as Little Village. An only child, Blei and his parents moved to the near-western Chicago suburb of Cicero when he was in grade school.
Blei attended Illinois State University, studying English, and graduated in 1956. He taught high school English and subsequently worked at the City News Bureau of Chicago as a reporter. In 1969, Blei left Chicago and moved to Door County, Wisconsin, a rural vacation destination for Midwesterners on the Door Peninsula in Lake Michigan. For four decades, he worked in a converted chicken coop in Ellison Bay, Wisconsin.
Blei's first book was The Hour of the Sunshine Now: Short Stories by Norbert Blei, published in 1978.
Blei was an early adopter of the Internet as a means to distribute his own work and call attention to other writers. His Poetry Dispatch was a weekly enewsletter that featured a short selection of poems by a single, noteworthy poet, while Notes from the Underground was an irregular email that featured brief essays on current topics, literary and otherwise.
Literary themes
A sense of community and threats to community were the twin themes of Blei's writing, whether he is writing about urban Chicago or rural Wisconsin:
"Norb specializes in the fleeting look at the little people of the city, the aged newsstand operators, the small restaurant owners, Greek, Bohemian, Slovak, who still provide, in out-of-the-way neighborhoods, national dishes and national atmosphere. And he is determined to get these glimpses of a disappearing Chicago on paper before they are ploughed under to make way for new high-rise apartments, or succumb to the creeping wave of debris, human and material, so characteristic of most large cities these days." (Henry Shea, 1970)
"Thus a profound feeling of loss permeates all of Blei's work. Perhaps Blei's own sense of himself as an isolated, alienated writer—a consistent self-portrait, across geographies and through years of economic and literary success and failure, prominence and reduced visibility—derives from his sense of doomed place, or, more properly, doomed community in place. Whether author imposes his vision on place (others in Cicero and Door County have found more to cheer about over the past thirty years), or place imposes itself on author, the result is an author celebrating the forgotten, the beat and defeated: others and himself." (David Pichaske, 2000)
Cross+Roads Press
In the early 1990s, Blei started Cross+Roads Press to offer established and beginning writers an opportunity to be published in chapbook form. To date, works by almost 40 writers have been published.
The Clearing
For over 30 years, Blei was writer-in-residence at The Clearing, a folk arts school founded in 1935 by landscape architect Jens Jensen. Blei's annual June writing classes drew developing writers from across the country. After 2007, Blei conducted his annual writing classes independently.
Visual arts
Blei was a watercolor artist. Following a trip to Berlin in the then-West Germany in the early 1980s, he created a series of works based on the experience. The "Die Mauer" paintings focused on the Berlin Wall and were exhibited in Santa Fe and other locations.
Writing projects
Blei collaborated with the pseudonymous Monsieur K, located in France, who created an assortment of web sites for posting writings artists judged to abide by the spirit of "free jazz". Blei regularly provided Monsieur K with commentary on significant artistic events for the Metropolis site, poetry and other material for the Basho's Road site, and artistic profiles and critiques for Poetry Dispatch & Other Notes from the Underground.
Controversy
Blei fomented local controversy when he outlined a new vision for Door County, Wisconsin in an article in the area's weekly newspaper, The Door Reminder. Published in 1992, it was titled "Shut the Damn Door". The area's residents were sharply divided on the proposal, as recounted in an essay by Blei's publisher at Ellis Press, David Pichaske: "Blei outlined a Master Plan for the Future of Door County loosely based on the 'Industrial Tourism' chapter of Ed Abbey's Desert Solitaire. Blei suggests that county officials freeze all building, property sales, and residential, commercial and public planning in the County; turn the entire County over to Nature Conservancy; close the new bridge at Sturgeon Bay and make an outdoor walking mall of it, with artsy-craftsy shops, a Ferris wheel, and Chicago style food vendors; admit tourists freely across the old bridge May through October, subject to a tax of $50 per vehicle per week and $25 per person per day, but from November through April by visa only; tear up all highways and back roads and return them to their natural state of dirt, gravel, good Door County earth; place a moratorium on new road construction in the County; encourage vandalism of commercial signs while instituting a $3,000 fine for anyone caught erecting new advertisements or newspaper mail boxes; tear up 'ugly metal road signs' and either replace them with wooden ones or leave the roads nameless. 'Take any dirt road and get lost,' Blei concludes. 'You may discover the real value of this place. You may discover yourself.'"
Works
Novels
The Second Novel: Becoming a Writer (1978)
Adventures in an American's Literature (1982)
Story collections
The Hour of the Sunshine Now: Short Stories by Norbert Blei (1978)
The Ghost of Sandburg's Phizzog (1986)
Non-fiction
Door Way: The People in the Landscape (1981)
Door Steps (1983)
Door to Door (1985)
Neighborhood (1987)
Meditations on a Small Lake (1987)
Chi-Town (1990)
Chronicles of a Rural Journalist in America (1990)
Winter Book (2002)
Poetry
Paint Me a Picture/Make Me a Poem (1987)
Collections and anthologies
Wisconsin's Rustic Roads: A Road Less Travelled; Photographs by Bob Rashid, Text By Ben Logan, George Vukelich, Jean Feraca, Norbert Blei and Bill Stokes (1995)
Rooted: Seven Midwest Writers of Place, by David Pichaske, University of Iowa Press (2006) [1]
Anthologies, selected list, (Archived August 3, 2011)
Recordings
The Quiet Time, Door County in Winter: Readings by Norb Blei/Music by Jim Spector (1997)
Readings from Door Way (1996)
Articles
Henderson dark man of Door, Door County Advocate, September 13, 1977
Bailey Harbor's Bird Carver, Door County Advocate, September 27, 1977
With Gerhard Miller, painting had to come out, and it did, Door County Advocate, November 1, 1977
Artist Miller heard sailors spin yarns on schooner decks, Door County Advocate, November 3, 1977
Woodworker Anderson example of generation seeking its own way, Door County Advocate, March 7, 1978
Kash: a potter's way in Door, Door County Advocate, July 20, 1978
Hard driving restauranteur Al Johnson doesn't mince words, Door County Advocate, June 22, 1978
'They got to let the fishermen fish' Door County Advocate, October 18, 1977
'Teacher' Phil Sweet doesn't fall back on dogmatic answers, Door County Advocate, June 15, 1978
'Clean piece Wally,' the world's greatest car salesman, Door County Advocate, December 28, 1978
Tom Collis--Socrates at Newport, January 26, 1978
Break with agency, eye trouble steps in bring Austin to Door, Door County Advocate, March 23, 1978
Phil Austin feels compelled to capture a passing beauty, Door County Advocate, March 28, 1978
"It boils down to greed" by Norbert Blei, in Conversations on Door County by Dave Crehore, Wisconsin Natural Resources, May-June 1986, Volume 10, Number 3, Wisconsin Department of Natural Resources, page 16
References
Article by Doug Moe, Wisconsin State Journal, 'Blei's words still resonate in reprint', (June 11, 2008; Archived August 20, 2008)
Barbara Fitz Vroman on Norbert Blei
'Norbert Blei: Portrait of the Artist as Outsider,' by David Pichaske, Studies in American Fiction
Marshall Cook interview with Norbert Blei (Archived July 14, 2011)
Door TourPage interview re: Crossroads Press (Archived July 14, 2011)
The Writer's Almanac with Garrison Keillor (8.23.00)
External links
poetry dispatch & other notes from the underground
Basho's Road
Outlaw Poetry Network
Spoon River Poetry Press (Archived March 1, 2019)
Chowhound: Norbert Blei's Neighborhood (Bohemian Chicago) (September 3, 2003; Archived March 5, 2016)
"The Chair Trick" at The New Yorker
Farm may not be productive but owner Norbert Blei is by Keta Steebs, Door County Advocate, February 23, 1978 (and Blei's response on February 23, 1978)
Writer - teacher Norb Blei likes the off season here by Henry Shea, Door County Advocate September 17, 1970
Norbert Blei Retrospective, recorded during Blei's public readings on March 13, 2011, December 23, 2009, and December 23, 2010
|
instance of
|
{
"answer_start": [
1993
],
"text": [
"human"
]
}
|
Norbert Blei (August 23, 1935 – April 23, 2013) was an American writer of non-fiction, fiction, and poetry. In 1994, he established Cross+Roads Press, dedicated to the publication of first chapbooks by poets, short story writers, novelists and artists.
Biography
Blei was born in an ethnic (primarily Czechoslovakian) neighborhood of western Chicago, Illinois known as Little Village. An only child, Blei and his parents moved to the near-western Chicago suburb of Cicero when he was in grade school.
Blei attended Illinois State University, studying English, and graduated in 1956. He taught high school English and subsequently worked at the City News Bureau of Chicago as a reporter. In 1969, Blei left Chicago and moved to Door County, Wisconsin, a rural vacation destination for Midwesterners on the Door Peninsula in Lake Michigan. For four decades, he worked in a converted chicken coop in Ellison Bay, Wisconsin.
Blei's first book was The Hour of the Sunshine Now: Short Stories by Norbert Blei, published in 1978.
Blei was an early adopter of the Internet as a means to distribute his own work and call attention to other writers. His Poetry Dispatch was a weekly enewsletter that featured a short selection of poems by a single, noteworthy poet, while Notes from the Underground was an irregular email that featured brief essays on current topics, literary and otherwise.
