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Just to remind us of what we lost -- one of the last living people who can masterfully discuss one of the worst and most inexcusable crimes of history as a survivor. I hate to violate copyrights, but I invite anyone to subscribe to or donate to this magazine.

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Remembering Elie Wiesel: A Tribute From a Friend and Disciple
The Holocaust survivor, Nobel laureate, author, activist, dead at 87
By Menachem Z. Rosensaft
July 2, 2016 • 3:27 PM

Elie Wiesel died Saturday at the age of 87. In the end, what remains with us, within us, most are the memories.
Much has been said and written, much remains to be said and written, about Elie Wiesel who, after emerging from the horrors of Auschwitz and Buchenwald, dedicated himself to perpetuating the memory of the millions of European Jews who were murdered in the Shoah. In doing so, he became the acknowledged voice of its survivors. He often said that he could not, would not speak on behalf of the dead. He did, however, speak forcefully, eloquently for the collectivity of the survivors, and they revered and loved him for it. “Accept the idea that you will never see what they have seen—and go on seeing now,” he wrote in his classic essay, “A Plea for the Survivors,” perhaps subconsciously opening a window into his own heart, “that you will never know the faces that haunt their nights, that you will never know the cries that rent their sleep. Accept the idea that you will never penetrate the cursed and spellbound universe they carry within themselves with unfailing loyalty.”
Not all survivors of the Shoah were able to transcend all they had experienced and witnessed in what Elie Wiesel famously referred to as the “Kingdom of Night.” Suffering, he once observed, “gives man no privileges; it all depends on what he does with it. If he uses his suffering against man, he betrays it; if he uses it to fight evil and humanize destiny, then he elevates it and elevates himself.” He described his own reflective existential crossroads in his lecture upon receiving the Nobel Peace Prize: “A recollection. The time: After the war. The place: Paris. A young man struggles to readjust to life. His mother, his father, his small sister are gone. He is alone. On the verge of despair. And yet he does not give up. On the contrary, he strives to find a place among the living. He acquires a new language. He makes a few friends who, like himself, believe that the memory of evil will serve as a shield against evil; that the memory of death will serve as a shield against death.”

There were so many dimensions to this unique, truly extraordinary individual. Elie Wiesel first came to public prominence, at the outset in France, then in the United States, in Israel and across the globe, as an author whose use of words was invariably elegant, direct, and piercing. The overriding common theme of his more than 60 books of both fiction and non-fiction is survival, not just the factual circumstance of survival but its transformative nature and, yes, power. The inmate of a Nazi death camp, the Soviet Jew struggling to retain a national and spiritual identity in the face of political oppression, the open-heart surgery patient, all are more than literary characters—they are alter egos with whom their author was in perpetual dialogue and through whom he taught and will continue to teach the reader the essential elements of overcoming whatever is most daunting, most harrowing, in one’s life. His memoir, Night, brought the horrors of the Holocaust into the consciousness of millions across the globe. His The Jews of Silence became one of the earliest rallying cries on behalf of Soviet Jewry.

Equally important was Elie Wiesel the teacher who made a lasting, often life-changing impact on thousands of students who sat in his classes first at New York’s City College, then at Boston University and Eckerd College, and most recently also at Chapman University. His lectures at the 92nd Street Y in Manhattan made the mysteries of Hasidism and Jewish biblical thought accessible to 20th– and 21st-century New Yorkers, Jews and non-Jews alike. He had an encyclopedic knowledge of literature and philosophy coupled with a seemingly inexhaustible intellectual curiosity. Nietzsche in particular fascinated him. At the same time, he was adamant in excoriating those who sought to exploit or trivialize the Holocaust. “Auschwitz,” he wrote, “signifies not only the failure of two thousand years of Christian civilization, but also the defeat of the intellect that wants to find a Meaning—with a capital M—in history. What Auschwitz embodied had none.”

