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Ron Perlman

Ronald N. Perlman (born April 13, 1950) is an American actor. His credits include the roles of Amoukar in Quest for Fire (1981), Salvatore in The Name of the Rose (1986), Vincent in the television series Beauty and the Beast (1987–1990), for which he won a Golden Globe Award, One in The City of Lost Children (1995), Johner in Alien Resurrection (1997), Koulikov in Enemy at the Gates (2001), Hellboy in both Hellboy (2004) and its sequel Hellboy II: The Golden Army (2008), Clay Morrow in the television series Sons of Anarchy (2008–2013), Nino in Drive (2011) and Benedict Drask in Don't Look Up (2021). As a frequent collaborator of Hellboy director Guillermo del Toro, he has had roles in the del Toro films Cronos (1993), Blade II (2002), Pacific Rim (2013), Nightmare Alley (2021), and Pinocchio (2022).

Perlman has also had a prolific career as a voice actor, including the narrator of the post-apocalyptic game series Fallout (1997–present), Clayface in the DC Animated Universe (1992–2003), Slade in Teen Titans (2003–2006), Mr. Lancer in Danny Phantom (2004–2007), Lord Hood in the video games Halo 2 (2004) and Halo 3 (2007), the Stabbington brothers in Tangled (2010), The Lich in Adventure Time (2011–2017) and its spinoff Adventure Time: Fionna and Cake (2023), Xibalba in The Book of Life (2014), and Optimus Primal in both the Transformers: Power of the Primes (2018) animated series and the film Transformers: Rise of the Beasts (2023).

Early life and education
Ronald N. Perlman was born on April 13, 1950, in Washington Heights, New York City. His mother, Dorothy (née Rosen), was a municipal employee, and his father, Bertram "Bert" Perlman, was a jazz drummer and television repairman. His family is Jewish, originally from Hungary and Poland, and Perlman had a Bar Mitzvah ceremony.

Perlman said in 1988, "It was not a bad childhood but I had a perception of myself that was... I was terribly overweight as a young kid, and it was sort of a low self image." He stated this experience is something that attracts him to roles where he portrays "these sorts of deformed people who are very endearing." Perlman had a "very close" relationship with his father, who convinced his son he "had to" pursue a career as an actor after seeing him perform in a college production of Guys and Dolls.

Perlman graduated from George Washington High School in 1967 and Lehman College in 1971. He later attended the University of Minnesota, where he graduated with a master's degree in theater arts in 1973.

Film and television
Perlman started his career as a stage actor in 1975 and made his television debut in Ryan's Hope in 1979. He made his feature film debut in Jean-Jacques Annaud's film Quest for Fire (1981). Annaud later revealed that when he contacted Perlman to ask him about playing Salvatore in The Name of the Rose (1986), Perlman was thinking of abandoning his career. After various minor and supporting roles in film and television, he got his breakthrough leading role as Vincent on the television series Beauty and the Beast, opposite Linda Hamilton, from 1987 to 1990. This earned him a Golden Globe Award for Best Performance by an Actor in a Television Series in 1989.

He went on to play supporting roles in many films and television series throughout the 1990s as well as the 2000s. His most notable film appearances were in films such as The Name of the Rose (1986), Romeo is Bleeding (1993), The Adventures of Huck Finn (1993), Police Academy: Mission to Moscow (1994), The Last Supper (1995), The Island of Dr. Moreau (1996), Alien Resurrection (1997), Enemy at the Gates (2001), Blade II and Star Trek: Nemesis (both 2002) and two Stephen King adaptations, Sleepwalkers and Desperation. His appearances on television series include Highlander: The Series, The Outer Limits, The Magnificent Seven, and the Amazon series Hand of God.

He played his first leading film role in 1995, when he played "One" in Jean-Pierre Jeunet and Marc Caro's French-language The City of Lost Children. In 2003, Perlman starred in a commercial for Stella Artois beer. This commercial, which was called "Devil's Island", won a Silver Award at the 2003 British Advertising Awards. He got another leading film role in 2004 when he played the title role in the comic book adaptation Hellboy. Perlman reprised his role as Hellboy in the straight to DVD animated features Hellboy: Sword of Storms (2006) and Hellboy: Blood and Iron (2007) as well as Hellboy II: The Golden Army (2008).

In 2008, Perlman joined the cast of the television series Sons of Anarchy on FX playing Clay Morrow, the national president of the Sons of Anarchy Motorcycle Club. He also played Wes Chandler in the second and third seasons of StartUp in 2017–18.

In 2022, Perlman starred in Steven Brand's noir thriller Joe Baby alongside Dichen Lachman, Willa Fitzgerald and Harvey Keitel.

In 2023, Perlman starred in the Western thriller Cottonmouth, which is set for release in 2024.

Voice-over work
Perlman also has a successful career as a voice actor. He has portrayed characters in numerous video games and animated series, and done voice-over work for television commercials. These include Casper High English teacher and vice-principal Mr. Lancer in Danny Phantom, "Mickey Kaline" in Hey Arnold!, The Lich in Adventure Time, Kurtis Stryker in Mortal Kombat: Defenders of the Realm, Justice in Afro Samurai and various characters in DC Comics based series such as the villainous Slade, a version of DC character Deathstroke in the Teen Titans animated series and again in Justice League: The Flashpoint Paradox, Clayface in Batman: The Animated Series and The New Batman Adventures, Jax-Ur in Superman: The Animated Series, Orion in Justice League and Justice League Unlimited (the former in which he reprised his role as Clayface as well as voice Orion), Sozin in Avatar: The Last Airbender, several villains (Killer Croc, Rumor and Bane) in The Batman, Doctor Double X in Batman: The Brave and the Bold, and Sinestro in ''Green Lantern: The Animated Series. In addition, he served as the narrator for 1000 Ways to Die.''

His video game credits include Terrence Hood in the games Halo 2 and Halo 3, Jagger Valance in The Chronicles of Riddick: Escape from Butcher Bay, and Batman in Justice League Heroes. He is well known by Fallout fans for narrating the introductory movies in the series, including uttering the famous phrase "War. War never changes." He also voices "Slade" in the 2008 Turok game, and Emil Blonsky / Abomination in Incredible Hulk: Ultimate Destruction, Conan for the PS3 and Xbox 360, and voices the fast-talking Mayor Hoodoo Brown in the Neversoft game Gun. He also made an appearance in Payday 2 as "Rust", part of the "Biker Pack" DLC. In Call of Duty: Black Ops III (2016), Perlman offered his likeness and voice to one of the lead playable characters in the game's popular Zombies mode.

Perlman has also provided narration for a number of audiobooks, including City of Thieves by David Benioff. Perlman also does narration in the UFC's cold open promos for pay-per-view events.

Personal life
Perlman married Opal Stone, an Afro-Jamaican jewelry designer, on Valentine's Day 1981 and they had two children together: daughter Blake Amanda (b. 1984) and son Brandon Avery (b. 1990). They separated in May 2019 and Perlman later filed for divorce. In 2022, Perlman married his StartUp co-star Allison Dunbar in Italy after three years of dating. His son Brandon produces electronic music under the stage name Delroy Edwards.

Perlman is a lifelong Democrat. He has been a vocal critic of former U.S. President Donald Trump.

In 2018, Perlman claimed that he intentionally urinated on his hand prior to shaking Harvey Weinstein's hand followed by the message "I think about that every time lil Donnie opens up his KFC."

On November 9, 2016, Perlman announced via Facebook his intention to run for U.S. President in the 2020 election. In January 2019, he endorsed the candidacy of Kamala Harris. Perlman spoke in support of the 2023 SAG-AFTRA and WGA strikes and criticized an executive from the Alliance of Motion Picture and Television Producers who said that the association should delay negotiations with striking workers until they began to lose their homes.

title: Ron Perlman


text:
Girolamo Muziano

Girolamo Muziano or Mutiani (c. 1532 – 1592), was an Italian painter, one of the most prominent artists active in Rome in the mid-to-late sixteenth century.

Life
He was born in Acquafredda, near Brescia, but worked mainly in Rome.

Accounts from the 16th to 20th centuries said that Muziano began work under the tutelage of Romanino, an imitator of Titian. Yet, a nearly autobiographical story of Muziano written by his confessor (unpublished until 1954) indicates instead that Muziano was born in Brescia, and left this town as a young man, and that his first apprenticeship was under Domenico Campagnola and Lambert Sustris in 1544–46 in the town of Padua. He then spent time in Venice until 1549, but moved permanently to Rome about 1550.

Landscapes figured prominently in Muziano's early work, leading the Romans to nickname him Il giovane dei paesi (the young man of the landscapes). Although he produced drawings and paintings in this genre throughout his career, his interest shifted towards grand manner figure painting. Muziano painted religious and historical subjects in a style based largely on Michelangelo, giving great prominence to the monumental anatomy of his figures, even in works depicting ascetic saints. His Resurrection of Lazarus (1555), painted for the Colonna palace in Subiaco, established his fame. Michelangelo himself pronounced its author one of the "first artists of that age". The painting was later placed in the church of Santa Maria Maggiore above Muziano's tomb; it was afterwards transferred to the Quirinal Palace, and now is in the Vatican Pinacoteca. Its techniques of spatial organization and narrative composition are more typical of the High Renaissance than of Muziano's Mannerist contemporaries.

Muziano came to be the leading artist in Rome during the 1570-80s, painting in a style that appealed to Counter-Reformation patrons. He worked for Cardinal Ippolito II d'Este from 1560 to 1566, and his frescoes for the Cardinal's villas in Tivoli could be seen in Villa d'Este.

His most noted paintings include Circumcision, formerly the high altarpiece in the church of the Gesù (although now removed to a corridor behind the sacristy), paintings for three chapels in Santa Maria in Aracoeli, and St Jerome preaching to Monks in the Desert in Santa Maria degli Angeli. This last painting was one of two altarpieces that Muziano painted for St. Peter's Basilica during his time as superintendent of works for Pope Gregory XIII (the other painting, a "Mass of St. Basil", is lost, although it is recorded in an etching by Jacques Callot). Muziano also designed mosaics for the Gregorian Chapel in the basilica, and was responsible for re-founding the Academy of St Luke (Accademia di San Luca) in Rome (1577). His works can also be seen in Santa Caterina dei Funari, the Palazzo Colonna (portrait of Vittoria Colonna), the Cathedral Museum of Orvieto, and the church of San Francesco in Frascati.