Literary themes
A sense of community and threats to community were the twin themes of Blei's writing, whether he is writing about urban Chicago or rural Wisconsin:
"Norb specializes in the fleeting look at the little people of the city, the aged newsstand operators, the small restaurant owners, Greek, Bohemian, Slovak, who still provide, in out-of-the-way neighborhoods, national dishes and national atmosphere. And he is determined to get these glimpses of a disappearing Chicago on paper before they are ploughed under to make way for new high-rise apartments, or succumb to the creeping wave of debris, human and material, so characteristic of most large cities these days." (Henry Shea, 1970)
"Thus a profound feeling of loss permeates all of Blei's work. Perhaps Blei's own sense of himself as an isolated, alienated writer—a consistent self-portrait, across geographies and through years of economic and literary success and failure, prominence and reduced visibility—derives from his sense of doomed place, or, more properly, doomed community in place. Whether author imposes his vision on place (others in Cicero and Door County have found more to cheer about over the past thirty years), or place imposes itself on author, the result is an author celebrating the forgotten, the beat and defeated: others and himself." (David Pichaske, 2000)
Cross+Roads Press
In the early 1990s, Blei started Cross+Roads Press to offer established and beginning writers an opportunity to be published in chapbook form. To date, works by almost 40 writers have been published.
The Clearing
For over 30 years, Blei was writer-in-residence at The Clearing, a folk arts school founded in 1935 by landscape architect Jens Jensen. Blei's annual June writing classes drew developing writers from across the country. After 2007, Blei conducted his annual writing classes independently.
Visual arts
Blei was a watercolor artist. Following a trip to Berlin in the then-West Germany in the early 1980s, he created a series of works based on the experience. The "Die Mauer" paintings focused on the Berlin Wall and were exhibited in Santa Fe and other locations.
Writing projects
Blei collaborated with the pseudonymous Monsieur K, located in France, who created an assortment of web sites for posting writings artists judged to abide by the spirit of "free jazz". Blei regularly provided Monsieur K with commentary on significant artistic events for the Metropolis site, poetry and other material for the Basho's Road site, and artistic profiles and critiques for Poetry Dispatch & Other Notes from the Underground.
Controversy
Blei fomented local controversy when he outlined a new vision for Door County, Wisconsin in an article in the area's weekly newspaper, The Door Reminder. Published in 1992, it was titled "Shut the Damn Door". The area's residents were sharply divided on the proposal, as recounted in an essay by Blei's publisher at Ellis Press, David Pichaske: "Blei outlined a Master Plan for the Future of Door County loosely based on the 'Industrial Tourism' chapter of Ed Abbey's Desert Solitaire. Blei suggests that county officials freeze all building, property sales, and residential, commercial and public planning in the County; turn the entire County over to Nature Conservancy; close the new bridge at Sturgeon Bay and make an outdoor walking mall of it, with artsy-craftsy shops, a Ferris wheel, and Chicago style food vendors; admit tourists freely across the old bridge May through October, subject to a tax of $50 per vehicle per week and $25 per person per day, but from November through April by visa only; tear up all highways and back roads and return them to their natural state of dirt, gravel, good Door County earth; place a moratorium on new road construction in the County; encourage vandalism of commercial signs while instituting a $3,000 fine for anyone caught erecting new advertisements or newspaper mail boxes; tear up 'ugly metal road signs' and either replace them with wooden ones or leave the roads nameless. 'Take any dirt road and get lost,' Blei concludes. 'You may discover the real value of this place. You may discover yourself.'"
Works
Novels
The Second Novel: Becoming a Writer (1978)
Adventures in an American's Literature (1982)
Story collections
The Hour of the Sunshine Now: Short Stories by Norbert Blei (1978)
The Ghost of Sandburg's Phizzog (1986)
Non-fiction
Door Way: The People in the Landscape (1981)
Door Steps (1983)
Door to Door (1985)
Neighborhood (1987)
Meditations on a Small Lake (1987)
Chi-Town (1990)
Chronicles of a Rural Journalist in America (1990)
Winter Book (2002)
Poetry
Paint Me a Picture/Make Me a Poem (1987)
Collections and anthologies
Wisconsin's Rustic Roads: A Road Less Travelled; Photographs by Bob Rashid, Text By Ben Logan, George Vukelich, Jean Feraca, Norbert Blei and Bill Stokes (1995)
Rooted: Seven Midwest Writers of Place, by David Pichaske, University of Iowa Press (2006) [1]
Anthologies, selected list, (Archived August 3, 2011)
Recordings
The Quiet Time, Door County in Winter: Readings by Norb Blei/Music by Jim Spector (1997)
Readings from Door Way (1996)
Articles
Henderson dark man of Door, Door County Advocate, September 13, 1977
Bailey Harbor's Bird Carver, Door County Advocate, September 27, 1977
With Gerhard Miller, painting had to come out, and it did, Door County Advocate, November 1, 1977
Artist Miller heard sailors spin yarns on schooner decks, Door County Advocate, November 3, 1977
Woodworker Anderson example of generation seeking its own way, Door County Advocate, March 7, 1978
Kash: a potter's way in Door, Door County Advocate, July 20, 1978
Hard driving restauranteur Al Johnson doesn't mince words, Door County Advocate, June 22, 1978
'They got to let the fishermen fish' Door County Advocate, October 18, 1977
'Teacher' Phil Sweet doesn't fall back on dogmatic answers, Door County Advocate, June 15, 1978
'Clean piece Wally,' the world's greatest car salesman, Door County Advocate, December 28, 1978
Tom Collis--Socrates at Newport, January 26, 1978
Break with agency, eye trouble steps in bring Austin to Door, Door County Advocate, March 23, 1978
Phil Austin feels compelled to capture a passing beauty, Door County Advocate, March 28, 1978
"It boils down to greed" by Norbert Blei, in Conversations on Door County by Dave Crehore, Wisconsin Natural Resources, May-June 1986, Volume 10, Number 3, Wisconsin Department of Natural Resources, page 16
References
Article by Doug Moe, Wisconsin State Journal, 'Blei's words still resonate in reprint', (June 11, 2008; Archived August 20, 2008)
Barbara Fitz Vroman on Norbert Blei
'Norbert Blei: Portrait of the Artist as Outsider,' by David Pichaske, Studies in American Fiction
Marshall Cook interview with Norbert Blei (Archived July 14, 2011)
Door TourPage interview re: Crossroads Press (Archived July 14, 2011)
The Writer's Almanac with Garrison Keillor (8.23.00)
External links
poetry dispatch & other notes from the underground
Basho's Road
Outlaw Poetry Network
Spoon River Poetry Press (Archived March 1, 2019)
Chowhound: Norbert Blei's Neighborhood (Bohemian Chicago) (September 3, 2003; Archived March 5, 2016)
"The Chair Trick" at The New Yorker
Farm may not be productive but owner Norbert Blei is by Keta Steebs, Door County Advocate, February 23, 1978 (and Blei's response on February 23, 1978)
Writer - teacher Norb Blei likes the off season here by Henry Shea, Door County Advocate September 17, 1970
Norbert Blei Retrospective, recorded during Blei's public readings on March 13, 2011, December 23, 2009, and December 23, 2010
|
educated at
|
{
"answer_start": [
517
],
"text": [
"Illinois State University"
]
}
|
Norbert Blei (August 23, 1935 – April 23, 2013) was an American writer of non-fiction, fiction, and poetry. In 1994, he established Cross+Roads Press, dedicated to the publication of first chapbooks by poets, short story writers, novelists and artists.
Biography
Blei was born in an ethnic (primarily Czechoslovakian) neighborhood of western Chicago, Illinois known as Little Village. An only child, Blei and his parents moved to the near-western Chicago suburb of Cicero when he was in grade school.
Blei attended Illinois State University, studying English, and graduated in 1956. He taught high school English and subsequently worked at the City News Bureau of Chicago as a reporter. In 1969, Blei left Chicago and moved to Door County, Wisconsin, a rural vacation destination for Midwesterners on the Door Peninsula in Lake Michigan. For four decades, he worked in a converted chicken coop in Ellison Bay, Wisconsin.
Blei's first book was The Hour of the Sunshine Now: Short Stories by Norbert Blei, published in 1978.
Blei was an early adopter of the Internet as a means to distribute his own work and call attention to other writers. His Poetry Dispatch was a weekly enewsletter that featured a short selection of poems by a single, noteworthy poet, while Notes from the Underground was an irregular email that featured brief essays on current topics, literary and otherwise.
Literary themes
A sense of community and threats to community were the twin themes of Blei's writing, whether he is writing about urban Chicago or rural Wisconsin:
"Norb specializes in the fleeting look at the little people of the city, the aged newsstand operators, the small restaurant owners, Greek, Bohemian, Slovak, who still provide, in out-of-the-way neighborhoods, national dishes and national atmosphere. And he is determined to get these glimpses of a disappearing Chicago on paper before they are ploughed under to make way for new high-rise apartments, or succumb to the creeping wave of debris, human and material, so characteristic of most large cities these days." (Henry Shea, 1970)
"Thus a profound feeling of loss permeates all of Blei's work. Perhaps Blei's own sense of himself as an isolated, alienated writer—a consistent self-portrait, across geographies and through years of economic and literary success and failure, prominence and reduced visibility—derives from his sense of doomed place, or, more properly, doomed community in place. Whether author imposes his vision on place (others in Cicero and Door County have found more to cheer about over the past thirty years), or place imposes itself on author, the result is an author celebrating the forgotten, the beat and defeated: others and himself." (David Pichaske, 2000)
Cross+Roads Press
In the early 1990s, Blei started Cross+Roads Press to offer established and beginning writers an opportunity to be published in chapbook form. To date, works by almost 40 writers have been published.
The Clearing
For over 30 years, Blei was writer-in-residence at The Clearing, a folk arts school founded in 1935 by landscape architect Jens Jensen. Blei's annual June writing classes drew developing writers from across the country. After 2007, Blei conducted his annual writing classes independently.
Visual arts
Blei was a watercolor artist. Following a trip to Berlin in the then-West Germany in the early 1980s, he created a series of works based on the experience. The "Die Mauer" paintings focused on the Berlin Wall and were exhibited in Santa Fe and other locations.
Writing projects
Blei collaborated with the pseudonymous Monsieur K, located in France, who created an assortment of web sites for posting writings artists judged to abide by the spirit of "free jazz". Blei regularly provided Monsieur K with commentary on significant artistic events for the Metropolis site, poetry and other material for the Basho's Road site, and artistic profiles and critiques for Poetry Dispatch & Other Notes from the Underground.