Much has also been said and written, and much will surely continue to be said and written, about Elie Wiesel the man of conscience and human rights activist who urged one U.S. president publicly not to honor the memory of members of Hitler’s notorious Waffen-SS, and who implored another to put an end to the crimes against humanity being perpetrated in Bosnia. “That place,” Elie told President Reagan on April 19, 1985, referring to the Bitburg military cemetery in what was then West Germany, “is not your place. Your place is with the victims of the SS.” And he turned to President Clinton at the opening of the U.S. Holocaust Memorial Museum in Washington, D.C., on April 22, 1993, two years before the genocidal massacre at Srebrenica, and said: “And, Mr. President, I cannot not tell you something. I have been in the former Yugoslavia last fall. I cannot sleep since for what I have seen. As a Jew I am saying that we must do something to stop the bloodshed in that country! People fight each other and children die. Why? Something, anything must be done.”

But scholarly assessments of the life and career of the Hasidic boy from the Transylvanian town of Sighet who became a citizen of the world in the truest sense of that term will have to wait for another day. Mourning a friend is always personal, deeply personal, and today, I grapple with my memories of a friendship that spanned more than half a century.

I knew Elie from the time I was a teenager. He was a close friend of my parents, a frequent guest in our home. He and my father would sit for hours discussing the politics of the day and, far more than dwelling on their respective memories of Auschwitz-Birkenau and other Nazi camps, they would focus on the present-day challenges of remembrance and on improving the lot, both physical and spiritual, of their fellow survivors. One of my fondest memories of Elie is of him and my father singing Hasidic melodies, nigunim, their voices harmonizing as they took themselves back for a few minutes to the homes and families that had been torn from them. My favorite, perhaps also theirs: “She-yiboneh beis hamikdosh bi-m’heirah be’yameinu … May the Temple be rebuilt quickly, in our days …”
One evening at the beginning of my senior year of high school, he asked me, as he invariably did, what I was studying and how my classes were going. These were not perfunctory questions. He wanted detailed answers, especially about the books I was reading. I told him that the only class I did not enjoy was an advanced English seminar. I was frustrated by the teacher’s approach and his insistence on intellectually pigeonholing the assigned material. Elie was skeptical. He knew I liked, more than liked, literature. Perhaps, he said, I was subconsciously exaggerating. I showed him the most recent written assignment I had received back annotated with the teacher’s comments. Elie read it over, and said, “I see what you mean. You won’t learn anything that way.” He then offered to get together with me once a week to go over the readings with me, as well as my weekly papers. He was living at the Master Hotel on Riverside Drive and 103rd Street, and for the rest of that year, I went there to receive a weekly tutorial. We discussed in depth classical works of literature, and he patiently taught me how one translates thoughts into written sentences that take on a life of their own. “Write,” he inscribed a photograph of himself to me in French, “so that the words become a burning scar.”

June 6, 1972. Elie calls, his voice trembling with joy. He tells us that he and Marion have a son. Eight days later, my mother carries the child into the Wiesels’ living room on Central Park West to receive his name. Shlomo Elisha son of Eliezer son of Shlomo. Elisha’s birth transforms Elie profoundly, indelibly. For the first time in the more than 10 years that I’ve known him, he seems genuinely, thoroughly happy, content. Over the coming years, he is never happier, never more at ease than when he talks about Elisha and, in recent years, his grandchildren.

That same year, when he was appointed Distinguished Professor of Judaic Studies at New York’s City College and I was back in New York after graduating from Johns Hopkins, he asked me to be his teaching assistant. He taught a course on the literature of the Holocaust and a seminar on Hasidic thought. My tasks were to interact with the students on a regular basis, to grade papers, and to lecture about Elie’s own books, something he would not do. What struck me the most was how accessible he made himself to his students, especially the sons or daughters of survivors, who wanted to speak with him not about their studies but about themselves, their relationships with their parents, their efforts to understand what their parents had experienced. He would listen patiently, empathize, give advice. Perhaps more than anyone else, he was able to relate to the children and grandchildren of survivors. He not only understood us, but he empowered us to embrace our identity.