Muziano died in 1592, and was buried in the church of Santa Maria Maggiore. Among his pupils were Paolo Rossetti of Cento and Cesare Nebbia.

Anthology of works

 * Christ greets the Ambassadors of John the Baptist - Museo antico Tesoro- Loreto
 * Landscape with waterfall (drawing)
 * Three paintings

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Girolamo Muziano


text:
Talk:Rationale for gifted programs

Your article seems well written. I'm disappointed that the foundation-laying work of Joseph Renzulli (The Enrichment Triad Model) and of George Betts (The Autonomous Learner) are not referenced.

One of the concerns I have with your rationale is the argument that gifted children will make important contributions to society. While this is often the case, it is their choice what they will do with their learning and education, whereas it is society's duty to offer them an education appropriate to their learning styles and abilities regardless of how they may or may not use their minds - just as it is for all children. While gifted children may be a resource to us all (and likely are!) that is not in itself a justification for educating them. A better justification is that we owe a good and appropriate education to the children of our world.

Having poked holes in your work, I offer, nonetheless, sincere thanks for your careful research and writing on this important and valuable topic.

- Bill

Thx and suggestion
Thx for the article! I made a few wiki-format changes. The thing i think it most needs now is a briefer, more focused intro, preferably incl the article title near the very beginning. See Lead_section and Guide_to_writing_better_articles. And more links in the text or See Also would also help people find/use it, as well as linking to here from other articles. Hope this helps, "alyosha" (talk) 23:16, 28 January 2006 (UTC)

POV
This article seems heavily in favor of gifted education programs without giving much thought to those who oppose them. Perhaps a "criticisms" section could help? (For the record, I'm in favor of gifted programs; I just recognize the need to maintain NPOV, especially when dealing with controversial matters such as gifted education). Jeff Silvers 21:16, 11 September 2006 (UTC)

Gifted children as public resource
Bills argument that gifted children will choose the way in which they use thier education is IMO vaid only on the level of individual students. From a broader perspective (ie goverments and funding allocation) the rational of providing gifted education as a kind of resource enhancment is logical because some if not most of the students will make valuable contributions as a result of their gifted education.

- Joel

Arguing the argument
As a gifted child who has been exposed to many suggestions of program closure, I have to say that not only are good criticisms for gifted education few and far between, most of them are only applicable to individual schools or school boards. They mostly have to do with budgeting and classroom sizes, not with the opinion that gifted children should not recieve proper education.

I think that there can be a tendency for some to view money spent on gifted education programs as money being taken away from the mainstream school population, rather than as a separate budget or as part of special needs funding, ie., if $200,000 per year is being spent on a gifted program in a school, then that's seen as $200,000 of the budget that should be used to benefit all of the children in the school but that's only being used to help a small percentage of them.

Ideally, it should really be a case of one amount of funding being given for the school as a whole, and then a separate sum on top of that for special needs, including gifted education, with the latter sum never being used for anything except the programs it is intended to be used for. —Preceding unsigned comment added by 193.95.162.29 (talk) 11:11, 23 April 2008 (UTC)

POV is fine
Article title is "Rationale for gifted programs", by it's title, one would assume that the article presents the reasons people agree with the gifted program. The very fact that this article exists is violating NPOV, it should be merged with the article on gifted education.

Also, good luck finding criticisms that are worthy of acknowledgment.

I'm unsure as to how to request that this be merged with the article on gifted ed. but I would appreciate it if someone would recommend it.

65.7.145.21 (talk) 03:21, 21 August 2008 (UTC)ArthurDent

 * You merge articles by deleting information from this one, pasting it (mind that the refs go with it) into the other one, and setting this up as a redirect to the other article (that is, replacing all of the existing text with #REDIRECT Gifted education ). Any editor can do this.  WhatamIdoing (talk) 20:22, 21 August 2008 (UTC)

 * The OP raises the point that should be addressed before any of this article's other qualities— the very title of this article makes clear its intent to justify special education for gifted children. While a list of criticisms (particularly the funding issue, as it seems to me to be the only real con) would balance the obviously positive tone, I wouldn't expect to find an opposing argument in this article. The issue is this: is the article necessary, or should its content be merged with Gifted Education, which already has "Justification" and "Controversies" sections. I don't know if this kind of operation requires a vote or something, but if a merge is planned then this article's content can be evaluated and brought in line with the other.

 * I have a personal interest in this topic as I was raised in a tiny rural village with ample special programs for "slow learners" but absolutely no provisions in place (to this day) for gifted students. That said, I think the content here would better serve Wikipedia by being moved to form a substantial section in the main article.

 * Please go ahead and do that. WP:MERGEs are something that any editor can do.  I encourage you to WP:BOLDly improve these articles.  WhatamIdoing (talk) 20:32, 30 April 2010 (UTC)

 * Apart from the move/merge question, I personally disagree with "by it's title, one would assume that the article presents the reasons people agree with the gifted program". Nothing is to be assumed, therefore the introduction should state clearly (and briefly) what the program is, and all non-neutral contents be moved to a "pros" section, leaving room for a "cons" section; both of which should cite references.

This is not to be a disclaimer either (like "this article is not NPOV, do with it") 70.52.112.35 (talk) 22:45, 5 December 2011 (UTC)

Original Research
This article seems to be original research representing one person's point of view. It needs to be edited, expanded, and modified to represent a broader point of view. It should probably be combined with the larger article on gifted education.Richard Dates (talk) 11:11, 30 August 2008 (UTC)
 * Thank you for your suggestion. When you feel an article needs improvement, please feel free to make those changes. Wikipedia is a wiki, so anyone can edit almost any article by simply following the  link at the top. The Wikipedia community encourages you to be bold in updating pages. Don't worry too much about making honest mistakes — they're likely to be found and corrected quickly. If you're not sure how editing works, check out how to edit a page, or use the sandbox to try out your editing skills.  New contributors are always welcome. You don't even need to log in (although there are many reasons why you might want to).  WhatamIdoing (talk) 00:41, 31 August 2008 (UTC)

This should be merged with Gifted education
Most of the material in this article should be merged into the main article on Gifted education, with this title serving as a redirect to the appropriate article section. That will better match the structure of reliable sources and better fit Wikipedia's role as an encyclopedia. While I prepare to propose that through Wikipedia channels, please feel free to review a source list on human intelligence and gifted education I maintain in user space for all Wikipedians to share. If you have any recommendations for additional sources, I would be glad to hear those. See you on the wiki. -- WeijiBaikeBianji (talk, how I edit) 17:48, 29 November 2014 (UTC)

title: Talk:Rationale for gifted programs


text:
Template talk:Categories

I think in some ways the table of contents system we had back in the days of the old (uneditable) main page were better (although there are some improvements in the new toc too). In particular when I started the Template:wikipediatoc it looked like this:

 * http://en.wikipedia.org/w/wiki.phtml?title=Template:Wikipediatoc&oldid=2530290

It has a certain simplicity that we can draw upon (in particular the natural sciences and mathematics should be grouped together). I'm glad this page is heading in that direction. The current Template:wikipediatoc on the Main Page is overkill and looks more amateurish than the original, in particular stub articles like the unencyclopedic personal life aren't appropriate at the top-level and can easily be accomdated within a more encyclopedic subcategory. I do agree that links to the categories are the best way to go on the main page, but before we go live, we should ensure that each category linked from the main page has at least a lead paragraph summarizing the relevant article of the same name. --Lexor|Talk 15:11, 24 Jul 2004 (UTC)

Merge from Browse by category
Please see Wikipedia_talk:Browse by category for a discussion about merging Browse by category with Template:Categories. —AlanBarrett 17:15, 29 Aug 2004 (UTC)

Revision of this template.
I have greatly expanded this template to give a broader view of categories and to eliminate some of the problems I percieved in the old design. Summary of what I've done.

 * Made entertainment as seperate section, as it is the largest section of culture.
 * Made geography a seperate section, with each of the worlds continents.
 * Turned abtractions into Mathematics and abstractions, with more maths related topics.
 * Better category organization in general.

Norm 14:43, 24 Sep 2004 (UTC)|undefined

Naming
I think its getting significantly better. dml 14:00, 25 Sep 2004 (UTC)
 * 1. Should category Life be renamed category Personal life, or is it obvious
 * 2. Do UK/commonwealth people really not know that math is mathematics (or maths)? Mathematics has so many letters.
 * 3. To be consistent should there be an Entertainment on the Categorybrowsebar ?
 * 4. Should these be alphabetized (as I have done on Categorybrowsebar)?
 * 5. Should Nature and Science just be Science? (this would keep the naming and alphabetization consistent).
 * 6. Can we flatten the categories so that the categories from the main page have lots of links ... (e.g. from main page, I get history, then history by topic, then actual topics, is history by topic necessary?)

 * 1. "Personal life" would be better. I would expect "Life" to include all of biology.
 * 2. We know that "math" is the american term for "maths", but we think it looks and sounds funny. Please use "mathematics" in full, so that we don't have to argue about whether or not there's an "s" in "math/maths".
 * 3. It would be nice if the highest level categories here matched the list in Template:Categorybrowsebar, but I don't think it's essential.
 * 4. The list is supposed to be fairly small (using less than half a screen of space on a typical display). Given the small size, I believe that keeping related topics together would be more useful than alphabetical order.
 * 5. I prefer "Nature and Science". If you call it "Science", some people might not know to look there for nature-related topics.
 * 6. I don't know what you mean by "flatten the categories". If you want this template to include more links, then I think it already uses enough screen space, and adding many more links would be bad.  If you want to change the way the categories are related to each other (as opposed to how they are linked to from here), then I think i you need to ask elsewhere (perhaps at Wikipedia talk:Categorization).
 * —AlanBarrett 16:46, 2 Oct 2004 (UTC)

Special characters
What's with all the HTML-style nbsps and ndash's? Is there a valid reason these aren't simply the ASCII equivalents?