Controversy
Blei fomented local controversy when he outlined a new vision for Door County, Wisconsin in an article in the area's weekly newspaper, The Door Reminder. Published in 1992, it was titled "Shut the Damn Door". The area's residents were sharply divided on the proposal, as recounted in an essay by Blei's publisher at Ellis Press, David Pichaske: "Blei outlined a Master Plan for the Future of Door County loosely based on the 'Industrial Tourism' chapter of Ed Abbey's Desert Solitaire. Blei suggests that county officials freeze all building, property sales, and residential, commercial and public planning in the County; turn the entire County over to Nature Conservancy; close the new bridge at Sturgeon Bay and make an outdoor walking mall of it, with artsy-craftsy shops, a Ferris wheel, and Chicago style food vendors; admit tourists freely across the old bridge May through October, subject to a tax of $50 per vehicle per week and $25 per person per day, but from November through April by visa only; tear up all highways and back roads and return them to their natural state of dirt, gravel, good Door County earth; place a moratorium on new road construction in the County; encourage vandalism of commercial signs while instituting a $3,000 fine for anyone caught erecting new advertisements or newspaper mail boxes; tear up 'ugly metal road signs' and either replace them with wooden ones or leave the roads nameless. 'Take any dirt road and get lost,' Blei concludes. 'You may discover the real value of this place. You may discover yourself.'"
Works
Novels
The Second Novel: Becoming a Writer (1978)
Adventures in an American's Literature (1982)
Story collections
The Hour of the Sunshine Now: Short Stories by Norbert Blei (1978)
The Ghost of Sandburg's Phizzog (1986)
Non-fiction
Door Way: The People in the Landscape (1981)
Door Steps (1983)
Door to Door (1985)
Neighborhood (1987)
Meditations on a Small Lake (1987)
Chi-Town (1990)
Chronicles of a Rural Journalist in America (1990)
Winter Book (2002)
Poetry
Paint Me a Picture/Make Me a Poem (1987)
Collections and anthologies
Wisconsin's Rustic Roads: A Road Less Travelled; Photographs by Bob Rashid, Text By Ben Logan, George Vukelich, Jean Feraca, Norbert Blei and Bill Stokes (1995)
Rooted: Seven Midwest Writers of Place, by David Pichaske, University of Iowa Press (2006) [1]
Anthologies, selected list, (Archived August 3, 2011)
Recordings
The Quiet Time, Door County in Winter: Readings by Norb Blei/Music by Jim Spector (1997)
Readings from Door Way (1996)
Articles
Henderson dark man of Door, Door County Advocate, September 13, 1977
Bailey Harbor's Bird Carver, Door County Advocate, September 27, 1977
With Gerhard Miller, painting had to come out, and it did, Door County Advocate, November 1, 1977
Artist Miller heard sailors spin yarns on schooner decks, Door County Advocate, November 3, 1977
Woodworker Anderson example of generation seeking its own way, Door County Advocate, March 7, 1978
Kash: a potter's way in Door, Door County Advocate, July 20, 1978
Hard driving restauranteur Al Johnson doesn't mince words, Door County Advocate, June 22, 1978
'They got to let the fishermen fish' Door County Advocate, October 18, 1977
'Teacher' Phil Sweet doesn't fall back on dogmatic answers, Door County Advocate, June 15, 1978
'Clean piece Wally,' the world's greatest car salesman, Door County Advocate, December 28, 1978
Tom Collis--Socrates at Newport, January 26, 1978
Break with agency, eye trouble steps in bring Austin to Door, Door County Advocate, March 23, 1978
Phil Austin feels compelled to capture a passing beauty, Door County Advocate, March 28, 1978
"It boils down to greed" by Norbert Blei, in Conversations on Door County by Dave Crehore, Wisconsin Natural Resources, May-June 1986, Volume 10, Number 3, Wisconsin Department of Natural Resources, page 16
References
Article by Doug Moe, Wisconsin State Journal, 'Blei's words still resonate in reprint', (June 11, 2008; Archived August 20, 2008)
Barbara Fitz Vroman on Norbert Blei
'Norbert Blei: Portrait of the Artist as Outsider,' by David Pichaske, Studies in American Fiction
Marshall Cook interview with Norbert Blei (Archived July 14, 2011)
Door TourPage interview re: Crossroads Press (Archived July 14, 2011)
The Writer's Almanac with Garrison Keillor (8.23.00)
External links
poetry dispatch & other notes from the underground
Basho's Road
Outlaw Poetry Network
Spoon River Poetry Press (Archived March 1, 2019)
Chowhound: Norbert Blei's Neighborhood (Bohemian Chicago) (September 3, 2003; Archived March 5, 2016)
"The Chair Trick" at The New Yorker
Farm may not be productive but owner Norbert Blei is by Keta Steebs, Door County Advocate, February 23, 1978 (and Blei's response on February 23, 1978)
Writer - teacher Norb Blei likes the off season here by Henry Shea, Door County Advocate September 17, 1970
Norbert Blei Retrospective, recorded during Blei's public readings on March 13, 2011, December 23, 2009, and December 23, 2010
|
occupation
|
{
"answer_start": [
100
],
"text": [
"poet"
]
}
|
Norbert Blei (August 23, 1935 – April 23, 2013) was an American writer of non-fiction, fiction, and poetry. In 1994, he established Cross+Roads Press, dedicated to the publication of first chapbooks by poets, short story writers, novelists and artists.
Biography
Blei was born in an ethnic (primarily Czechoslovakian) neighborhood of western Chicago, Illinois known as Little Village. An only child, Blei and his parents moved to the near-western Chicago suburb of Cicero when he was in grade school.
Blei attended Illinois State University, studying English, and graduated in 1956. He taught high school English and subsequently worked at the City News Bureau of Chicago as a reporter. In 1969, Blei left Chicago and moved to Door County, Wisconsin, a rural vacation destination for Midwesterners on the Door Peninsula in Lake Michigan. For four decades, he worked in a converted chicken coop in Ellison Bay, Wisconsin.
Blei's first book was The Hour of the Sunshine Now: Short Stories by Norbert Blei, published in 1978.
Blei was an early adopter of the Internet as a means to distribute his own work and call attention to other writers. His Poetry Dispatch was a weekly enewsletter that featured a short selection of poems by a single, noteworthy poet, while Notes from the Underground was an irregular email that featured brief essays on current topics, literary and otherwise.
Literary themes
A sense of community and threats to community were the twin themes of Blei's writing, whether he is writing about urban Chicago or rural Wisconsin:
"Norb specializes in the fleeting look at the little people of the city, the aged newsstand operators, the small restaurant owners, Greek, Bohemian, Slovak, who still provide, in out-of-the-way neighborhoods, national dishes and national atmosphere. And he is determined to get these glimpses of a disappearing Chicago on paper before they are ploughed under to make way for new high-rise apartments, or succumb to the creeping wave of debris, human and material, so characteristic of most large cities these days." (Henry Shea, 1970)
"Thus a profound feeling of loss permeates all of Blei's work. Perhaps Blei's own sense of himself as an isolated, alienated writer—a consistent self-portrait, across geographies and through years of economic and literary success and failure, prominence and reduced visibility—derives from his sense of doomed place, or, more properly, doomed community in place. Whether author imposes his vision on place (others in Cicero and Door County have found more to cheer about over the past thirty years), or place imposes itself on author, the result is an author celebrating the forgotten, the beat and defeated: others and himself." (David Pichaske, 2000)
Cross+Roads Press
In the early 1990s, Blei started Cross+Roads Press to offer established and beginning writers an opportunity to be published in chapbook form. To date, works by almost 40 writers have been published.
The Clearing
For over 30 years, Blei was writer-in-residence at The Clearing, a folk arts school founded in 1935 by landscape architect Jens Jensen. Blei's annual June writing classes drew developing writers from across the country. After 2007, Blei conducted his annual writing classes independently.
Visual arts
Blei was a watercolor artist. Following a trip to Berlin in the then-West Germany in the early 1980s, he created a series of works based on the experience. The "Die Mauer" paintings focused on the Berlin Wall and were exhibited in Santa Fe and other locations.
Writing projects
Blei collaborated with the pseudonymous Monsieur K, located in France, who created an assortment of web sites for posting writings artists judged to abide by the spirit of "free jazz". Blei regularly provided Monsieur K with commentary on significant artistic events for the Metropolis site, poetry and other material for the Basho's Road site, and artistic profiles and critiques for Poetry Dispatch & Other Notes from the Underground.
Controversy
Blei fomented local controversy when he outlined a new vision for Door County, Wisconsin in an article in the area's weekly newspaper, The Door Reminder. Published in 1992, it was titled "Shut the Damn Door". The area's residents were sharply divided on the proposal, as recounted in an essay by Blei's publisher at Ellis Press, David Pichaske: "Blei outlined a Master Plan for the Future of Door County loosely based on the 'Industrial Tourism' chapter of Ed Abbey's Desert Solitaire. Blei suggests that county officials freeze all building, property sales, and residential, commercial and public planning in the County; turn the entire County over to Nature Conservancy; close the new bridge at Sturgeon Bay and make an outdoor walking mall of it, with artsy-craftsy shops, a Ferris wheel, and Chicago style food vendors; admit tourists freely across the old bridge May through October, subject to a tax of $50 per vehicle per week and $25 per person per day, but from November through April by visa only; tear up all highways and back roads and return them to their natural state of dirt, gravel, good Door County earth; place a moratorium on new road construction in the County; encourage vandalism of commercial signs while instituting a $3,000 fine for anyone caught erecting new advertisements or newspaper mail boxes; tear up 'ugly metal road signs' and either replace them with wooden ones or leave the roads nameless. 'Take any dirt road and get lost,' Blei concludes. 'You may discover the real value of this place. You may discover yourself.'"