Soon after becoming chairman of the U.S. Holocaust Memorial Council in 1980, he asked me to organize and chair a Second Generation advisory committee. He wanted our input, to hear our perspective. “When I speak to others,” he said to us at the First International Conference of Children of Holocaust Survivors in May of 1984, “surely you know that I mean you, all the time. You are my audience, because it is you who matter. … Do you know what we see in you, in all of you? We see in you our heirs, our allies, our younger brothers and sisters. But in a strange way to all of us all of you are our children.”

June 1981. We are in Israel for the World Gathering of Holocaust survivors. Elie had been asked by the organizers to draft a Legacy of the Survivors for the occasion. He had written it in both French and Yiddish. In the lobby of the Hilton Hotel in Tel Aviv, Elie calls me over, gives me sheet of paper, and asks, “Have you seen the English translation of the legacy they prepared?” I told him I had not. After I finish reading the text he tells me that he finds it flat, prosaic. “Please write a new translation,” he asks me, adding, “I trust you.” It has always been a tremendous source of pride for me that when the Legacy was read in multiple languages during the closing ceremony at the Western Wall in Jerusalem, the English version was my translation of Elie’s text which he had approved.

January 1995. Elie is at Auschwitz-Birkenau. His words during the ceremony marking the 50th anniversary of that death camp’s liberation are searing: “In this place of darkness and malediction we can but stand in awe and remember its stateless, faceless, and nameless victims. Close your eyes and look: Endless nocturnal processions are converging here, and here it is always night. Here heaven and earth are on fire. Close your eyes and listen. Listen to the silent screams of terrified mothers, the prayers of anguished old men and women. Listen to the tears of children, Jewish children, a beautiful little girl among them, with golden hair, whose vulnerable tenderness has never left me. Look and listen as they quietly walk towards dark flames so gigantic that the planet itself seemed in danger.” After escaping and being recaptured by the Germans, my father was tortured for months in the notorious Block 11 of the main Auschwitz camp, known as the Death Block. Days later I receive a note in the mail from Elie: “In front of Block 11 I thought—a lot, profoundly—about your father—and about all of you.”

Elie was always unabashedly, unequivocally Jewish. But in sharp contrast to many of his contemporaries, he neither flaunted his Jewishness nor presumed to impose it on others. Rather he sought to explain its mysteries and to convey his love of the Jewish religion, of Jewish culture and tradition, of Jewish mysticism and Jewish mysteries. And he did so with deep affection and an equally profound reverence for, the subject matter and, perhaps equally important, with respect for his readers and listeners. Most important, his Jewishness was never chauvinistic or exclusionary. “To be Jewish,” he explained, “is to recognize that every person is created in God’s image and thus worthy of respect. Being Jewish to me is to reject fanaticism everywhere.”

He believed fervently, passionately, that a paramount responsibility inherent in his survival, alongside remembrance, was to speak out forcefully against indifference and against suffering, persecution, or oppression of any kind. His charge to the thousands of survivors and their children assembled in Jerusalem for the 1981 World Gathering reflected the universality of this worldview: “In an age tainted by violence, we must teach coming generations of the origins and consequences of violence. In a society of bigotry and indifference, we must tell our contemporaries that whatever the answer, it must grow out of human compassion and reflect man’s relentless quest for justice and memory; and we must insist again and again that it is the Jew who carries that message of humankind to mankind.” In this regard, his message was consistent over the years. In his Nobel lecture he spoke about the need to remember not only Jewish suffering but also “that of the Ethiopians, the Cambodians, the boat people, Palestinians, the Mesquite Indians, the Argentinian ‘desaparecidos’—the list seems endless.” His universal message remained the same even at Auschwitz, perhaps especially at Auschwitz. “As we reflect upon the past,” Elie said there in 1995, “we must address ourselves to the present and the future. In the name of all that is sacred in memory, let us stop the bloodshed in Bosnia, Rwanda, and Chechnya; the vicious and ruthless terror attacks against Jews in the Holy Land. Let us reject and oppose more effectively religious fanaticism and racial hate.”