Contested deletion
This page should not be speedily deleted because... Sorry, my bad. Didn't see previous revisions) --Rarkenin (talk) 13:33, 27 November 2012 (UTC)

title: Template talk:Categories


text: Talk:Swedish Royal Academies

title: Talk:Swedish Royal Academies


text:
Talk:No More Shall We Part

I don't have time currently, but things needed at some point: Tolo 15:13, Jul 24, 2004 (UTC)
 * Fix of infobox reviews
 * Addition of Categories
 * Influences
 * Similarities
 * Song descriptions

<^>v!!This album is connected!!v<^>

 * All song titles serve as redirects to this album, have their own pages, or have been placed at the appropriate disambiguation pages.--Hraefen Talk 23:35, 11 August 2006 (UTC)

Bonus Disk Track listing
My UK copy of the Bonus disk includes a full video of "God is in the house" and not the other listed videos. The video gives a shooting date of 21st September 2000 includes shots of the inside and outside of Westside studios. The article is either wrong or perhaps your country version is different. —Preceding unsigned comment added by Peeky (talk • contribs) 15:21, 19 May 2011 (UTC)

Genre
I'm not sure what genre I would suggest, but "post-punk" is definetely wrong! Toby Douglass (talk) 13:32, 19 December 2007 (UTC)
 * Are we sure the word 'folk' or some variant has no place here?--45.72.199.248 (talk) 13:00, 23 May 2021 (UTC)

Dead external links to Allmusic website – January 2011
Since Allmusic have changed the syntax of their URLs, 1 link(s) used in the article do not work anymore and can't be migrated automatically. Please use the search option on http://www.allmusic.com to find the new location of the linked Allmusic article(s) and fix the link(s) accordingly, prefereably by using the Allmusic template. If a new location cannot be found, the link(s) should be removed. This applies to the following external links: --CactusBot (talk) 10:17, 2 January 2011 (UTC)
 * http://www.allmusic.com/cg/amg.dll?p=amg&sql=Amr3m961ojep1

title: Talk:No More Shall We Part


text:
Ben Mendelsohn

Paul Benjamin Mendelsohn (born 3 April 1969) is an Australian actor. He first rose to prominence in Australia for his break-out role in The Year My Voice Broke (1987). He gained international attention for his starring role in the crime drama Animal Kingdom (2010). He has since had roles in films such as The Dark Knight Rises (2012), Starred Up (2013), Lost River (2014), Mississippi Grind (2015), Rogue One (2016), Darkest Hour (2017) and Ready Player One (2018).

Mendelsohn starred in the Netflix drama series Bloodline (2015–2017), for which he won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series in 2016. He played the Sheriff of Nottingham in Robin Hood (2018). He joined the Marvel Cinematic Universe as Talos in the superhero film Captain Marvel (2019) and the Disney+ series Secret Invasion (2023). He has also starred in the HBO crime miniseries The Outsider (2020). In 2024, he began portraying fashion designer Christian Dior in the television series The New Look.

Early life and family
Mendelsohn was born in Melbourne, Victoria, the son of Carole Ann (née Ferguson) and Frederick Arthur Oscar Mendelsohn. His father is a prominent medical researcher who previously headed the Howard Florey Institute in Melbourne, where he maintains the status of Professor Emeritus. Ben and his two brothers, Tom and David, as well as his mother (deceased), a registered nurse, lived in Europe and the United States for long periods of time, and returned to Melbourne when he was in primary school. He attended Mercersburg Academy in the U.S. before attending Heidelberg Primary School and Eltham High School and Banyule High (now Viewbank College). He took drama because he thought it was an easy class. Mendelsohn was the only one of his friends to follow up with an audition for Crawford Productions that was being advertised.

In October 2009, he was featured in an episode of the Australian series Who Do You Think You Are?, which traced the ancestry of his paternal grandfather Oscar Mendelsohn, who was from a Jewish family. It also found convicts on his mother's side. Searching for a connection to composer Felix Mendelssohn, which was eventually dismissed, he discovered links to 19th-century Prussia. His paternal ancestors were among the first Prussian Jews to be naturalised in Schneidemühl in the province of Posen, now Piła in modern Poland. He also has Greek, German and British ancestry.

Career
After several early television roles, including The Henderson Kids alongside Kylie Minogue, he attracted notice in his break-out film, The Year My Voice Broke (1987), and won the Australian Film Institute Award for Best Supporting Actor. His next major role was in The Big Steal (1990), and Spotswood (1992), co-starring with Anthony Hopkins; this was followed in 1994 by Metal Skin and in 1996 by Cosi and Idiot Box. In 2000, he was in two contrasting films, the Australian Mullet and the Hollywood Vertical Limit.

In 2005, he was preparing to play Mark Antony in the Sydney Theatre Company-produced Julius Caesar, and he was in the Terrence Malick-directed film The New World.

Mendelsohn starred in the second (2005) and third (2006) season of the TV series Love My Way, and in 2008, he appeared in Baz Luhrmann's Australia. He starred in the first season of the Melbourne TV series Tangle, which premiered on Showcase in 2009. In 2009, he appeared in the American science fiction film Knowing directed by Alex Proyas. The same year, Mendelsohn starred as Ned in Beautiful Kate, directed by Rachel Ward, opposite Bryan Brown and Rachel Griffiths.

In 2010, he appeared in Animal Kingdom, starring in the film as Andrew "Pope" Cody, a criminal on the run from the law living in the notorious Melbourne Underworld. The role won him many awards, including IF Award's Best Actor and the AFI's award for Best Actor in a Leading Role. He was also named by GQ Australia as Actor of the Year for 2010.

Mendelsohn was selected as one of the subjects in the Who's Who in Australia 2012 edition. In 2012, Mendelsohn played the supporting roles of villain John Daggett in Christopher Nolan's The Dark Knight Rises and Robin Van Der Hook in Derek Cianfrance's The Place Beyond the Pines.

In 2012, he appeared in Florence + the Machine's music video for "Lover to Lover". The video was directed by Vincent Haycock. In 2013, he guest starred in the TV series Girls as the father of Jessa, played by Jemima Kirke. The following year, he appeared in the critically acclaimed Starred Up, directed by David MacKenzie, for which he won Best Supporting Actor at the British Independent Film Awards.

In 2014, Mendelsohn joined the cast of Bloodline, a Netflix original from the creators of Damages. The first season premiered on the site on 20 March 2015 and was well received. Mendelsohn's performance on the series was lauded by critics,  resulting in a Primetime Emmy Award win as well as a Golden Globe Award nomination. In September 2016, Netflix announced that the show had been cancelled, and that it would end after its third season in 2017. Season 3 of Bloodline received negative reviews, and Mendelsohn appeared in two episodes of it.

In 2016, he appeared in video as an onstage "stand-in" during the Nostalgic For the Present concert tour of Australian singer Sia, for her song "Breathe Me".

He portrayed the villain Director Krennic in the Star Wars franchise's Rogue One in 2016. He called the opportunity to act in a Star Wars film "a childhood dream come true". A couple of years later in 2018, he played the role of Nolan Sorrento in Steven Spielberg's science fiction film Ready Player One. In 2018, he starred in the film The Land of Steady Habits. He was cast in the role of Talos in Marvel's film Captain Marvel alongside Brie Larson and Samuel L. Jackson. He reprised the role for a brief cameo in Spider-Man: Far From Home, also in 2019.

In 2020, Mendelsohn starred in the lead role in the HBO crime miniseries The Outsider. In December 2020, it was announced he would be reprising his role as Talos, along with Samuel L. Jackson as Nick Fury, in the Disney+ series Secret Invasion.

Depictions in art
While filming Adoration, Mendelsohn posed for portrait artist Sally West.

Personal life
Mendelsohn married British-American journalist Emma Forrest in June 2012. He has a daughter with Forrest, born in 2014, and another daughter from a previous relationship, who is also an actor. He and Forrest divorced in 2016.

title: Ben Mendelsohn


text:
Talk:Nocturama (album)

--Qirex 14:03, 1 November 2005 (UTC)

I don't have time currently, but things needed at some point:

Tolo 15:17, Jul 24, 2004 (UTC)
 * Infobox
 * Track Durations
 * Fix of infobox reviews
 * Addition of Categories
 * Influences
 * Similarities
 * Song descriptions

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as stub, and the rating on other projects was brought up to Stub class. BetacommandBot 03:41, 9 November 2007 (UTC)

Requested move 18 December 2016

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

Moved as proposed. Perhaps this discussion sparked interest in the film, but the link provided by Cúchullain now shows the film as the leading topic. None of the topics is massively popular in the first place, and the technical meaning also has a long-term historical primacy claim. bd2412 T 03:48, 3 January 2017 (UTC)

Nocturama → Nocturama (album) – There are two more articles of the same name, Nocturama (film) and Nocturama (play). Using this modified Google search string, it doesn't seem that the album is the primary topic. 153.230.194.117 (talk) 08:28, 18 December 2016 (UTC) --Relisting. Merry Christmas and Happy New Year, GeoffreyT2000  ( talk,  contribs ) 02:08, 27 December 2016 (UTC)
 * Support the primary meaning of nocturama (disambiguation) in books is nocturama (zoo). In ictu oculi (talk) 19:41, 18 December 2016 (UTC)
 * See second half of WP:PRIMARYTOPIC guideline. In ictu oculi (talk) 09:40, 27 December 2016 (UTC)

 * Oppose. The album is the WP:PRIMARYTOPIC. Even including nocturnal house, which won't always be found by a search for "nocturama", the album receives 88.5% of all page views, far more than any other topic combined.|Nocturama_(film)|Nocturama_(play)|Nocturnal_house--Cúchullain t/ c 23:13, 18 December 2016 (UTC)
 * Support per nomination. The album article is a one-paragraph stub with track listings. —Roman Spinner (talk)(contribs) 08:25, 28 December 2016 (UTC)
 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

"Little Ghost Song"
I don't have an academic source right now, but "Little Ghost Song" is said to be a remix of "Right Out of Your Hand". If someone can find a source that would be great, as it's worth pointing out since it otherwise seems like a non-album, exclusive song. YouCanDoBetter (talk) 05:05, 18 July 2022 (UTC)

title: Talk:Nocturama (album)


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Category:Firefighting

Articles related to fire, firefighting and rescue functions commonly performed by firefighters.

title: Category:Firefighting


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USS Argus (1803)

The first USS Argus, originally named USS Merrimack, was a brig in the United States Navy commissioned in 1803. She enforced the Embargo Act of 1807 and fought in the First Barbary War – taking part in the blockade of Tripoli and the capture of Derna – and the War of 1812. During the latter conflict, she had been audaciously raiding British merchant shipping in British home waters for a month, when the heavier British Cruizer-class brig-sloop HMS Pelican (1812) intercepted her. After a sharp fight during which Argus's captain, Master Commandant William Henry Allen, was mortally wounded, Argus surrendered when the crew of Pelican were about to board.