Works
Novels
The Second Novel: Becoming a Writer (1978)
Adventures in an American's Literature (1982)
Story collections
The Hour of the Sunshine Now: Short Stories by Norbert Blei (1978)
The Ghost of Sandburg's Phizzog (1986)
Non-fiction
Door Way: The People in the Landscape (1981)
Door Steps (1983)
Door to Door (1985)
Neighborhood (1987)
Meditations on a Small Lake (1987)
Chi-Town (1990)
Chronicles of a Rural Journalist in America (1990)
Winter Book (2002)
Poetry
Paint Me a Picture/Make Me a Poem (1987)
Collections and anthologies
Wisconsin's Rustic Roads: A Road Less Travelled; Photographs by Bob Rashid, Text By Ben Logan, George Vukelich, Jean Feraca, Norbert Blei and Bill Stokes (1995)
Rooted: Seven Midwest Writers of Place, by David Pichaske, University of Iowa Press (2006) [1]
Anthologies, selected list, (Archived August 3, 2011)
Recordings
The Quiet Time, Door County in Winter: Readings by Norb Blei/Music by Jim Spector (1997)
Readings from Door Way (1996)
Articles
Henderson dark man of Door, Door County Advocate, September 13, 1977
Bailey Harbor's Bird Carver, Door County Advocate, September 27, 1977
With Gerhard Miller, painting had to come out, and it did, Door County Advocate, November 1, 1977
Artist Miller heard sailors spin yarns on schooner decks, Door County Advocate, November 3, 1977
Woodworker Anderson example of generation seeking its own way, Door County Advocate, March 7, 1978
Kash: a potter's way in Door, Door County Advocate, July 20, 1978
Hard driving restauranteur Al Johnson doesn't mince words, Door County Advocate, June 22, 1978
'They got to let the fishermen fish' Door County Advocate, October 18, 1977
'Teacher' Phil Sweet doesn't fall back on dogmatic answers, Door County Advocate, June 15, 1978
'Clean piece Wally,' the world's greatest car salesman, Door County Advocate, December 28, 1978
Tom Collis--Socrates at Newport, January 26, 1978
Break with agency, eye trouble steps in bring Austin to Door, Door County Advocate, March 23, 1978
Phil Austin feels compelled to capture a passing beauty, Door County Advocate, March 28, 1978
"It boils down to greed" by Norbert Blei, in Conversations on Door County by Dave Crehore, Wisconsin Natural Resources, May-June 1986, Volume 10, Number 3, Wisconsin Department of Natural Resources, page 16
References
Article by Doug Moe, Wisconsin State Journal, 'Blei's words still resonate in reprint', (June 11, 2008; Archived August 20, 2008)
Barbara Fitz Vroman on Norbert Blei
'Norbert Blei: Portrait of the Artist as Outsider,' by David Pichaske, Studies in American Fiction
Marshall Cook interview with Norbert Blei (Archived July 14, 2011)
Door TourPage interview re: Crossroads Press (Archived July 14, 2011)
The Writer's Almanac with Garrison Keillor (8.23.00)
External links
poetry dispatch & other notes from the underground
Basho's Road
Outlaw Poetry Network
Spoon River Poetry Press (Archived March 1, 2019)
Chowhound: Norbert Blei's Neighborhood (Bohemian Chicago) (September 3, 2003; Archived March 5, 2016)
"The Chair Trick" at The New Yorker
Farm may not be productive but owner Norbert Blei is by Keta Steebs, Door County Advocate, February 23, 1978 (and Blei's response on February 23, 1978)
Writer - teacher Norb Blei likes the off season here by Henry Shea, Door County Advocate September 17, 1970
Norbert Blei Retrospective, recorded during Blei's public readings on March 13, 2011, December 23, 2009, and December 23, 2010
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Norbert Blei"
]
}
|
Norbert Blei (August 23, 1935 – April 23, 2013) was an American writer of non-fiction, fiction, and poetry. In 1994, he established Cross+Roads Press, dedicated to the publication of first chapbooks by poets, short story writers, novelists and artists.
Biography
Blei was born in an ethnic (primarily Czechoslovakian) neighborhood of western Chicago, Illinois known as Little Village. An only child, Blei and his parents moved to the near-western Chicago suburb of Cicero when he was in grade school.
Blei attended Illinois State University, studying English, and graduated in 1956. He taught high school English and subsequently worked at the City News Bureau of Chicago as a reporter. In 1969, Blei left Chicago and moved to Door County, Wisconsin, a rural vacation destination for Midwesterners on the Door Peninsula in Lake Michigan. For four decades, he worked in a converted chicken coop in Ellison Bay, Wisconsin.
Blei's first book was The Hour of the Sunshine Now: Short Stories by Norbert Blei, published in 1978.
Blei was an early adopter of the Internet as a means to distribute his own work and call attention to other writers. His Poetry Dispatch was a weekly enewsletter that featured a short selection of poems by a single, noteworthy poet, while Notes from the Underground was an irregular email that featured brief essays on current topics, literary and otherwise.
Literary themes
A sense of community and threats to community were the twin themes of Blei's writing, whether he is writing about urban Chicago or rural Wisconsin:
"Norb specializes in the fleeting look at the little people of the city, the aged newsstand operators, the small restaurant owners, Greek, Bohemian, Slovak, who still provide, in out-of-the-way neighborhoods, national dishes and national atmosphere. And he is determined to get these glimpses of a disappearing Chicago on paper before they are ploughed under to make way for new high-rise apartments, or succumb to the creeping wave of debris, human and material, so characteristic of most large cities these days." (Henry Shea, 1970)
"Thus a profound feeling of loss permeates all of Blei's work. Perhaps Blei's own sense of himself as an isolated, alienated writer—a consistent self-portrait, across geographies and through years of economic and literary success and failure, prominence and reduced visibility—derives from his sense of doomed place, or, more properly, doomed community in place. Whether author imposes his vision on place (others in Cicero and Door County have found more to cheer about over the past thirty years), or place imposes itself on author, the result is an author celebrating the forgotten, the beat and defeated: others and himself." (David Pichaske, 2000)
Cross+Roads Press
In the early 1990s, Blei started Cross+Roads Press to offer established and beginning writers an opportunity to be published in chapbook form. To date, works by almost 40 writers have been published.
The Clearing
For over 30 years, Blei was writer-in-residence at The Clearing, a folk arts school founded in 1935 by landscape architect Jens Jensen. Blei's annual June writing classes drew developing writers from across the country. After 2007, Blei conducted his annual writing classes independently.
Visual arts
Blei was a watercolor artist. Following a trip to Berlin in the then-West Germany in the early 1980s, he created a series of works based on the experience. The "Die Mauer" paintings focused on the Berlin Wall and were exhibited in Santa Fe and other locations.
Writing projects
Blei collaborated with the pseudonymous Monsieur K, located in France, who created an assortment of web sites for posting writings artists judged to abide by the spirit of "free jazz". Blei regularly provided Monsieur K with commentary on significant artistic events for the Metropolis site, poetry and other material for the Basho's Road site, and artistic profiles and critiques for Poetry Dispatch & Other Notes from the Underground.
Controversy
Blei fomented local controversy when he outlined a new vision for Door County, Wisconsin in an article in the area's weekly newspaper, The Door Reminder. Published in 1992, it was titled "Shut the Damn Door". The area's residents were sharply divided on the proposal, as recounted in an essay by Blei's publisher at Ellis Press, David Pichaske: "Blei outlined a Master Plan for the Future of Door County loosely based on the 'Industrial Tourism' chapter of Ed Abbey's Desert Solitaire. Blei suggests that county officials freeze all building, property sales, and residential, commercial and public planning in the County; turn the entire County over to Nature Conservancy; close the new bridge at Sturgeon Bay and make an outdoor walking mall of it, with artsy-craftsy shops, a Ferris wheel, and Chicago style food vendors; admit tourists freely across the old bridge May through October, subject to a tax of $50 per vehicle per week and $25 per person per day, but from November through April by visa only; tear up all highways and back roads and return them to their natural state of dirt, gravel, good Door County earth; place a moratorium on new road construction in the County; encourage vandalism of commercial signs while instituting a $3,000 fine for anyone caught erecting new advertisements or newspaper mail boxes; tear up 'ugly metal road signs' and either replace them with wooden ones or leave the roads nameless. 'Take any dirt road and get lost,' Blei concludes. 'You may discover the real value of this place. You may discover yourself.'"