June 2008. We are in Petra, Jordan. Elie and his wife Marion had asked me to organize an international conference of Nobel laureates for the Elie Wiesel Foundation for Humanity. Hunger is one of the themes. “Those of us who were never hungry will never understand hunger,” said Elie. “Hunger brings humiliation. The hungry person thinks of bread and nothing else. Hunger fills his or her universe. His prayer, his aspiration, his hope, his ideal are not lofty: They are a piece of bread. To accept another person’s hunger is to condone his or her tragic condition of helplessness, despair, and death.” The afternoon of the last day of the conference he and I walk through the ruins of a 2,000-year-old Nabataean temple. “Tu te rends compte, do you realize,” he says to me, “the distance between Auschwitz and Petra?”
And finally, always, there was Jerusalem. Elie was an ardent defender of and advocate for the State of Israel, but he loved Jerusalem, both the actual city and the ethereal, incorporeal concept of the place to which Jews yearned to return for almost two thousand years; the original city on a hill that provided a psychological, spiritual refuge that even the Nazis could not take away from the child he had been in a Birkenau barrack surrounded by death and desolation. Walking in Jerusalem with Elie was a timeless experience, almost like accompanying him to a place he knew intimately, but that somehow remained out of reach. “I see myself back in my town,” he wrote in A Beggar in Jerusalem, “back in my childhood. Yom Kippur. Day of fasting, of atonement. That evening one cry bursts with the same force from every heart: ‘Next year in Jerusalem.’ On my right, among the men draped in their prayer shawls, there was one who did not pray. The next morning I saw him again at the entrance of he Bet Hamidrash, among the beggars and simple-minded. I offered him some change; he refused. ‘I do not need it, my child,’ he said. I asked him how he subsisted. ‘On dreams,’ he answered.”

For Elie, Auschwitz and Jerusalem, Sighet and Petra, Paris, New York, and Washington were all linked together in a mystical chain that existed beyond reason or explanation. Perhaps my favorite of the many stories I heard him tell is the following Hasidic tale: “Somewhere,” said Rebbe Nahman of Bratzlav, “there lives a man who asks a question to which there is no answer; a generation later, in another place, there lives a man who asks another question to which there is no answer either—and he doesn’t know, he cannot know, that his question is actually an answer to the first.”
My visits with Elie in the weeks before he died were deeply personal and emotional. He spoke nostalgically about the vacations he, Marion, and Elisha had spent with our family in San Remo, Italy, how he had been able to relax there. “I miss your father,” he said. He wanted to know about our daughter, Jodi, and our grandchildren, and whether I was satisfied with my work and career. He reminded me how he had co-officiated at Jeanie’s and my wedding, and how he had eulogized my father at his funeral more than 40 years ago. He was also one of the witnesses at Jodi’s wedding and recited a blessing at the joint bris/simchat bat ceremony when we welcomed our twin grandchildren into the Jewish community. “I promised your father I would watch over you,” he told me several times.
But we also spoke about the present, about the depressing state of politics in both the United States and Israel. And about the presidential election campaign. He told me how much he liked and respected Hillary Clinton, reminisced about his private meetings with Barack Obama, and said that while he had met Donald Trump, he was repulsed by his xenophobic rhetoric.