Construction and commissioning
The United States Congress authorized construction of the brig, originally named USS Merrimack, the second U.S. Navy ship of that name, on 23 February 1803, and on 29 April 1803 the U.S. Navy contracted with the shipyard of Edmund Hartt at Boston, Massachusetts, to construct the ship. Edmund Hartt's brother, Joseph Hartt, drafted the plans for the brig, designed with a flush deck and fine lines to optimize her for sailing conditions in the Mediterranean Sea. Captain Edward Preble was appointed superintendent of her construction, and her keel was laid down at Hartt's yard on 12 May 1803.

On 14 May 1803, two days after Merrimacks keel was laid, United States Secretary of the Navy Robert Smith assigned Preble to duty as commanding officer of the frigate USS Constitution, then at Boston, in addition to his duties related to Merrimacks construction. Smith informed Preble on 21 May 1803 that Preble was to take command of the U.S. Navy's Mediterranean Squadron, which was to include Constitution and Merrimack, and on 27 May ordered Lieutenant Stephen Decatur, Jr. to take command of Merrimack and supervise her construction to allow Preble to focus on preparing Constitution for Mediterranean service. Smith found that U.S. Navy officers disliked the name Merrimack for the new brig, and he directed that she be renamed Argus, the first U.S. Navy ship of that name, on 4 June 1803. Although work on her construction proceeded quickly at first, Decatur reported on 11 July 1803 soon after arriving to take command that her construction had fallen behind schedule, although her builders assured him that she would be launched before the end of July. Decatur recruited her crew and procured her armament from Providence, Rhode Island, but by the beginning of August 1803 heavy and persistent rains had delayed her launching by two weeks. Her launch day finally came on 20 August 1803, but the attempt to launch her failed when she did not move down the ways. After the ways' degree of incline was increased, Argus was successfully launched on 21 August 1803. Labor problems during her fitting out then delayed her completion but, though no document recording the date of her commissioning has been found, she was in commission and ready for sea by early September 1803.

In service, Argus was reported to sail swiftly and easily, although prone to heavy pitching when lying to (i.e., when her sails were arranged so as to counteract each other). On more than one occasion, observers described her as a remarkably handsome ship.

First Barbary War
Argus set sail from Boston on 8 September 1803, bound for the Mediterranean and service with the Mediterranean Squadron in the First Barbary War. She soon suffered a badly sprung bowsprit in exceptionally heavy seas, and Decatur put into Newport, Rhode Island, on 18 September 1803 to have it fixed, reasoning that repairs would be far easier in the United States than in the Mediterranean. She returned to sea on 28 September 1803 and set a course for Gibraltar, where she arrived after a transatlantic voyage on 1 November 1803. There, Decatur exchanged commands with Lieutenant Isaac Hull, relinquishing command of Argus to Hull and relieving Hull of command of the schooner USS Enterprise (1799).

Argus made a brief cruise to the east and then, in accordance with orders from now-Commodore Preble, commander of the Mediterranean Squadron, returned to Gibraltar to watch the Moroccans while the rest of the squadron sailed east to blockade Tripoli. During the early part of 1804, she cruised the western Mediterranean in an unsuccessful search for a Tripolitan cruiser reportedly operating in that area. In March 1804, she received orders to join the rest of the squadron off Tripoli.

Blockade of Tripoli
Argus arrived at Tripoli in company with Constitution and Enterprise on 19 June 1804, but left the blockade late in the month to join a neutral ship at Syracuse, Sicily, and escort her back to Tripoli with supplies for the captive officers and crew of the frigate USS Philadelphia (1799) which had been taken by the Tripolitans after she had run aground on an uncharted reef off Tripoli in October 1803.

Argus resumed her blockade duties on 7 July 1804. At that point, Preble began preparations for a shore bombardment. Heavy weather, however, postponed the action until early August. On 3 August 1804, the squadron moved in to provide long-range support for the gunboats and mortar boats actually engaged in the bombardment. The bombardment was considerably less damaging to the defensive works protecting Tripoli than hoped for, though the American gunboat crews boarded and carried several of the Tripolitan vessels sent out to engage them. The squadron conducted another ineffectual bombardment of Tripoli on 7 August 1804. Two days later, Commodore Preble embarked in Argus to reconnoiter Tripoli harbor. During that mission, Tripolitan shore batteries fired upon Argus, and she was struck below the waterline by a single shot. Fortunately for her, the shot did not pass all the way through her hull, and she remained on station off Tripoli.

On 28 August 1804, the squadron conducted a third bombardment of the defenses of Tripoli in which its guns inflicted severe damage. A week later, on the night of 4 September 1804, Argus was among the ships that escorted the ill-fated fire ship USS Intrepid (1798) to the entrance of Tripoli harbor. When Intrepid blew up prematurely, killing her entire crew, Argus remained there to pick up survivors, but none had appeared by sunrise when she returned to her blockade station.

Capture of Derna
Through the winter of 1804–1805, Argus alternated between blockade duty off Tripoli and periods in port at Malta and Syracuse. In the spring of 1805, she participated in one of the more celebrated episodes of American naval history, the capture of Derna. During the preceding months, she had made several voyages to Egypt in support of Consul William Eaton's efforts to raise a force of men to take Derna in conjunction with the deposed pasha. After a march of over 600 miles (970 km) across the Libyan Desert in what is now Libya, the polyglot army – there were only 10 Americans in the whole force – arrived at Derna on 25 April 1805. Argus had met the army a day or two earlier at the Gulf of Bomba to provide provisions. Now, she made preparations to provide bombardment assistance for the landward assault.

Eaton's force launched its attack on Derna on 27 April 1805. Argus and the schooner USS Nautilus (1799) anchored about half a mile (800 meters) to the eastward of the fortifications. The Tripolitans opened fire almost immediately upon Argus and the sloop-of-war USS Hornet (1805 sloop), anchored quite a bit nearer than Argus and Nautilus. By 14:45 that afternoon, gunfire from the ships silenced all of the guns in the city. A desperate charge led by United States Marine Corps Lieutenant Presley O'Bannon managed to carry the gun batteries by storm and breathed new life into the assault. After hoisting the American flag over the battlements, O'Bannon ordered the already loaded captured guns to be turned on the town. By 16:00 that afternoon, the entire town had fallen to Eaton's army, and the enemy fled to the hinterland. The capture of Derna has been immortalized in the words of the Marines' Hymn ("... to the shores of Tripoli").

After Eaton's and O'Bannon's victory, a Tripolitan army, which had been sent to reinforce the town, arrived and began preparations to retake Derna. Argus remained offshore to provide gunfire support in the defense of the town throughout the occupation of Derna. When the Tripolitans finally assaulted the town on 13 May 1805, Argus joined in the fray and enabled the defensive forces narrowly to beat back the charging enemy troops. Argus's guns wreaked havoc among the enemy forces during their headlong retreat. Between that time and early June 1805, the Tripolitans made a few more half-hearted approaches during which Argus's long 12-pounders (5 kg) came into play. However, things remained relatively quiet, for negotiations with the pasha in power were already underway. On 11 June 1805, orders arrived for Eaton's force to evacuate Derna as negotiations had been concluded. The troops and the deposed pasha were embarked in Constellation that evening, and Argus and the other American ships quit the area.

Operations, 1805–1812
Argus continued to cruise the Mediterranean until the summer of 1806. She returned to the United States at the Washington Navy Yard in Washington, D.C., on 13 July 1806 and was laid up there in ordinary. In 1807, she was fitted out at the Washington Navy Yard, returned to full commission, and began a series of cruises along the Atlantic coast of the United States to enforce the Embargo Act of 1807, which she continued through the outbreak of the War of 1812 between the United States and the United Kingdom in June 1812.

War of 1812
After the outbreak of war, Argus continued her cruises off the U.S. Atlantic coast. During one cruise between 8 October 1812 and 3 January 1813, she captured six valuable prizes and eluded an entire British squadron during a three-day stern chase. Through clever handling, she even managed to take one of the prizes as she was fleeing from the overwhelmingly superior British force.

Prelude
Under the command of Master Commandant William Henry Allen, Argus broke out of New York Harbor on 18 June 1813, eluding the British blockade. Her mission was not warlike to begin with; it was to deliver William H. Crawford to his post as Minister to the First French Empire. Argus arrived at Lorient in Brittany, France, on 11 July 1813, disembarked Crawford, and put out to sea again three days later to begin raiding British shipping in the English Channel and Irish Sea. During the next month, she captured nineteen merchant ships. Rather than weaken his crew by sending the captured ships to American, French, or neutral ports under prize crews, Allen set most of the captured ships on fire. The intense operations exhausted Argus's crew.

The shipping losses soon caused insurance rates for merchant shipping to increase greatly. The cargo on the sunken ships was worth about two million dollars. The British Admiralty sent orders to all available ships to hunt down Argus. The British brig-sloop HMS Pelican (1812) had just arrived in Cork Harbour in Ireland, having escorted a convoy from the West Indies, and immediately put to sea again on 10 August 1813. Pelican's captain was Commander John Fordyce Maple, an officer who had joined the Royal Navy when twelve years old in 1782, two years before William Henry Allen was born.

On 13 August, Argus took two final prizes. One of them was from Oporto, Portugal, and was carrying wine. Both American and British historians have suggested that Argus's crew looted some of the cargo, and that their debauched state affected their performance during the coming battle with Pelican. As with Argus's previous captures, the Americans set fire to the prize; unfortunately for them, Pelican was near enough to sight the smoke from the burning vessel and make for it.

Battle and capture
At 05:00 on the morning of 14 August 1813, Argus and Pelican sighted each other five leagues (about 15 miles) west of St David's Head. Argus was the faster but more lightly armed vessel, with eighteen 24-pounder carronades and a 12-pounder chase gun against the Pelican's sixteen 32-pounder carronades, one 12-pounder long gun, and two 6-pounder long guns. Allen could have used Argus's greater speed to escape. Instead, he accepted battle. Allen's decision to accept battle against a heavier opponent stemmed from confidence gained while he was the first lieutenant of the frigate USS United States (1797) when she captured the British frigate HMS Macedonian on 25 October 1812; following his promotion he had said that he could "take any British 22-gun sloop-of-war in ten minutes."