Works
Novels
The Second Novel: Becoming a Writer (1978)
Adventures in an American's Literature (1982)
Story collections
The Hour of the Sunshine Now: Short Stories by Norbert Blei (1978)
The Ghost of Sandburg's Phizzog (1986)
Non-fiction
Door Way: The People in the Landscape (1981)
Door Steps (1983)
Door to Door (1985)
Neighborhood (1987)
Meditations on a Small Lake (1987)
Chi-Town (1990)
Chronicles of a Rural Journalist in America (1990)
Winter Book (2002)
Poetry
Paint Me a Picture/Make Me a Poem (1987)
Collections and anthologies
Wisconsin's Rustic Roads: A Road Less Travelled; Photographs by Bob Rashid, Text By Ben Logan, George Vukelich, Jean Feraca, Norbert Blei and Bill Stokes (1995)
Rooted: Seven Midwest Writers of Place, by David Pichaske, University of Iowa Press (2006) [1]
Anthologies, selected list, (Archived August 3, 2011)
Recordings
The Quiet Time, Door County in Winter: Readings by Norb Blei/Music by Jim Spector (1997)
Readings from Door Way (1996)
Articles
Henderson dark man of Door, Door County Advocate, September 13, 1977
Bailey Harbor's Bird Carver, Door County Advocate, September 27, 1977
With Gerhard Miller, painting had to come out, and it did, Door County Advocate, November 1, 1977
Artist Miller heard sailors spin yarns on schooner decks, Door County Advocate, November 3, 1977
Woodworker Anderson example of generation seeking its own way, Door County Advocate, March 7, 1978
Kash: a potter's way in Door, Door County Advocate, July 20, 1978
Hard driving restauranteur Al Johnson doesn't mince words, Door County Advocate, June 22, 1978
'They got to let the fishermen fish' Door County Advocate, October 18, 1977
'Teacher' Phil Sweet doesn't fall back on dogmatic answers, Door County Advocate, June 15, 1978
'Clean piece Wally,' the world's greatest car salesman, Door County Advocate, December 28, 1978
Tom Collis--Socrates at Newport, January 26, 1978
Break with agency, eye trouble steps in bring Austin to Door, Door County Advocate, March 23, 1978
Phil Austin feels compelled to capture a passing beauty, Door County Advocate, March 28, 1978
"It boils down to greed" by Norbert Blei, in Conversations on Door County by Dave Crehore, Wisconsin Natural Resources, May-June 1986, Volume 10, Number 3, Wisconsin Department of Natural Resources, page 16
References
Article by Doug Moe, Wisconsin State Journal, 'Blei's words still resonate in reprint', (June 11, 2008; Archived August 20, 2008)
Barbara Fitz Vroman on Norbert Blei
'Norbert Blei: Portrait of the Artist as Outsider,' by David Pichaske, Studies in American Fiction
Marshall Cook interview with Norbert Blei (Archived July 14, 2011)
Door TourPage interview re: Crossroads Press (Archived July 14, 2011)
The Writer's Almanac with Garrison Keillor (8.23.00)
External links
poetry dispatch & other notes from the underground
Basho's Road
Outlaw Poetry Network
Spoon River Poetry Press (Archived March 1, 2019)
Chowhound: Norbert Blei's Neighborhood (Bohemian Chicago) (September 3, 2003; Archived March 5, 2016)
"The Chair Trick" at The New Yorker
Farm may not be productive but owner Norbert Blei is by Keta Steebs, Door County Advocate, February 23, 1978 (and Blei's response on February 23, 1978)
Writer - teacher Norb Blei likes the off season here by Henry Shea, Door County Advocate September 17, 1970
Norbert Blei Retrospective, recorded during Blei's public readings on March 13, 2011, December 23, 2009, and December 23, 2010
|
family name
|
{
"answer_start": [
8
],
"text": [
"Blei"
]
}
|
Norbert Blei (August 23, 1935 – April 23, 2013) was an American writer of non-fiction, fiction, and poetry. In 1994, he established Cross+Roads Press, dedicated to the publication of first chapbooks by poets, short story writers, novelists and artists.
Biography
Blei was born in an ethnic (primarily Czechoslovakian) neighborhood of western Chicago, Illinois known as Little Village. An only child, Blei and his parents moved to the near-western Chicago suburb of Cicero when he was in grade school.
Blei attended Illinois State University, studying English, and graduated in 1956. He taught high school English and subsequently worked at the City News Bureau of Chicago as a reporter. In 1969, Blei left Chicago and moved to Door County, Wisconsin, a rural vacation destination for Midwesterners on the Door Peninsula in Lake Michigan. For four decades, he worked in a converted chicken coop in Ellison Bay, Wisconsin.
Blei's first book was The Hour of the Sunshine Now: Short Stories by Norbert Blei, published in 1978.
Blei was an early adopter of the Internet as a means to distribute his own work and call attention to other writers. His Poetry Dispatch was a weekly enewsletter that featured a short selection of poems by a single, noteworthy poet, while Notes from the Underground was an irregular email that featured brief essays on current topics, literary and otherwise.
Literary themes
A sense of community and threats to community were the twin themes of Blei's writing, whether he is writing about urban Chicago or rural Wisconsin:
"Norb specializes in the fleeting look at the little people of the city, the aged newsstand operators, the small restaurant owners, Greek, Bohemian, Slovak, who still provide, in out-of-the-way neighborhoods, national dishes and national atmosphere. And he is determined to get these glimpses of a disappearing Chicago on paper before they are ploughed under to make way for new high-rise apartments, or succumb to the creeping wave of debris, human and material, so characteristic of most large cities these days." (Henry Shea, 1970)
"Thus a profound feeling of loss permeates all of Blei's work. Perhaps Blei's own sense of himself as an isolated, alienated writer—a consistent self-portrait, across geographies and through years of economic and literary success and failure, prominence and reduced visibility—derives from his sense of doomed place, or, more properly, doomed community in place. Whether author imposes his vision on place (others in Cicero and Door County have found more to cheer about over the past thirty years), or place imposes itself on author, the result is an author celebrating the forgotten, the beat and defeated: others and himself." (David Pichaske, 2000)
Cross+Roads Press
In the early 1990s, Blei started Cross+Roads Press to offer established and beginning writers an opportunity to be published in chapbook form. To date, works by almost 40 writers have been published.
The Clearing
For over 30 years, Blei was writer-in-residence at The Clearing, a folk arts school founded in 1935 by landscape architect Jens Jensen. Blei's annual June writing classes drew developing writers from across the country. After 2007, Blei conducted his annual writing classes independently.
Visual arts
Blei was a watercolor artist. Following a trip to Berlin in the then-West Germany in the early 1980s, he created a series of works based on the experience. The "Die Mauer" paintings focused on the Berlin Wall and were exhibited in Santa Fe and other locations.
Writing projects
Blei collaborated with the pseudonymous Monsieur K, located in France, who created an assortment of web sites for posting writings artists judged to abide by the spirit of "free jazz". Blei regularly provided Monsieur K with commentary on significant artistic events for the Metropolis site, poetry and other material for the Basho's Road site, and artistic profiles and critiques for Poetry Dispatch & Other Notes from the Underground.
Controversy
Blei fomented local controversy when he outlined a new vision for Door County, Wisconsin in an article in the area's weekly newspaper, The Door Reminder. Published in 1992, it was titled "Shut the Damn Door". The area's residents were sharply divided on the proposal, as recounted in an essay by Blei's publisher at Ellis Press, David Pichaske: "Blei outlined a Master Plan for the Future of Door County loosely based on the 'Industrial Tourism' chapter of Ed Abbey's Desert Solitaire. Blei suggests that county officials freeze all building, property sales, and residential, commercial and public planning in the County; turn the entire County over to Nature Conservancy; close the new bridge at Sturgeon Bay and make an outdoor walking mall of it, with artsy-craftsy shops, a Ferris wheel, and Chicago style food vendors; admit tourists freely across the old bridge May through October, subject to a tax of $50 per vehicle per week and $25 per person per day, but from November through April by visa only; tear up all highways and back roads and return them to their natural state of dirt, gravel, good Door County earth; place a moratorium on new road construction in the County; encourage vandalism of commercial signs while instituting a $3,000 fine for anyone caught erecting new advertisements or newspaper mail boxes; tear up 'ugly metal road signs' and either replace them with wooden ones or leave the roads nameless. 'Take any dirt road and get lost,' Blei concludes. 'You may discover the real value of this place. You may discover yourself.'"
Works
Novels
The Second Novel: Becoming a Writer (1978)
Adventures in an American's Literature (1982)
Story collections
The Hour of the Sunshine Now: Short Stories by Norbert Blei (1978)
The Ghost of Sandburg's Phizzog (1986)
Non-fiction
Door Way: The People in the Landscape (1981)
Door Steps (1983)
Door to Door (1985)
Neighborhood (1987)
Meditations on a Small Lake (1987)
Chi-Town (1990)
Chronicles of a Rural Journalist in America (1990)
Winter Book (2002)
Poetry
Paint Me a Picture/Make Me a Poem (1987)
Collections and anthologies
Wisconsin's Rustic Roads: A Road Less Travelled; Photographs by Bob Rashid, Text By Ben Logan, George Vukelich, Jean Feraca, Norbert Blei and Bill Stokes (1995)
Rooted: Seven Midwest Writers of Place, by David Pichaske, University of Iowa Press (2006) [1]
Anthologies, selected list, (Archived August 3, 2011)
Recordings
The Quiet Time, Door County in Winter: Readings by Norb Blei/Music by Jim Spector (1997)
Readings from Door Way (1996)
Articles
Henderson dark man of Door, Door County Advocate, September 13, 1977
Bailey Harbor's Bird Carver, Door County Advocate, September 27, 1977
With Gerhard Miller, painting had to come out, and it did, Door County Advocate, November 1, 1977
Artist Miller heard sailors spin yarns on schooner decks, Door County Advocate, November 3, 1977
Woodworker Anderson example of generation seeking its own way, Door County Advocate, March 7, 1978
Kash: a potter's way in Door, Door County Advocate, July 20, 1978
Hard driving restauranteur Al Johnson doesn't mince words, Door County Advocate, June 22, 1978
'They got to let the fishermen fish' Door County Advocate, October 18, 1977
'Teacher' Phil Sweet doesn't fall back on dogmatic answers, Door County Advocate, June 15, 1978
'Clean piece Wally,' the world's greatest car salesman, Door County Advocate, December 28, 1978
Tom Collis--Socrates at Newport, January 26, 1978
Break with agency, eye trouble steps in bring Austin to Door, Door County Advocate, March 23, 1978
Phil Austin feels compelled to capture a passing beauty, Door County Advocate, March 28, 1978
"It boils down to greed" by Norbert Blei, in Conversations on Door County by Dave Crehore, Wisconsin Natural Resources, May-June 1986, Volume 10, Number 3, Wisconsin Department of Natural Resources, page 16
References
Article by Doug Moe, Wisconsin State Journal, 'Blei's words still resonate in reprint', (June 11, 2008; Archived August 20, 2008)
Barbara Fitz Vroman on Norbert Blei
'Norbert Blei: Portrait of the Artist as Outsider,' by David Pichaske, Studies in American Fiction
Marshall Cook interview with Norbert Blei (Archived July 14, 2011)
Door TourPage interview re: Crossroads Press (Archived July 14, 2011)
The Writer's Almanac with Garrison Keillor (8.23.00)
External links
poetry dispatch & other notes from the underground
Basho's Road
Outlaw Poetry Network
Spoon River Poetry Press (Archived March 1, 2019)
Chowhound: Norbert Blei's Neighborhood (Bohemian Chicago) (September 3, 2003; Archived March 5, 2016)
"The Chair Trick" at The New Yorker
Farm may not be productive but owner Norbert Blei is by Keta Steebs, Door County Advocate, February 23, 1978 (and Blei's response on February 23, 1978)
Writer - teacher Norb Blei likes the off season here by Henry Shea, Door County Advocate September 17, 1970
Norbert Blei Retrospective, recorded during Blei's public readings on March 13, 2011, December 23, 2009, and December 23, 2010
|
given name
|
{
"answer_start": [
0
],
"text": [
"Norbert"
]
}
|
Norbert Blei (August 23, 1935 – April 23, 2013) was an American writer of non-fiction, fiction, and poetry. In 1994, he established Cross+Roads Press, dedicated to the publication of first chapbooks by poets, short story writers, novelists and artists.