Sitting with him, far more frail than I had ever seen him, I realized that he had totally retained his moral and aesthetic compass. Elie could never abide crudeness or boorishness, whether in speech or in behavior. He abhorred bigotry of any kind, against Jews certainly, but with equal fervor if it was directed at any other group. In the past we had often argued politics, but now he seemed to be giving me one final assessment, a mental guide in case I should ever be uncertain where he stood. A sad reminder that I would soon no longer be able to ask him his opinion directly but would only be able to imagine what he would say and what he would advise me to do.
In his eulogy at my father’s funeral he said, “I know countless souls, sanctified by fire, will soon greet you there. … And they will embrace you as one of their own and bring you to the Heavenly Tribunal and, still higher, to the Celestial Throne, and they will say, ‘Look, he did not forget us.’ Day in, day out, from morning until late at night, everywhere and under all circumstances, even on simchas, his spirit glowed in our fire. Few sanctified the Holocaust as he did. Few suffered it as he did. Few loved its holy martyrs as he did. So they will embrace him with love and gratitude as though he were their defender.”

I can think of no more appropriate words with which to bid farewell, a most reluctant and love-filled farewell, to my friend, my teacher, my mentor, Elie Wiesel.

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Menachem Z. Rosensaft is the General Counsel of the World Jewish Congress, and teaches about the law of genocide and war crimes trials at the law schools of Columbia and Cornell Universities. He is the editor of God, Faith & Identity from the Ashes: Reflections of Children and Grandchildren of Holocaust Survivors.
Never forget. Never trivialize the horror. Tell your children; have them tell their children's children forever.
Never forgive the perpetrators of the Holocaust and its analogues; damn the perpetrators to the edge of the Universe and to the end of Time!
Forgive the innocent among the peoples (including the Germans) in whose name these horrible crimes were done.
Resist anything that could conceivably lead to a repetition even on the smallest of scales no matter who the victims will be.

When you have a reasonable chance of success, smash hate speech whenever or wherever it happens!
(07-05-2016, 10:05 AM)X_4AD_84 Wrote: [ -> ]
(07-02-2016, 02:56 PM)pbrower2a Wrote: [ -> ]On February 1, 2007, Wiesel was attacked in a San Francisco hotel by 22-year-old Holocaust denier Eric Hunt, who tried to drag Wiesel into a hotel room. Wiesel was not injured and Hunt fled the scene. Later, Hunt bragged about the incident on the website Stormfront.[59] Approximately one month later, he was arrested and charged with multiple offences.[60] Hunt was convicted on July 21, 2008,[61] and was sentenced to two years imprisonment, but was given credit for time served and good behavior; he was released on probation and ordered to undergo psychological treatment. The jury convicted Hunt of three charges but dismissed the remaining charges of attempted kidnapping, stalking, and an additional count of false imprisonment, amid Hunt's withdrawal of his insanity plea.[62] District Attorney Kamala Harris said, "Crimes motivated by hate are among the most reprehensible of offenses ... This defendant has been made to answer for an unwarranted and biased attack on a man who has dedicated his life to peace."[63] At his sentencing hearing, Hunt apologized and insisted that he no longer denies the Holocaust;[64] however, he continued for some time afterwards to maintain and update a (now defunct) blog that was critical of prominent Jewish people and denied the Holocaust.[65]


Nazi punks f____ off! Angry

Having seen this gentle soul on television -- regrettably the only way that I could -- I can hardly imagine how anyone could attack him. But in view of 6 million other Jews... it happened, and Eric Hunt showed what an angry fool he is.

Holocaust denial is one of the most absurd misrepresentations of history possible, something that (even if one ignores its cruelty and disrespect of people who died for no comprehensible reason) negates the meaning and value of the study of history. Yes, history is often a horrific story written in the blood and ashes of innocent people. There's still good reason to see in its rawest, harshest form -- so that we never allow its worst deeds to happen again.

Maybe someday someone as similarly cruel as Eric Hunt will deny the Atlantic slave trade, one of the few evils as horrible )if more protracted) as the Shoah. The Holocaust deniers have established the precedent for others to treat the worst events of History as something to pretend never happened instead of the NC-17 (the old X rating) film that children absolutely must see. Yes, rape is also a part of history, which allows the most obvious excuse for an NC-17 rating for History at its harshest.