The wind was from the south, giving Pelican the weather gauge (i.e. the windward position). Allen sailed westward on the port tack (i.e., with the wind to port) and opposed his port side battery to Pelican's starboard battery.

Four minutes after the ships exchanged their first broadsides, Allen lost a leg. His first lieutenant was also badly wounded, and Argus's rigging was badly cut up. Pelican tried to cross Arguss stern to deliver raking fire but Arguss second lieutenant, William Howard Allen (not related to the commanding officer), threw his sails aback to slow the American brig and instead raked Pelican. This did not fatally cripple the British vessel, and the two brigs continued to exchange broadsides, with Pelican now to leeward. After four more minutes, Arguss rigging was too badly damaged for the Americans to prevent Pelican from crossing Arguss stern and delivering several raking broadsides. Finally, three-quarters of an hour after the action began, the two vessels came into contact, Arguss bow against Pelicans quarter. British boarding parties mustered, but before they could board Argus the Americans surrendered.

Unusually for the War of 1812, the American gunnery in this engagement was comparatively ineffective, although Pelicans sides were "filled with grapeshot" and two of Pelicans carronades had been dismounted. British gunnery was "at least of the standard which had brought victory in a hundred victories against the French."

Aftermath
Pelican and the captured Argus went in to Plymouth, England. Allen died there of his wounds a week after the battle. He was buried with full military honors. The rest of the crew, including sailing master Uriah P. Levy, were held as prisoners of war in England for the duration of the war.

In 1813, construction commenced for a replacement 18-gun brig Argus at the Washington Naval Yard — but the ship was destroyed in the burning of Washington the following year before it could be launched.

title: USS Argus (1803)


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Italian American Motor Engineering

Italian American Motor Engineering (IAME) is an Italian company founded in 1968. It is the parent company of the "Parilla", "Komet" and "Sirio" brand names and is the largest kart engines manufacturer. Its factory is located in the province of Bergamo, Italy, near the city of Milan.

The company has won 25 Karting World Championships.

The manufacturer won the European Formula A championship in 2000 with Lewis Hamilton, in 2001 with Carlo Van Dam and in 2004 with Nick De Bruijn.

2005 and 2006 Formula One World Champion, Fernando Alonso, won the karting Junior World Cup in 1996 with a Parilla engine made by IAME.

In 2011, F1 GP winner Max Verstappen won the WSK Euro Series in an Parilla-powered CRG.

Aircraft engines
Aircraft engines produced by the Komet Flight Motor division of IAME include:
 * KFM 107 - 25 hp two cylinder, two stroke engine
 * KFM 112M - 62 hp four cylinder, four stroke engine

title: Italian American Motor Engineering


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Renée Geyer

Renée Rebecca Geyer (11 September 1953 – 17 January 2023) was an Australian singer who was an acclaimed jazz, soul and R&B musician. She released 15 studio albums with Moving Along (1977) and Tenderland (2003) both reaching number 11 on the Australian charts. Geyer's singles success as a solo artist in Australia were with "It's a Man's Man's World", "Heading in the Right Direction" and "Stares and Whispers" in the 1970s and "Say I Love You" in the 1980s. The latter also reached number one in New Zealand. The singer was an internationally respected and sought-after backing vocalist, whose session credits include work with Sting, Chaka Khan, Toni Childs, Joe Cocker, Neil Diamond, Men at Work and Trouble Funk.

Geyer's autobiography, Confessions of a Difficult Woman (2000), co-written with music journalist Ed Nimmervoll detailed her drug addictions, sex life and career in music. She described herself as "a white Hungarian Jew from Australia sounding like a 65-year-old black man from Alabama." She spent more than 10 years based in the United States while working as a session vocalist, but had little chart success there under her own name. Geyer returned to Australia in the mid-1990s and her career continued into the 21st century. Rock historian Ian McFarlane described Geyer as having a "rich, soulful, passionate and husky vocal delivery". Her status in the Australian music industry was recognised when she was inducted into the ARIA Hall of Fame on 14 July 2005. Geyer and fellow 1970s singer Marcia Hines are the subjects of Australian academic Jon Stratton's 2008 cultural studies article "A Jew Singing Like a black woman". Geyer died of lung cancer which was attributed to her long addiction to smoking cigarettes.

1953–1973: Early years
Renée Rebecca Geyer, was born on 11 September 1953 in Melbourne, to a Hungarian-Jewish father, Edward Geyer (1920–2013), and a Slovak-Jewish mother, Gabriella (1926–2017), a Holocaust survivor, as the youngest of three children. The couple had met in Palestine and migrated to Melbourne in 1951 where her father managed the Warsaw Centre. Geyer was named Renée after another Holocaust survivor who had helped her mother in Auschwitz after Josef Mengele had assigned the rest of her mother's family to death. In 1955 the Geyers moved to Sydney where her parents were managers of Komlos Hostel, Greenwich until 1963—thereafter they started their own Geyer Kosher catering service. Both elder siblings were academically gifted, but Geyer described herself as a problem child, while her parents called her übermutig (German for "reckless"). She attended various schools and was expelled from a private school, Methodist Ladies College, for petty stealing. Her first job was as a receptionist for the Australian Law Society.

In 1970, at the age of 16, while still at Sydney Girls High School or at Dover Heights Girls' High, Geyer began her singing career as a vocalist with jazz-blues band Dry Red. The group worked at Kask Wine Bar, Bondi; where she earned $5 a night her father disapproved of her chosen career, "[he] said if I was going to do that, I was not going to live at home. So to make peace I moved out. I left home—and school... I got a job singing in a bar straight away, and my mum made sure I did not go hungry." Dry Red also contained Eric McCusker (later of Mondo Rock). For her audition she sang the Bee Gees' hit "To Love Somebody". She left Dry Red for other bands and in 1971 joined the more accomplished jazz-rock group Sun.

With Geyer, Sun's line-up was George Almanza (piano), Henry Correy (bass guitar), Gary Norwell (drums), Keith Shadwick (saxophone, flute, clarinet, vocals) and Chris Sonnenberg (guitar). The group released one studio album with Geyer, Sun 1972 in August 1972 but she departed before it appeared and was replaced by Starlee Ford on lead vocals. In 2022 a four-disc album by various Sun line-ups, Rehearsal Recordings Album, was issued. John Shand of The Sydney Morning Herald observed, "[on Geyer's tracks] you hear the tug of war between her R&B comfort zone and the freer, jazzier, moodier pieces... [including] diving to the depths of her range, and singing with such bruising power as summons a sudden blazing guitar solo."

Late in 1972 Geyer joined Mother Earth whose R&B, soul music style was more in keeping with Geyer's idiom. Mother Earth consisted of Geyer, Jim Kelly (guitar), David Lindsay (bass guitar), John Proud (drums) and Mark Punch (guitar, vocals). Lindsay, Proud and Punch had all been members of Nine Stage Horizon, while Kelly was from Levi Smith's Clefs. By the start of the following year Harry Brus had replaced Lindsay on bass guitar and Russell Dunlop replaced Proud on drums. Although the group performed on ABC-TV's popular music show GTK they did not record any material under their own name.

1973–1976: Renée Geyer, It's a Man's Man's World and Ready to Deal
In 1973 Geyer was signed to RCA Records, which had released Sun's album the year before. Already showing signs of her self-proclaimed "Difficult Woman" tag, Geyer loyally insisted that her Mother Earth bandmates back her on her solo recordings and used Brus on bass guitar, Dunlop on drums, Kelly on electric and acoustic guitars and Punch on electric and acoustic guitars; as well as Almanza on piano and Bobby Gebbert on piano. Her self-titled debut studio album was released in September 1973 which mostly consisted of R&B/Soul cover versions of overseas hits and was produced by Gus McNeil at ATA Studios, Sydney. The Australian Jewish Times' writer praised her "superb vocal talents" and recognised her as an "exciting and talented new star." Geyer left Mother Earth by the end of the year.

Geyer's second studio album, It's a Man's Man's World (August 1974), was produced by Tweed Harris (ex-the Groove). Aside from Harris on keyboards it was recorded with Mike Brady on backing vocals, Bobby Bright on backing vocals, Geoff Cox on drums, Tim Gaze on guitar and Phil Manning on guitar. It became her first charting album when it peaked at No. 28 in October on the Kent Music Report. The title track, "It's a Man's Man's World" (November), is a cover version of James Brown's 1965 hit and became her first top 50 single at No. 44.

By December 1974 Geyer had joined with jazz-funk group Sanctuary to tour her second album. Sanctuary's original line-up was Billy Green on guitar (ex-Doug Parkinson in Focus) together with ex-Chain members Barry Harvey on drums, Mal Logan on keyboards and Barry Sullivan on bass guitar. Geyer was disenchanted with RCA's refusal to allow her to record more original material, she was prepared to wait out her contract. However, former Chain members convinced Geyer to contact their label, Mushroom Records' boss Michael Gudinski and talent manager Ray Evans to strike a deal so they would record her and RCA would release her material with a Mushroom logo.

This arrangement led to Geyer's third studio album, Ready to Deal, which was recorded in August–September 1975, with Sanctuary renamed Renée Geyer Band with the line-up Logan, Sullivan, Mark Punch on guitar (ex-Mother Earth) and Greg Tell on drums. They co-wrote most of the material for the album; the album was released in November to reach No. 21. It provided one of Geyer's signature songs "Heading in the Right Direction", written by Punch and Garry Paige (both ex-the Johnny Rocco Band), which reached the top 40 in 1976. Geyer reflected on the local music scene, "The sort of music I like and the band is into is not very popular yet in Australia." She expected to "go overseas to make a name, and money."

Geyer participated in the 1975 federal election campaign for the Liberal Party, singing their theme song "Turn on the Lights". In later years she distanced herself from the Liberals and politics in general, stating she had done their theme song to earn enough money to record an album in the United States, where she had signed a contract with Polydor Records. Before departing Mick Rogers on guitar (ex-Manfred Mann's Earth Band) replaced Punch and Renée Geyer Band recorded a live album, Really Really Love You, at their farewell concert in Melbourne's Dallas Brooks Hall on 11 April 1976. It was released in August and reach the top 50; "Shaky Ground", the related single, appeared in September. Geyer had relocated to the Los Angeles mid-1976.