Biography
Blei was born in an ethnic (primarily Czechoslovakian) neighborhood of western Chicago, Illinois known as Little Village. An only child, Blei and his parents moved to the near-western Chicago suburb of Cicero when he was in grade school.
Blei attended Illinois State University, studying English, and graduated in 1956. He taught high school English and subsequently worked at the City News Bureau of Chicago as a reporter. In 1969, Blei left Chicago and moved to Door County, Wisconsin, a rural vacation destination for Midwesterners on the Door Peninsula in Lake Michigan. For four decades, he worked in a converted chicken coop in Ellison Bay, Wisconsin.
Blei's first book was The Hour of the Sunshine Now: Short Stories by Norbert Blei, published in 1978.
Blei was an early adopter of the Internet as a means to distribute his own work and call attention to other writers. His Poetry Dispatch was a weekly enewsletter that featured a short selection of poems by a single, noteworthy poet, while Notes from the Underground was an irregular email that featured brief essays on current topics, literary and otherwise.
Literary themes
A sense of community and threats to community were the twin themes of Blei's writing, whether he is writing about urban Chicago or rural Wisconsin:
"Norb specializes in the fleeting look at the little people of the city, the aged newsstand operators, the small restaurant owners, Greek, Bohemian, Slovak, who still provide, in out-of-the-way neighborhoods, national dishes and national atmosphere. And he is determined to get these glimpses of a disappearing Chicago on paper before they are ploughed under to make way for new high-rise apartments, or succumb to the creeping wave of debris, human and material, so characteristic of most large cities these days." (Henry Shea, 1970)
"Thus a profound feeling of loss permeates all of Blei's work. Perhaps Blei's own sense of himself as an isolated, alienated writer—a consistent self-portrait, across geographies and through years of economic and literary success and failure, prominence and reduced visibility—derives from his sense of doomed place, or, more properly, doomed community in place. Whether author imposes his vision on place (others in Cicero and Door County have found more to cheer about over the past thirty years), or place imposes itself on author, the result is an author celebrating the forgotten, the beat and defeated: others and himself." (David Pichaske, 2000)
Cross+Roads Press
In the early 1990s, Blei started Cross+Roads Press to offer established and beginning writers an opportunity to be published in chapbook form. To date, works by almost 40 writers have been published.
The Clearing
For over 30 years, Blei was writer-in-residence at The Clearing, a folk arts school founded in 1935 by landscape architect Jens Jensen. Blei's annual June writing classes drew developing writers from across the country. After 2007, Blei conducted his annual writing classes independently.
Visual arts
Blei was a watercolor artist. Following a trip to Berlin in the then-West Germany in the early 1980s, he created a series of works based on the experience. The "Die Mauer" paintings focused on the Berlin Wall and were exhibited in Santa Fe and other locations.
Writing projects
Blei collaborated with the pseudonymous Monsieur K, located in France, who created an assortment of web sites for posting writings artists judged to abide by the spirit of "free jazz". Blei regularly provided Monsieur K with commentary on significant artistic events for the Metropolis site, poetry and other material for the Basho's Road site, and artistic profiles and critiques for Poetry Dispatch & Other Notes from the Underground.
Controversy
Blei fomented local controversy when he outlined a new vision for Door County, Wisconsin in an article in the area's weekly newspaper, The Door Reminder. Published in 1992, it was titled "Shut the Damn Door". The area's residents were sharply divided on the proposal, as recounted in an essay by Blei's publisher at Ellis Press, David Pichaske: "Blei outlined a Master Plan for the Future of Door County loosely based on the 'Industrial Tourism' chapter of Ed Abbey's Desert Solitaire. Blei suggests that county officials freeze all building, property sales, and residential, commercial and public planning in the County; turn the entire County over to Nature Conservancy; close the new bridge at Sturgeon Bay and make an outdoor walking mall of it, with artsy-craftsy shops, a Ferris wheel, and Chicago style food vendors; admit tourists freely across the old bridge May through October, subject to a tax of $50 per vehicle per week and $25 per person per day, but from November through April by visa only; tear up all highways and back roads and return them to their natural state of dirt, gravel, good Door County earth; place a moratorium on new road construction in the County; encourage vandalism of commercial signs while instituting a $3,000 fine for anyone caught erecting new advertisements or newspaper mail boxes; tear up 'ugly metal road signs' and either replace them with wooden ones or leave the roads nameless. 'Take any dirt road and get lost,' Blei concludes. 'You may discover the real value of this place. You may discover yourself.'"
Works
Novels
The Second Novel: Becoming a Writer (1978)
Adventures in an American's Literature (1982)
Story collections
The Hour of the Sunshine Now: Short Stories by Norbert Blei (1978)
The Ghost of Sandburg's Phizzog (1986)
Non-fiction
Door Way: The People in the Landscape (1981)
Door Steps (1983)
Door to Door (1985)
Neighborhood (1987)
Meditations on a Small Lake (1987)
Chi-Town (1990)
Chronicles of a Rural Journalist in America (1990)
Winter Book (2002)
Poetry
Paint Me a Picture/Make Me a Poem (1987)
Collections and anthologies
Wisconsin's Rustic Roads: A Road Less Travelled; Photographs by Bob Rashid, Text By Ben Logan, George Vukelich, Jean Feraca, Norbert Blei and Bill Stokes (1995)
Rooted: Seven Midwest Writers of Place, by David Pichaske, University of Iowa Press (2006) [1]
Anthologies, selected list, (Archived August 3, 2011)
Recordings
The Quiet Time, Door County in Winter: Readings by Norb Blei/Music by Jim Spector (1997)
Readings from Door Way (1996)
Articles
Henderson dark man of Door, Door County Advocate, September 13, 1977
Bailey Harbor's Bird Carver, Door County Advocate, September 27, 1977
With Gerhard Miller, painting had to come out, and it did, Door County Advocate, November 1, 1977
Artist Miller heard sailors spin yarns on schooner decks, Door County Advocate, November 3, 1977
Woodworker Anderson example of generation seeking its own way, Door County Advocate, March 7, 1978
Kash: a potter's way in Door, Door County Advocate, July 20, 1978
Hard driving restauranteur Al Johnson doesn't mince words, Door County Advocate, June 22, 1978
'They got to let the fishermen fish' Door County Advocate, October 18, 1977
'Teacher' Phil Sweet doesn't fall back on dogmatic answers, Door County Advocate, June 15, 1978
'Clean piece Wally,' the world's greatest car salesman, Door County Advocate, December 28, 1978
Tom Collis--Socrates at Newport, January 26, 1978
Break with agency, eye trouble steps in bring Austin to Door, Door County Advocate, March 23, 1978
Phil Austin feels compelled to capture a passing beauty, Door County Advocate, March 28, 1978
"It boils down to greed" by Norbert Blei, in Conversations on Door County by Dave Crehore, Wisconsin Natural Resources, May-June 1986, Volume 10, Number 3, Wisconsin Department of Natural Resources, page 16
References
Article by Doug Moe, Wisconsin State Journal, 'Blei's words still resonate in reprint', (June 11, 2008; Archived August 20, 2008)
Barbara Fitz Vroman on Norbert Blei
'Norbert Blei: Portrait of the Artist as Outsider,' by David Pichaske, Studies in American Fiction
Marshall Cook interview with Norbert Blei (Archived July 14, 2011)
Door TourPage interview re: Crossroads Press (Archived July 14, 2011)
The Writer's Almanac with Garrison Keillor (8.23.00)
External links
poetry dispatch & other notes from the underground
Basho's Road
Outlaw Poetry Network
Spoon River Poetry Press (Archived March 1, 2019)
Chowhound: Norbert Blei's Neighborhood (Bohemian Chicago) (September 3, 2003; Archived March 5, 2016)
"The Chair Trick" at The New Yorker
Farm may not be productive but owner Norbert Blei is by Keta Steebs, Door County Advocate, February 23, 1978 (and Blei's response on February 23, 1978)
Writer - teacher Norb Blei likes the off season here by Henry Shea, Door County Advocate September 17, 1970
Norbert Blei Retrospective, recorded during Blei's public readings on March 13, 2011, December 23, 2009, and December 23, 2010
|
work location
|
{
"answer_start": [
343
],
"text": [
"Chicago"
]
}
|
Norbert Blei (August 23, 1935 – April 23, 2013) was an American writer of non-fiction, fiction, and poetry. In 1994, he established Cross+Roads Press, dedicated to the publication of first chapbooks by poets, short story writers, novelists and artists.
Biography
Blei was born in an ethnic (primarily Czechoslovakian) neighborhood of western Chicago, Illinois known as Little Village. An only child, Blei and his parents moved to the near-western Chicago suburb of Cicero when he was in grade school.
Blei attended Illinois State University, studying English, and graduated in 1956. He taught high school English and subsequently worked at the City News Bureau of Chicago as a reporter. In 1969, Blei left Chicago and moved to Door County, Wisconsin, a rural vacation destination for Midwesterners on the Door Peninsula in Lake Michigan. For four decades, he worked in a converted chicken coop in Ellison Bay, Wisconsin.