Between 1933 and 1945 Christian civilization completely failed in Germany; from 1938 to 1945 it completely failed in Austria. Christianity without conscience is itself a gross heresy.
Speaking of a horror (Killing Fields of Cambodia)  comparable in brutality and senselessness, if not scale, as the Holocaust, one reporter of it:

Sydney Hillel Schanberg (January 17, 1934 – July 9, 2016) was an American journalist who was best known for his coverage of the war in Cambodia. He has been the recipient of a Pulitzer Prize, two George Polk awards, two Overseas Press Club awards, and the coveted Sigma Delta Chi prize for distinguished journalism.[2] Schanberg was played by Sam Waterston in the 1984 The Killing Fields film based on the experiences of Schanberg and the Cambodian journalist Dith Pran in Cambodia.

Schanberg joined The New York Times as a journalist in 1959. He spent much of the early 1970s in Southeast Asia as a correspondent for the Times. For his reporting, he won the George Polk Award for excellence in journalism twice, in 1971 and 1974. In 1971, he wrote about the Pakistani genocide in then-East Pakistan (now Bangladesh). Upon being transferred to Southeast Asia, he covered the Vietnam War.[6]
Following years of combat, Schanberg wrote in The New York Times about the departure of the Americans and the coming regime change, writing about the Cambodians that "it is difficult to imagine how their lives could be anything but better with the Americans gone." A dispatch he wrote on April 13, 1975, written from
Phnom Penh, ran with the headline "Indochina without Americans: for most, a better life."[7]

Writing about his experiences following the Khmer Rouge takeover, Schanberg acknowledged that, "I watched many Cambodian friends being herded out of Phnom Penh. Most of them I never saw again. All of us felt like betrayers, like people who were protected and didn’t do enough to save our friends. We felt shame. We still do." and utterly condemned the "maniacal Khmer Rouge guerrillas".[8] He was one of the few American journalists to remain behind in Phnom Penh after the city fell. He and his assistant were threatened with death, and took sanctuary in the French embassy. Two weeks later, he evacuated to Thailand by truck.[9]

After the war in Cambodia

Schanberg won the 1976 Pulitzer Prize for International Reporting for his Cambodia coverage. The citation reads; "For his coverage of the Communist takeover in Cambodia, carried out at great risk when he elected to stay at his post after the fall of Phnom Penh."[10] His 1980 book The Death and Life of Dith Pran was about the struggle for survival of his colleague Dith Pran in the Khmer Rouge regime. The book inspired the 1984 film The Killing Fields, in which Schanberg was played by Sam Waterston.[9]
Schanberg was The New York Times Metropolitan Editor, and Op-Ed columnist.[11] In September 1985, Schanberg resigned from The New York Times following cancellation of his column, after he criticised the paper's coverage of the Westway Highway development.[12]

Between 1986 and 1995, he was an associate editor and columnist for [url=]New York Newsday. He covered the United States Senate Select Committee on POW/MIA Affairs hearings and became engrossed in the Vietnam War POW/MIA issue; writing for Penthouse and later The Village Voice and The Nation, Schanberg became a leading advocate of the "live prisoners" belief in that matter.[13]

In 1992, Schanberg received the Elijah Parish Lovejoy Award as well as an honorary Doctor of Laws degree from Colby College. He worked as head of investigations for that won a 1999 Investigative Reporters and Editors award.[14]

In 2006, Schanberg resigned as the Press Clips columnist for The Village Voice in protest over the editorial, political and personnel changes made by the new publisher, New Times Media.[15]

In the July 1, 2010, issue of American Conservative, Schanberg wrote an article about his struggle to advance his position that the United States government left behind hundreds of POWs being held by North Vietnam at the end of the Vietnam War.[16] He died on July 9, 2016, after suffering a heart attack in the previous week.[3]

More here
Alfred George Knudson, Jr. M.D., Ph.D. (August 9, 1922 – July 10, 2016) was a geneticist specializing in cancer genetics. Among his many contributions to the field was the formulation of the Knudson hypothesis in 1971,[1] which explains the effects of mutation on carcinogenesis (the development of cancer).[2]

Knudson was born in Los Angeles in 1922. He received his B.S. from California Institute of Technology in 1944, his M.D. from Columbia University in 1947 and his Ph.D. from California Institute of Technology in 1956.[2] He held a Guggenheim fellowship from 1953 to 1954.