1977–1979: USA, Moving Along, Winning and Blues License
In May 1977 Geyer released her fourth studio album Moving Along on RCA/Mushroom Records, which peaked at No. 11 in Australia. It used Motown Records producer Frank Wilson, with the album's Polydor Records release for the US market re-titled Renée Geyer. Her backing musicians, Logan and Sullivan were supplemented by members of Stevie Wonder's band, as well as Ray Parker Jr. and other US session musicians. According to Cashbox' reviewer it showcased the "dynamic interpretive qualities in her voice and material that ranges from disco to MOR... she seems poised and ready for a listen by the Yanks." It provided Geyer's biggest Australian hit single, at the time, with "Stares and Whispers" (April) peaking at No. 17. In the US, radio stations began playing several of the album's tracks, in particular her re-recorded version of "Heading in the Right Direction", which was issued as her first US & UK single.

Polydor were aware that her vocal style led listeners to incorrectly assume she was black and urged her to keep a low profile until her popularity had grown, thus they suggested her US album release should not include her photograph. Known for her uncompromising and direct personal manner, Geyer refused to accede to such deception and insisted on marketing with a cover photograph of what she referred to as "my big pink huge face". After the album's release, interest in Geyer as a solo artist subsided in the US, which she later blamed on the headstrong decision regarding marketing. Nevertheless, Geyer earned respect in the US recording industry as a session vocalist for several years working in Los Angeles while periodically returning to Australia. In Australia in late 1977, Geyer released the single "Restless Years", the theme song for the Ten Network's TV soapie The Restless Years, with its writer Mike Perjanik. "Restless Years" reached the top 40 in early 1978. Mushroom released her compilation album, Renée Geyer at Her Very Best in November 1977, which peaked at No. 53.

In 1978 Geyer voiced Christine for Walter Murphy's concept album Phantom of the Opera. Amy Hanson of AllMusic found Murphy's vocal tracks to be "at best drab and lifeless, and frequently droning and dire." In December of that year Geyer released her fifth studio album Winner; backing her were Punch, Tell and Tim Partridge on bass guitar (of Kevin Borich Express), together with session musicians. The artist was unhappy with its mix and the lack of support from Polydor—she negotiated a release from her contract, brought the master tapes to Australia where it was remixed and released. Geyer referred to Winner as "a bit of a loser" as its material was not up to standard. Despite touring Australia promoting it, neither the album nor related singles reached the top 50.

For her next studio album, Blues License (June 1979), she combined with Australian guitarist Kevin Borich and his band Express to perform straight blues material. The added fire in her vocals was sparked by harder edged backing from the group and additional musicians: Logan, Punch, Kerrie Biddell on backing vocals (Brian Cadd band) and Tim Piper on guitar (ex-Chain, Blackfeather). Geyer and Logan produced the album at Trafalgar Studios, Melbourne. It reached the top 50, and became a fan favourite.

1980–1984: So Lucky, Renée Live and Faves
In 1981 Geyer recorded her seventh studio album So Lucky at Shangri-La Studios, Malibu, California. Helmed by Rob Fraboni (The Beach Boys, Bob Dylan, The Band) and Ricky Fataar (Beach Boys), the album moved her genre from soul and added a tougher, rootsy rock/R&B style, while incorporating salsa and reggae. Garry Raffaele of The Canberra Times described it as "hard-driving, powerful, emotive rock" with her vocals depicting "an edge so hard yet so sensual as to be alarming." The lead single "Say I Love You" was released in May and became her biggest hit when it reached No. 5 on the Australian charts and No. 1 in New Zealand. So Lucky was released in November 1981 and provided two further singles, "Do You Know What I Mean" (December 1981), which reached the Australian and New Zealand top 30s and "I Can Feel the Fire" (February 1982).

Geyer performed in Mushroom's 10th anniversary celebration, the Mushroom Evolution Concert on Australia Day (26 January) long week-end in 1982 at the Myer Music Bowl. So Lucky was released internationally by Portrait Records as Renée Geyer by Renée Geyer and the Bump Band in 1982. Also in that year Mushroom re-issued her previous albums. In the following year, Geyer released her second live album Renée Live in May, which included a duet with Glenn Shorrock (of Little River Band) on a cover version of Dusty Springfield's 1966 single "Goin' Back". In November Mushroom released a second compilation album, Faves, which concluded her contract. Geyer returned to the US late in 1983 and concentrated on the Los Angeles musical scene. During the 1980s she also undertook minor acting roles in Australian feature films Starstruck (1982) and My First Wife (1984) and TV series Sweet and Sour (1984).

1985–1991: United States, Sing to Me, Renée Live at the Basement and Easy Pieces
Geyer periodically visited Australia; she performed three songs, "Put a Little Love in Your Heart", "All My Love" and "Telling it like it Is", for the Oz for Africa concert (part of the global Live Aid program) in March 1985. Concert excerpts were broadcast in Australia (on both Seven Network and Nine Network) and on MTV in the US.

In 1985 Geyer signed with WEA Records and in May she released a single "All My Love", which peaked at number 28. In the following month her eighth studio album, Sing to Me, peaked at number 37. It was not given a US release and none of the follow-up singles reached the top 50—Geyer and WEA parted ways. She recorded a live album Live at the Basement in May 1986, which was released later that year by ABC Records.

Geyer continued as an in-demand US session vocalist, as in Australia. In 1986 she sang lead vocals on the Danny Hutton Hitters cover of Nik Kewshaw's "Wouldn't It Be Good" that was featured in the John Hughes 1986 film Pretty In Pink, She appeared on Sting's 1987 double-album, ...Nothing Like the Sun, including his single "We'll Be Together". She performed a duet with Joe Cocker on his 1987 album Unchain My Heart and, following its release, toured Europe with him as a backing vocalist. She was audible on Toni Childs' hit "Don't Walk Away" from that artist's 1988 album Union. Other sessions included working with Neil Diamond, Julio Iglesias, Buddy Guy and Bonnie Raitt. She also recorded "Is it Hot in Here" for the soundtrack of the 1988 film Mystic Pizza. She described her backing vocals as supplying "The old Alabama black man wailing on the end of a record so they hire the white Jewish girl from Australia to do it."

In 1988 Geyer joined the group Easy Pieces, with Hamish Stuart (guitar and vocals) and Steve Ferrone (drums) both ex-the Average White Band and Anthony Jackson (bass guitar). They signed to A&M Records and their self-titled album, Easy Pieces, was released in 1988 to positive reviews, but the label changed distributors just as it was released and music stores could not order copies. The album did not chart.

1992–1999: Seven Deadly Sins, Difficult Woman, The Best of Renee Geyer and Sweet Life
Geyer visited Australia in 1992 and recorded a number of songs, including "Foggy Highway", for the ABC-TV mini series Seven Deadly Sins, alongside Vika Bull, Deborah Conway and Paul Kelly. The soundtrack album was released in February 1993 and peaked at number 71 on the ARIA Charts. Two singles were released from the soundtrack including Geyer's cover of Jean Stafford's "Someday I'll Take Home The Roses". Kelly also produced Geyer's ninth studio album Difficult Woman which was released on Larrikin Records in 1994. It was her first solo studio album in 9 years. The exposure encouraged Geyer to move back to Australia and re-established herself on the live circuit. Her performances showed a more relaxed stage persona than at her peak when her innate shyness was often cleverly disguised. Now a confident, mature woman she showed off a hitherto hidden wicked sense of humour.

In May 1998 Mushroom Records released The Best of Renee Geyer 1973-1998, which peaked at number 50 in New Zealand and 53 in Australia. Early pressings were released with a bonus disc, Renéemixed, containing remixed tracks including her 1981 single "Say I Love You", which was issued as the lead single by Groove 21/20 featuring Geyer. Also in 1998 Geyer recorded "Yil Lull" alongside Kelly, Archie Roach, Christine Anu, Judith Durham, Kutcha Edwards and Tiddas. In March 1999 Geyer released her tenth studio album Sweet Life, which was co-produced by Kelly with Joe Camilleri (Jo Jo Zep & The Falcons, The Black Sorrows). The album peaked at number 50 in the ARIA Charts.

2000–2008: ARIA Hall of Fame, Tenderland, Tonight and Dedicated
In April 2000 Geyer released her autobiography, Confessions of a Difficult Woman: The Renée Geyer Story, referencing her 1994 studio album, Difficult Woman. It was co-written with Australian music journalist Ed Nimmervoll. According to ABC Radio Melbourne's reviewer Sian Prior it has "plenty of talk about sex and drugs and rock'n'roll... [but] you get a sense of a quite vulnerable person under the confident stage persona... [and it is] written in a nice conversational style, easy to read, and structured not chronologically as you might expect, but in themed chapters."

In October 2000 Geyer performed at the Opening Ceremony of the Summer Paralympics in Sydney. In August 2003 the singer released her eleventh studio album Tenderland. It peaked at number 11 on the ARIA Charts, equalling her highest-charting album in her career. Live at the Athenaeum was released in April 2004 and Geyer's twelfth studio album Tonight in April 2005.

Geyer was inducted into the ARIA Hall of Fame on 14 July 2005 by her former label boss Gudinski. At the ceremony, contemporary R&B singer Jade MacRae performed a Geyer medley, followed by Geyer singing her 1975 hit "It's a Man's Man's World". During July 2007 Geyer undertook the role of stepmother in musical theatre play Sleeping Beauty: This is Not a Lullaby at the Malthouse Theatre, Melbourne. In 2008 she provided a voice in the claymation film Mary & Max by Adam Elliot.

Geyer and fellow 1970s singer, Marcia Hines, are the subjects of Australian academic, Jon Stratton's 2008 cultural studies article, "A Jew Singing Like a Black Woman in Australia: Race, Renée Geyer and Marcia Hines". Geyer delivered a two-hour master class on 3 December 2008 to illustrate her annoyance at vocal gymnastics used by singers Mariah Carey and Christina Aguilera which had influenced contestants on talent quests such as Australian Idol. Geyer was approached to be a judge on Australian Idol and The X Factor but declined; she criticised judges on Australian Idol: Hines for being "so neutral, I don't hear an opinion" and Kyle Sandilands for his hurtful commentary rather than constructive criticisms.