Blei's first book was The Hour of the Sunshine Now: Short Stories by Norbert Blei, published in 1978.
Blei was an early adopter of the Internet as a means to distribute his own work and call attention to other writers. His Poetry Dispatch was a weekly enewsletter that featured a short selection of poems by a single, noteworthy poet, while Notes from the Underground was an irregular email that featured brief essays on current topics, literary and otherwise.
Literary themes
A sense of community and threats to community were the twin themes of Blei's writing, whether he is writing about urban Chicago or rural Wisconsin:
"Norb specializes in the fleeting look at the little people of the city, the aged newsstand operators, the small restaurant owners, Greek, Bohemian, Slovak, who still provide, in out-of-the-way neighborhoods, national dishes and national atmosphere. And he is determined to get these glimpses of a disappearing Chicago on paper before they are ploughed under to make way for new high-rise apartments, or succumb to the creeping wave of debris, human and material, so characteristic of most large cities these days." (Henry Shea, 1970)
"Thus a profound feeling of loss permeates all of Blei's work. Perhaps Blei's own sense of himself as an isolated, alienated writer—a consistent self-portrait, across geographies and through years of economic and literary success and failure, prominence and reduced visibility—derives from his sense of doomed place, or, more properly, doomed community in place. Whether author imposes his vision on place (others in Cicero and Door County have found more to cheer about over the past thirty years), or place imposes itself on author, the result is an author celebrating the forgotten, the beat and defeated: others and himself." (David Pichaske, 2000)
Cross+Roads Press
In the early 1990s, Blei started Cross+Roads Press to offer established and beginning writers an opportunity to be published in chapbook form. To date, works by almost 40 writers have been published.
The Clearing
For over 30 years, Blei was writer-in-residence at The Clearing, a folk arts school founded in 1935 by landscape architect Jens Jensen. Blei's annual June writing classes drew developing writers from across the country. After 2007, Blei conducted his annual writing classes independently.
Visual arts
Blei was a watercolor artist. Following a trip to Berlin in the then-West Germany in the early 1980s, he created a series of works based on the experience. The "Die Mauer" paintings focused on the Berlin Wall and were exhibited in Santa Fe and other locations.
Writing projects
Blei collaborated with the pseudonymous Monsieur K, located in France, who created an assortment of web sites for posting writings artists judged to abide by the spirit of "free jazz". Blei regularly provided Monsieur K with commentary on significant artistic events for the Metropolis site, poetry and other material for the Basho's Road site, and artistic profiles and critiques for Poetry Dispatch & Other Notes from the Underground.
Controversy
Blei fomented local controversy when he outlined a new vision for Door County, Wisconsin in an article in the area's weekly newspaper, The Door Reminder. Published in 1992, it was titled "Shut the Damn Door". The area's residents were sharply divided on the proposal, as recounted in an essay by Blei's publisher at Ellis Press, David Pichaske: "Blei outlined a Master Plan for the Future of Door County loosely based on the 'Industrial Tourism' chapter of Ed Abbey's Desert Solitaire. Blei suggests that county officials freeze all building, property sales, and residential, commercial and public planning in the County; turn the entire County over to Nature Conservancy; close the new bridge at Sturgeon Bay and make an outdoor walking mall of it, with artsy-craftsy shops, a Ferris wheel, and Chicago style food vendors; admit tourists freely across the old bridge May through October, subject to a tax of $50 per vehicle per week and $25 per person per day, but from November through April by visa only; tear up all highways and back roads and return them to their natural state of dirt, gravel, good Door County earth; place a moratorium on new road construction in the County; encourage vandalism of commercial signs while instituting a $3,000 fine for anyone caught erecting new advertisements or newspaper mail boxes; tear up 'ugly metal road signs' and either replace them with wooden ones or leave the roads nameless. 'Take any dirt road and get lost,' Blei concludes. 'You may discover the real value of this place. You may discover yourself.'"
Works
Novels
The Second Novel: Becoming a Writer (1978)
Adventures in an American's Literature (1982)
Story collections
The Hour of the Sunshine Now: Short Stories by Norbert Blei (1978)
The Ghost of Sandburg's Phizzog (1986)
Non-fiction
Door Way: The People in the Landscape (1981)
Door Steps (1983)
Door to Door (1985)
Neighborhood (1987)
Meditations on a Small Lake (1987)
Chi-Town (1990)
Chronicles of a Rural Journalist in America (1990)
Winter Book (2002)
Poetry
Paint Me a Picture/Make Me a Poem (1987)
Collections and anthologies
Wisconsin's Rustic Roads: A Road Less Travelled; Photographs by Bob Rashid, Text By Ben Logan, George Vukelich, Jean Feraca, Norbert Blei and Bill Stokes (1995)
Rooted: Seven Midwest Writers of Place, by David Pichaske, University of Iowa Press (2006) [1]
Anthologies, selected list, (Archived August 3, 2011)
Recordings
The Quiet Time, Door County in Winter: Readings by Norb Blei/Music by Jim Spector (1997)
Readings from Door Way (1996)
Articles
Henderson dark man of Door, Door County Advocate, September 13, 1977
Bailey Harbor's Bird Carver, Door County Advocate, September 27, 1977
With Gerhard Miller, painting had to come out, and it did, Door County Advocate, November 1, 1977
Artist Miller heard sailors spin yarns on schooner decks, Door County Advocate, November 3, 1977
Woodworker Anderson example of generation seeking its own way, Door County Advocate, March 7, 1978
Kash: a potter's way in Door, Door County Advocate, July 20, 1978
Hard driving restauranteur Al Johnson doesn't mince words, Door County Advocate, June 22, 1978
'They got to let the fishermen fish' Door County Advocate, October 18, 1977
'Teacher' Phil Sweet doesn't fall back on dogmatic answers, Door County Advocate, June 15, 1978
'Clean piece Wally,' the world's greatest car salesman, Door County Advocate, December 28, 1978
Tom Collis--Socrates at Newport, January 26, 1978
Break with agency, eye trouble steps in bring Austin to Door, Door County Advocate, March 23, 1978
Phil Austin feels compelled to capture a passing beauty, Door County Advocate, March 28, 1978
"It boils down to greed" by Norbert Blei, in Conversations on Door County by Dave Crehore, Wisconsin Natural Resources, May-June 1986, Volume 10, Number 3, Wisconsin Department of Natural Resources, page 16
References
Article by Doug Moe, Wisconsin State Journal, 'Blei's words still resonate in reprint', (June 11, 2008; Archived August 20, 2008)
Barbara Fitz Vroman on Norbert Blei
'Norbert Blei: Portrait of the Artist as Outsider,' by David Pichaske, Studies in American Fiction
Marshall Cook interview with Norbert Blei (Archived July 14, 2011)
Door TourPage interview re: Crossroads Press (Archived July 14, 2011)
The Writer's Almanac with Garrison Keillor (8.23.00)
External links
poetry dispatch & other notes from the underground
Basho's Road
Outlaw Poetry Network
Spoon River Poetry Press (Archived March 1, 2019)
Chowhound: Norbert Blei's Neighborhood (Bohemian Chicago) (September 3, 2003; Archived March 5, 2016)
"The Chair Trick" at The New Yorker
Farm may not be productive but owner Norbert Blei is by Keta Steebs, Door County Advocate, February 23, 1978 (and Blei's response on February 23, 1978)
Writer - teacher Norb Blei likes the off season here by Henry Shea, Door County Advocate September 17, 1970
Norbert Blei Retrospective, recorded during Blei's public readings on March 13, 2011, December 23, 2009, and December 23, 2010
|
Commons Creator page
|
{
"answer_start": [
0
],
"text": [
"Norbert Blei"
]
}
|
Maysan Stadium (Arabic: ملعب ميسان الأولمبي) is a multi-use stadium in Amarah, Iraq. The stadium holds 25,000 people and was opened in 1987.
Renovation
Plans were made to renovate the stadium after 2003, but work began only in 2011. The project included rehabilitating the VIP area, the pitch, installing 25,000 seats, a new running track, a roof over the entire stadium and other facilities within the stadium compound.
Renovation work soon stopped due to lack of money. Work restarted in 2016, and the stadium was officially re-opened on 22 July 2017, although the roof has not yet been completed.
Tenant
Naft Maysan will most likely play most of their home games at this stadium.
See also
List of football stadiums in Iraq
== References ==
|
country
|
{
"answer_start": [
79
],
"text": [
"Iraq"
]
}
|
Maysan Stadium (Arabic: ملعب ميسان الأولمبي) is a multi-use stadium in Amarah, Iraq. The stadium holds 25,000 people and was opened in 1987.
Renovation
Plans were made to renovate the stadium after 2003, but work began only in 2011. The project included rehabilitating the VIP area, the pitch, installing 25,000 seats, a new running track, a roof over the entire stadium and other facilities within the stadium compound.
Renovation work soon stopped due to lack of money. Work restarted in 2016, and the stadium was officially re-opened on 22 July 2017, although the roof has not yet been completed.
Tenant
Naft Maysan will most likely play most of their home games at this stadium.
See also
List of football stadiums in Iraq
== References ==
|
instance of
|
{
"answer_start": [
60
],
"text": [
"stadium"
]
}
|
Maysan Stadium (Arabic: ملعب ميسان الأولمبي) is a multi-use stadium in Amarah, Iraq. The stadium holds 25,000 people and was opened in 1987.
Renovation
Plans were made to renovate the stadium after 2003, but work began only in 2011. The project included rehabilitating the VIP area, the pitch, installing 25,000 seats, a new running track, a roof over the entire stadium and other facilities within the stadium compound.
Renovation work soon stopped due to lack of money. Work restarted in 2016, and the stadium was officially re-opened on 22 July 2017, although the roof has not yet been completed.