2009–2023: Renéessance, The Ultimate Collection and Swing
After signing with Liberation Blue Records, which was owned by Gudinski, Geyer released another album, Renéessance in May 2009. It is a collection of newly recorded acoustic versions of previously recorded tracks. In June of that year, Geyer was diagnosed with breast cancer and following surgery was told it had been detected early and a full recovery was expected.

In March 2010 Warner Music Australia released another compilation album, The Ultimate Collection, which is her highest-charting album in New Zealand—peaking at number 21. In August 2011 she was fined for careless driving over two incidents in Victoria in 2010 and 2011, where she crashed into parked cars, a tree and a shop front. Her lawyer had blamed the crashes on a drug she was taking to treat breast cancer which he said led to a loss of concentration. She was fined $500, which was ordered to be paid to the Cancer Council.

In April 2013 Geyer released her fifteenth and last studio album Swing, which consists of big-band cover versions. It peaked at number 22 in Australia. Geyer toured the album across 2013. In November 2013 the singer was inducted into the Music Victoria Hall of Fame.

In 2015, Geyer allegedly verbally attacked a receptionist at the Adina Hotel in Haymarket, leaving the receptionist in tears after telling Geyer that she needed to provide vehicle registration to access the car park. In January 2017, Geyer was not convicted but was handed a 12-month good behaviour bond. In October 2018 proposed recording a new album, "I am playing it by ear, but sometime in the next year, I would like to do something—another new album. I have collaborated with people on different things and other projects, but I would like to do something of my own again. And I think in the next twelve months it will happen. And it probably might be my last one. I will probably do something, like a tribute to a blues situation, because I have been so influenced by the blues through my life, and I have never really spoken to that. So, I might do something, that has to do with that. Some version of a blues record."

In January 2023 Geyer was admitted to a Geelong hospital for hip surgery. It was discovered that she had inoperable lung cancer. Renée Geyer died at that hospital from surgical complications on 17 January 2023 at the age of 69. A public memorial in her honour was held in April 2023 in St. Kilda, performers included Kevin Borich, Kate Ceberano, Deborah Conway, Paul Kelly and Russell Morris. Renee was a resident of St Kilda and lived in a number of rental properties around the area over the years, always identifying as "a Melbourne person at heart".

Discography

 * Renée Geyer (1973)
 * It's a Man's Man's World (1974)
 * Ready to Deal (1975)
 * Moving Along (1977)
 * Winner (1978)
 * Blues License (1979)
 * So Lucky (1981)
 * Sing to Me (1985)
 * Difficult Woman (1994)
 * Sweet Life (1999)
 * Tenderland (2003)
 * Tonight (2005)
 * Dedicated (2007)
 * Renéessance (2009)
 * Swing (2013)

ARIA Awards
The ARIA Music Awards is an annual awards ceremony held by the Australian Recording Industry Association. They commenced in 1987. Geyer was nominated six times. In 2005, she was inducted into the ARIA Hall of Fame.

 * 1987 || Live at the Basement || Best Female Artist|| Nominated
 * 1999 || Sweet Life || Best Adult Contemporary Album || Nominated
 * 2003 || Tenderland || Best Female Artist|| Nominated
 * 2003 || Tenderland || Best Adult Contemporary Album|| Nominated
 * 2005 || Tonight || Best Adult Contemporary Album || Nominated
 * 2005 || Renée Geyer || ARIA Hall of Fame || inductee
 * 2013 || Swing || Best Jazz Album || Nominated
 * 2003 || Tenderland || Best Adult Contemporary Album|| Nominated
 * 2005 || Tonight || Best Adult Contemporary Album || Nominated
 * 2005 || Renée Geyer || ARIA Hall of Fame || inductee
 * 2013 || Swing || Best Jazz Album || Nominated
 * 2005 || Renée Geyer || ARIA Hall of Fame || inductee
 * 2013 || Swing || Best Jazz Album || Nominated
 * 2013 || Swing || Best Jazz Album || Nominated

Australian Women in Music Awards
The Australian Women in Music Awards is an annual event that honours women for their contributions to the Australian music industry. They were first awarded in 2018.

! Ref.
 * 2018
 * Renée Geyer
 * Lifetime Achievement Award
 * awardee
 * 2023
 * Renée Geyer
 * Honour Roll
 * awarded
 * Renée Geyer
 * Honour Roll
 * awarded

Countdown Music and Video Awards
The Countdown Music and Video Awards were an annual award ceremony based on responses from viewers of Countdown between 1979 and 1986. Geyer was nominated twice.

 * 1981 ||Renée Geyer|| Most Popular Female|| Nominated
 * 1983 ||Renée Geyer|| Most Popular Female|| Nominated
 * 1983 ||Renée Geyer|| Most Popular Female|| Nominated
 * 1983 ||Renée Geyer|| Most Popular Female|| Nominated

Music Victoria Awards
The Music Victoria Awards are an annual awards night celebrating Victorian music. They commenced in 2005.

! Ref.
 * 2013 ||Renée Geyer|| Hall of Fame || inductee ||
 * 2013 ||Renée Geyer|| Hall of Fame || inductee ||

title: Renée Geyer


text:
Michiel Coxie

Michiel Coxie the Elder, Michiel Coxcie the Elder or Michiel van Coxcie, Latinised name Coxius (1499 – 3 March 1592), was a Flemish painter of altarpieces and portraits, a draughtsman and a designer of stained-glass windows, tapestries and prints. He worked for patrons in the principal cities of Flanders. He became the court painter to successively Emperor Charles V and King Philip II of Spain.

Highly respected by his contemporaries, Coxie was given the nickname the Flemish Raphael as some of his contemporaries regarded him as being on an equal level as the Italian master. This also reflected his contemporaries' appreciation that his study of classical Antiquity and the art of Renaissance masters like Raphael, Michelangelo and Leonardo da Vinci during his 10-year residence in Italy had left an important mark on his style. His innovative style and bold compositions were in the centuries after his death an inspiration to Flemish artists including Peter Paul Rubens. He was thus an important artistic link between the artists of early Netherlandish painting and the Flemish Baroque. Coxie was also a copyist and produced a well-known copy of the Ghent Altarpiece by the van Eyck brothers as well as a Descent from the Cross by Rogier van der Weyden.

Early life and training
No records survive about the early life and training of Michiel Coxie. His year of birth has been determined to be 1499 through deduction from later sources. The place of his birth also remains uncertain. It is generally assumed that he was born in Mechelen as this was the first place he appears to have returned to after his long-term residence in Italy. Some art historians have suggested that his place of birth was in the region around Hasselt, then in the Prince-Bishopric of Liège.

The master or masters from whom he received his artistic training are not documented. Most known facts and statements of later biographers point to a training in the workshop of the Brussels master Bernard van Orley. It is known that during his stay in Rome, Coxie enjoyed the favor of the Flemish Cardinal Willem van Enckevoirt who may have been Bernard van Orley's patron in Rome assuming van Orley really took the trip to Rome as some sources have suggested. It has been speculated that this relationship with the Cardinal proves that van Orley recommended his pupil to his former patron. Michiel Coxie was also asked to complete the commission for the stained glass windows of the Brussels cathedral of St Michael and St Gudula after Bernard van Orley died in 1541. The early Flemish artist biographer Karel van Mander states in his Schilderboeck of 1604 that Coxie trained with a "Bernard van Brussel" (Bernard from Brussels). It is therefore reasonable to conclude that Coxie was a pupil of Bernard van Orley. Even so, due to the lack of contemporary documentary evidence and surviving youth works by Coxie it is not possible to confirm with certainty that Bernard van Orly was Coxie's master.

Foreign travel
The earliest documents attesting to Michiel Coxie's life and activities date to the period of his residence in Rome. The Florentine artist and artist's biographer Giorgio Vasari knew Coxie personally. He recounts that Coxie was commissioned by Cardinal Willem van Enckevoirt to paint frescoes in the Santa Maria dell'Anima. Work on the frescoes likely commenced around 1531. As the fresco technique is a painting technique typical of the Italian Renaissance and virtually unknown in contemporary Flemish painting, it must be assumed that by the time Coxie started work on the frescos he had already resided in Italy for a period of time so as to familiarise himself with this technique. It is therefore believed he may have arrived in Italy around 1527 after the sack of Rome by the Holy Roman Emperor Charles V. It appears that the frescoes in the Santa Maria dell'Anima earned him a reputation in Rome. Not long after completing the frescoes in 1534 he was admitted to the Compagnia di San Luca, Rome's guild of painters and miniaturists. He was one of the first Flemish artists to be inducted into the guild.

Coxie stayed in Italy until the end of the 1530s executing many commissions. He was involved in the decoration of the new St. Peter's Basilica but the frescoes that he created are lost due to later renovations to the interior of the church. During his stay in Italy he also provided designs for Italian engravers including for the series of 32 prints on the history of Amor and Psyche which was engraved by Agostino Veneziano and the Master of the Die and published by Antonio Salamanca in Rome between 1530 and 1560.

Return to Flanders
Coxie travelled in 1539 back to his home country via Milan. While in Milan he made two designs for tapestries. He first settled in Mechelen where he registered in the local Guild of Saint Luke on 11 November 1539. He lived in Mechelen in a house on the Bruul, in the city centre. He married Ida van Hasselt, a native of the city of Hasselt, then in the County of Loon in the Prince-Bishopric of Liège. He later resided in Liège, the principal city in the Prince-Bishopric of Liège. Liège was at that time an important artistic centre where important artists such as Lambert Lombard, Frans Floris and Willem Key were active. Lombard and Floris were Romanists, i.e. artists from the Low Countries who had travelled to Rome where they had assimilated the new Renaissance currents which they translated upon their return home into a break with the Netherlandish painting traditions. It is not entirely clear how long he stayed in Liège. It may be that for a while he travelled between Mechelen and Liège. The first children of Coxie, a son Raphael and a daughter Anna, may have been born in Liège although other sources place their births in Mechelen. Raphael followed in his father's footsteps and became a successful painter. Another son called Willem was born in Mechelen in 1545 or 1546. Willem also became a painter but no existing works by him are known.

Upon his return to the Low Countries Coxie became a sought-after artist who gained many commissions. The first important one was the 1540 commission for The Holy Kinship (now in Stift Kremsmünster, Kremsmünster, Austria). This work, probably commissioned by the Antwerp Hosemakers Guild for their altar in the Antwerp Cathedral, is a monumental triptych showing at the centre the Virgin Mary with her mother Anna, Christ and John the Baptist. The scene is set in an overwhelming Renaissance architecture with many figures. With this work Coxie offered the general public in Flanders its first confrontation with the monumental, grand style of the High Renaissance.

When Bernard van Orley died in 1541, while he was working on the designs for stained glass windows for the chapel of the Habsburg rulers in the Cathedral of St. Michael and St. Gudula in Brussels, Coxie took over the commission and delivered four designs. Afterwards he was commissioned to design a cycle of stained glass for the St Bavo's Cathedral in Ghent. It is believed that around this time he succeeded van Orley as the court painter to Mary of Hungary, sister of Charles V, Holy Roman Emperor and the governor of the Netherlands. Coxie also contributed to the new Habsburg castle in Binche, construction of which started in 1546. The architect was Jacques du Broeucq from Mons who had also lived and studied in Italy. Coxcie realized fresco paintings in the new castle. He also received the commission to paint a retabel for the rood screen of the Cathedral of St. Michael and St. Gudula in Brussels. In 1543 Coxie was registered as a poorter (citizen) of the city of Brussels and as a member of the local Guild of Saint Luke. Brussels was at the time the administrative capital of the Low Countries where the court of Mary of Hungary was established. He operated a large workshop in Brussels. His financial success was such that by 1550 he owned two houses in Brussels. He became gradually sought after as a designer of cartoons for tapestries, first by the Habsburg rulers but later also by the local industry. This is not surprising because at that time Brussels was the world center for the production of tapestries, then an important economic factor in the entire Netherlands. He was given the title of cartoon painter of the city of Brussels for which he received an annual salary. Several of Coxcie's tapestry designs have been documented, but none have survived. Some cartoons and series of tapestries have been attributed to him, based on stylistic rather than archival grounds. He participated in the 'Jagiellonian tapestries' which were sold to Sigismund II Augustus for his castle on the Wawel. He created the designs for some biblical scenes including scenes from the Story of the First Parents, the Story of Noah and the Story of the Tower of Babel. Coxie may also have designed the tapestries for Phillip II's Royal Palace of Madrid depicting episodes of the life of Cyrus II, based on the writing of Herodotus.

Charles V, Holy Roman Emperor, then the ruler over the Low Countries, commissioned many works from Coxie. Coxie also gained commissions from many other prominent persons such as the Morillon family for whom he painted the Triptych with the triumph of Christ (M – Museum Leuven). Guy Morillon, originally from Burgundy, was one of the most prominent notables of Leuven and a secretary to king Charles V. Coxie further designed the decorations for the joyous entry of then crown prince Philip II in Brussels in 1549 and a series of portraits of the Habsburg rulers. When in 1555 king Charles V stepped down from the throne in favor of his son Philip II, the new ruler maintained the royal support for Coxie. Philip tasked Coxie with making a true-to-life copy of the Ghent Altarpiece by the van Eyck brothers. As the altarpiece was located in the St Bavo's Cathedral in Ghent, Coxie temporarily moved to Ghent to execute this commission. He resided there from 1557 to 1559. After completing his copy in 1559, he moved to Mechelen where he acquired a house on the Bruul by swopping it for one of his Brussels homes. He continued to live in this city and became a member of the local chamber of rhetoric de Peoene and the guild of musketeers. At the time Mechelen had gained importance as a religious centre in Flanders because of the founding in 1559 of the Archbischopric of Mechelen, which from 1561 was led by the powerful cardinal Antoine Perrenot de Granvelle who was also the king's chancellor. Philip II of Spain commissioned two copies of Van der Weyden's Descent from the Cross from Coxie. Also for King Philip, Coxcie painted St. Cecilia at the Virginal (1569). Now in the Prado, this is one of several related paintings of Cecilia by Coxcie and/or his workshop, showing the saint performing identifiable music by Coxcie's Flemish contemporaries Jacobus Clemens non Papa and Thomas Crecquillon.

When in 1566 the Beeldenstorm caused the destruction of many religious objects he is said to have attempted to defend Mechelen against the iconoclasts. This shows that he was at heart a devout Catholic and a loyalist of the Habsburg court. This attitude earned him the strong support of the king as well as the protection of the Duke of Alba, governor of the Habsburg Netherlands between 1567 and 1573. The Beeldenstorm caused the loss of a large portion of Coxcie's existing works. This era of religious turmoil saw the painter facing many other setbacks. His son Willem who had travelled to Rome in 1567 to study art was arrested in Italy on suspicion of heresy as he had travelled with a group of Dutch and German Protestants. He was convicted to the galleys for 10 years. After the king's chancellor de Granvelle, who was then living in Rome, interceded personally with the Pope the sentence was cut in half. A few years later king Philip II himself intervened leading to the liberation of Willem. This illustrates the extent of the support by powerful figures which the artist enjoyed at that time. Even the Duke of Alva bestowed favors on him and his family when he granted Michiel and his son Raphael dispensation from the compulsory billeting of Spanish soldiers at their homes.

His wife died in 1569. Two months after her death he married Jeanne van Schelle (or van Schellen or van Schallen), with whom he had two more children of whom Michiel the Younger became a painter. The painter's whereabouts from the 1570s are not entirely clear. In October 1572 Spanish troops plundered Mechelen for three days after retaking the city from an army under the command of William the Silent, the leader of the Dutch Revolt. The event known as the Spanish Fury caused many local painters to flee to Antwerp. Coxie was outside of the country, possibly in Spain, when the events happened. His house was plundered and some painters from Antwerp were able to buy back some tapestry designs which Spanish soldiers had looted from his home.

Upon his return to Flanders, Coxie stayed in Mechelen and took on two pupils in his workshop. However, Mechelen had become a cultural wasteland while Antwerp offered attractive opportunities as many of the altarpieces which had been destroyed needed to be replaced and its leading history painters Frans Floris and Willem Key had just died. He completed an altarpiece in Antwerp in 1575 and was registered in the Guild of Saint Luke of Antwerp in 1578. He remained in Antwerp during the period from 1580 to 1585 when the city was governed by a Calvinist government. He was even able as a Catholic to obtain commissions from the local government, which was tolerant of Catholics. In 1585 he was registered as a tenant in the Kloosterstraat in Antwerp, while his house in Mechelen was rented out. After the Fall of Antwerp and the return of Spanish Catholic control over the city in 1585, Coxie immediately gained commissions from patrons in Mechelen, including the city government. The continued appreciation of the Spanish king for the elderly artist was demonstrated when in 1589, he granted him an annuity. Coxie continued painting even when he was over 90 years old.. His last work, dated 1592, was the Triptych of the Legend of Santa Gudula, today in the Cathedral of St. Michael and St. Gudula in Brussels. This contains on the back of one of the side panels the only known portrait of Philip II painted by the artist. Shortly thereafter, he died after accidentally falling off a scaffold while working on the restoration of the Judgment of Solomon in the Antwerp City Hall that he had made nine years earlier for the Antwerp City Council.

General
Coxie was a prolific artist, who painted altarpieces and portraits and produced designs for stained-glass windows, tapestries and prints. He was skilled in the traditional Flemish oil on panel technique as well as the Italian fresco technique. His career spanned almost the entire 16th century. He operated a large workshop which ensured a large output which contributed to his lifetime reputation and influence. After his death his work soon fell into oblivion as it was overtaken quickly by the triumphant Baroque style introduced into Flanders by Rubens, another Flemish artist who had studied and worked for an extended time in Italy.

His style is a unique synthesis of the Flemish and Italian artistic traditions. His presumed master Bernard van Orley had possibly never studied in Italy but had certainly familiarised himself with the new pictorial vocabulary of the Italian Renaissance through his study of the designs of Raphael. These designs had been brought to Brussels. He had responded to Raphael's work by making the figures in his altarpieces more monumental and heroic. He also included classical architecture in his compositions. During his stay in Rome, Coxie was able to directly study the works of Raphael, Michelangelo and other Renaissance painters as well as study the works of Antiquity that were being rediscovered at the time. He also read classical literature and philosophy and was aware of the intellectual discussions on the reception of Antique art in Italy. The panel Plato's Cave which he likely painted during his stay in Rome is an attempt by Coxie to express these visual and philosophical influences. The painting references Plato's ideas (the allegory of the cave) expressed in his The Sofist about how art imitates nature and sometimes deviates from perfect imitation by changing the proportions in order for the viewer to get a true appreciation of the real object. Coxie deals in Plato's Cave with the question about how art can properly depict reality and what art can tell us about that reality. Only the viewer of the painting can see the way out of the cave, and according to Plato, this search should be the object of all true philosophy. In Plato's Cave Coxie borrows heavily from Michelangelo's models as well as from Antique models. For instance, the Roman Antique statue of Falling Galatian (Venice National Archaeological Museum) was the model for the tormented man in the centre.

The first important work he realised upon his return to Flanders after his stay in Italy shows all the key characteristics of his style and the contribution he made to Flemish painting. The triptych of The Holy Kinship (now in Stift Kremsmünster, Kremsmünster, Austria) was painted in 1540 for the Antwerp Hosemakers Guild's altar in the Antwerp Cathedral. It is a monumental triptych showing at the centre the Virgin Mary with her mother Anna, Christ and John the Baptist. The scene is set in an overwhelming Renaissance architecture with many figures. With this work Coxie showed that he had mastered the Italian style, while not abandoning his roots. The painting has many Italian characteristics. The figure of the Virgin, for instance, goes back directly to Da Vinci. The architectural columns, drapes and niches were inspired by Raphael. Flemish elements in the work are the attention to detail and the rich colour which evoke the work of Jan van Eyck and Rogier van der Weyden.

Prints
Like many artists of his time, Coxie provided designs for the printers and engravers. An important graphic series by Coxi recounts the story of Amor and Psyche. The series was attributed for a long time to Raphael, which testifies to Coxcie's excellence as a draughtsman. The Italian artist biographer Giorgio Vasari who knew Coxie personally recounts that Coxie made the design sketches. Another series of prints designed by Coxie tells the stories of The loves of Jupiter. He based his designs for both series on stories and art works from Antiquity as well as on works by Raphael and Michelangelo.

title: Michiel Coxie