Tenant
Naft Maysan will most likely play most of their home games at this stadium.
See also
List of football stadiums in Iraq
== References ==
|
location
|
{
"answer_start": [
71
],
"text": [
"Amarah"
]
}
|
Maysan Stadium (Arabic: ملعب ميسان الأولمبي) is a multi-use stadium in Amarah, Iraq. The stadium holds 25,000 people and was opened in 1987.
Renovation
Plans were made to renovate the stadium after 2003, but work began only in 2011. The project included rehabilitating the VIP area, the pitch, installing 25,000 seats, a new running track, a roof over the entire stadium and other facilities within the stadium compound.
Renovation work soon stopped due to lack of money. Work restarted in 2016, and the stadium was officially re-opened on 22 July 2017, although the roof has not yet been completed.
Tenant
Naft Maysan will most likely play most of their home games at this stadium.
See also
List of football stadiums in Iraq
== References ==
|
occupant
|
{
"answer_start": [
610
],
"text": [
"Naft Maysan"
]
}
|
Ukhaatherium is a now extinct species of mammal that lived during the upper Cretaceous about 84 to 72 million years ago in today's East Asia. It is known above all from the fossil locality Ukhaa Tolgod, Mongolia. An adult Ukhaatherium has an estimated weight of about 32g and bears several similarities to lipotyphlan insectivorans such as the tenrec.
Characteristics
Ukhaatherium nessovi, the type and only species for the genus, is known from multiple near-complete specimens. The most notable feature of the species is the presence of epipubic bones in the pelvic girdle, which have been lost in extant eutherian mammals. The loss of epipubic bones is associated with the evolution of prolonged gestation in eutherian mammalian reproduction. This means that Ukhaatherium may have had a short gestation period resulting in the birth of altricial young, like monotremes, marsupials, and extinct Mesozoic mammals such as multituberculates. This supports the hypothesis that the presence of epipubic bones is the primitive mammalian condition.Despite some primitive skull and dental traits, the skeletons of Ukhaatherium and two other asioryctitheres, Asioryctes and Kennalestes, are classed as eutherians and show several similarities with the extant lipotyphlans. Derived eutherian characteristics include the restriction of the upper ankle joint to the parasagittal plane.
Fossil findings
Since the year 1990, joint expeditions of the American Museum of Natural History and the Mongolian Academy of Sciences have taken place in the Gobi desert of southern Mongolia in order to investigate upper Cretaceous and Tertiary vertebrates. More than 500 mammalian skulls (many of which with corresponding postcranial skeletons) were discovered at the Ukhaa Tolgod fossil field between 1993 and 1997, together with very well-preserved dinosaur skeletons, eggs, and embryos, birds, and lizards. Fossils of two species of basal eutherian mammal were found, including the first known Ukhaatherium specimens and a new Zalambdalestes specimen. These originate from the Djadochta Formation.
Paleobiology
Systematics
Ukhaatherium is a genus from the family of the Asioryctitheria, which lived in the late Cretaceous. Ukhaatherium and Asioryctes form the subfamily Asioryctinae, while Kennalestes stands somewhat outside this group.
== References ==
|
taxon rank
|
{
"answer_start": [
425
],
"text": [
"genus"
]
}
|
Ukhaatherium is a now extinct species of mammal that lived during the upper Cretaceous about 84 to 72 million years ago in today's East Asia. It is known above all from the fossil locality Ukhaa Tolgod, Mongolia. An adult Ukhaatherium has an estimated weight of about 32g and bears several similarities to lipotyphlan insectivorans such as the tenrec.
Characteristics
Ukhaatherium nessovi, the type and only species for the genus, is known from multiple near-complete specimens. The most notable feature of the species is the presence of epipubic bones in the pelvic girdle, which have been lost in extant eutherian mammals. The loss of epipubic bones is associated with the evolution of prolonged gestation in eutherian mammalian reproduction. This means that Ukhaatherium may have had a short gestation period resulting in the birth of altricial young, like monotremes, marsupials, and extinct Mesozoic mammals such as multituberculates. This supports the hypothesis that the presence of epipubic bones is the primitive mammalian condition.Despite some primitive skull and dental traits, the skeletons of Ukhaatherium and two other asioryctitheres, Asioryctes and Kennalestes, are classed as eutherians and show several similarities with the extant lipotyphlans. Derived eutherian characteristics include the restriction of the upper ankle joint to the parasagittal plane.
Fossil findings
Since the year 1990, joint expeditions of the American Museum of Natural History and the Mongolian Academy of Sciences have taken place in the Gobi desert of southern Mongolia in order to investigate upper Cretaceous and Tertiary vertebrates. More than 500 mammalian skulls (many of which with corresponding postcranial skeletons) were discovered at the Ukhaa Tolgod fossil field between 1993 and 1997, together with very well-preserved dinosaur skeletons, eggs, and embryos, birds, and lizards. Fossils of two species of basal eutherian mammal were found, including the first known Ukhaatherium specimens and a new Zalambdalestes specimen. These originate from the Djadochta Formation.
Paleobiology
Systematics
Ukhaatherium is a genus from the family of the Asioryctitheria, which lived in the late Cretaceous. Ukhaatherium and Asioryctes form the subfamily Asioryctinae, while Kennalestes stands somewhat outside this group.
== References ==
|
taxon name
|
{
"answer_start": [
0
],
"text": [
"Ukhaatherium"
]
}
|
Janine Elizabeth Cunningham (born 23 May 1983), better known as Jah9, is a Jamaican singer and also a yoga teacher.
Biography
Jah9 was born in Montego Bay in Saint James, Jamaica. Her father was a Baptist minister and her mother was a teacher and social worker. She spent much of her childhood in Falmouth, Trelawny. In 1991 the family moved to Kingston. After a period at the university she commenced realizing her musical passion. Her music is often described as "jazz on dub", because her singing voice is influenced by Nina Simone and Billie Holiday, partly combined with the dancehall sound of Sizzla and the more potent dub rhythms similar to those of Augustus Pablo. In 2013 her first album New Name appeared. She has recorded three albums for VP Records including New Name (2013), 9 (2016) and the recently released Note to Self on March 13, 2020.
Discography
Albums
New Name (2013)
‘’9’’ (2016)
‘’Mad Professor Meets Jah9 - In The Midst Of The Storm’’ (2017)
‘’Feelings‘’ (2018)(mini-album, vinyl only)
‘’Note To Self’’ (2020)
== References ==
|
place of birth
|
{
"answer_start": [
144
],
"text": [
"Montego Bay"
]
}
|
Janine Elizabeth Cunningham (born 23 May 1983), better known as Jah9, is a Jamaican singer and also a yoga teacher.
Biography
Jah9 was born in Montego Bay in Saint James, Jamaica. Her father was a Baptist minister and her mother was a teacher and social worker. She spent much of her childhood in Falmouth, Trelawny. In 1991 the family moved to Kingston. After a period at the university she commenced realizing her musical passion. Her music is often described as "jazz on dub", because her singing voice is influenced by Nina Simone and Billie Holiday, partly combined with the dancehall sound of Sizzla and the more potent dub rhythms similar to those of Augustus Pablo. In 2013 her first album New Name appeared. She has recorded three albums for VP Records including New Name (2013), 9 (2016) and the recently released Note to Self on March 13, 2020.
Discography
Albums
New Name (2013)
‘’9’’ (2016)
‘’Mad Professor Meets Jah9 - In The Midst Of The Storm’’ (2017)
‘’Feelings‘’ (2018)(mini-album, vinyl only)
‘’Note To Self’’ (2020)
== References ==
|
country of citizenship
|
{
"answer_start": [
75
],
"text": [
"Jamaica"
]
}
|
Janine Elizabeth Cunningham (born 23 May 1983), better known as Jah9, is a Jamaican singer and also a yoga teacher.
Biography
Jah9 was born in Montego Bay in Saint James, Jamaica. Her father was a Baptist minister and her mother was a teacher and social worker. She spent much of her childhood in Falmouth, Trelawny. In 1991 the family moved to Kingston. After a period at the university she commenced realizing her musical passion. Her music is often described as "jazz on dub", because her singing voice is influenced by Nina Simone and Billie Holiday, partly combined with the dancehall sound of Sizzla and the more potent dub rhythms similar to those of Augustus Pablo. In 2013 her first album New Name appeared. She has recorded three albums for VP Records including New Name (2013), 9 (2016) and the recently released Note to Self on March 13, 2020.
Discography
Albums
New Name (2013)
‘’9’’ (2016)
‘’Mad Professor Meets Jah9 - In The Midst Of The Storm’’ (2017)
‘’Feelings‘’ (2018)(mini-album, vinyl only)
‘’Note To Self’’ (2020)
== References ==
|
occupation
|
{
"answer_start": [
84
],
"text": [
"singer"
]
}
|
Janine Elizabeth Cunningham (born 23 May 1983), better known as Jah9, is a Jamaican singer and also a yoga teacher.
Biography
Jah9 was born in Montego Bay in Saint James, Jamaica. Her father was a Baptist minister and her mother was a teacher and social worker. She spent much of her childhood in Falmouth, Trelawny. In 1991 the family moved to Kingston. After a period at the university she commenced realizing her musical passion. Her music is often described as "jazz on dub", because her singing voice is influenced by Nina Simone and Billie Holiday, partly combined with the dancehall sound of Sizzla and the more potent dub rhythms similar to those of Augustus Pablo. In 2013 her first album New Name appeared. She has recorded three albums for VP Records including New Name (2013), 9 (2016) and the recently released Note to Self on March 13, 2020.
Discography
Albums
New Name (2013)
‘’9’’ (2016)
‘’Mad Professor Meets Jah9 - In The Midst Of The Storm’’ (2017)
‘’Feelings‘’ (2018)(mini-album, vinyl only)
‘’Note To Self’’ (2020)
== References ==
|
instrument
|
{
"answer_start": [
501
],
"text": [
"voice"
]
}
|
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.