From 1970 to 1976, Knudson served as the Dean of Graduate School of Biomedical Sciences, University of Texas Health Science Center at Houston. He has been affiliated with the Fox Chase Cancer Center in Philadelphia from 1976 until his death in 2016.[3]

Knudson died on July 10, 2016 at his home in Philadelphia from a long illness at the age of 93.[4]

He received numerous prizes and honorary doctorates for his work, most prominently the 1998 Albert Lasker Award for Clinical Medical Research.[5] He also received the 1999 American Society of Pediatric Hematology/Oncology (ASPHO) Distinguished Career Award, the 2005 American Association for Cancer Research (AACR) Award for Lifetime Achievement in Cancer Research, and the 2004 Kyoto Prize in Life sciences.[6]

More from Wiki.

May 19, 2014
In honor of its 50th anniversary, ASCO is highlighting the accomplishments of some of the many people who have advanced cancer care to where it is today in the "Oncology Luminaries" series. ASCO recognizes Dr. Knudson as one of these luminaries for his groundbreaking "two-hit" hypothesis of cancer causation.

[Image: knudson_alfred_am99_posters-with-michael...k=LBUckn9t]

Alfred G. Knudson Jr., MD, PhD, is an internationally recognized geneticist and physician included on ASCO’s list of Oncology Luminaries for his groundbreaking “two-hit” hypothesis of cancer causation.

The two-hit hypothesis proposed that people with familial cancers inherit one germline copy of a damaged gene, which is present in every cell of the body—the first “hit.” This alone is not sufficient to cause cancer growth. However, if patients were to develop a second “hit,” or a loss of the good copy in the gene pair, cancer would occur. In contrast, people who develop nonhereditary forms of cancer must get both “hits” in somatic cells, meaning that, in many cases, these cancers will occur later in life.

Dr. Knudson published this theory in 1971 in Proceedings of the National Academy of Sciences as part of his more than 20 years of research into the genetic mechanisms that cause retinoblastoma. Dr. Knudson further theorized that genes existed in the cell—now known as tumor suppressor genes—that could function to stop abnormal cell growth.
Like many groundbreaking scientific theories, Knudson’s two-hit hypothesis was not immediately embraced by the medical community. However, today, he is credited as a pioneering cancer geneticist and with helping to usher in a new era of research on tumor suppressor genes, including the 1986 discovery of the RB1 gene.

In honor of his contributions to science, Knudson has received many major medical awards, including the 2004 Kyoto Prize, the 1998 Albert Lasker Clinical Medical Research Award, the American Society of Hematology’s Distinguished Career Award, the American Cancer Society’s Medal of Honor, ASCO’s Karnofsky Memorial Lecture Award, and more.
Dr. Knudson has served at Fox Chase Cancer Center since 1976. He is currently a senior member of the Institute for Cancer Research and a Fox Chase distinguished scientist.

More detail on his work
(07-12-2016, 10:05 AM)X_4AD_84 Wrote: [ -> ]RIP: "A Prairie Home Companion"

I missed this a few days ago:

An ocean of people swept in to the Hollywood Bowl and sat down with Garrison Keillor for his final show as host of "A Prairie Home Companion."

"... and that's the news from Lake Wobegon"

Technically this would belong in a thread for notable cancellations of television and radio programs. I am creating such a thread, and yours should be the first inclusion. This thread is for literal deaths of living persons and notable animals (I had a racehorse here) such as Presidential pets and last creatures of the species.

I had a thread in the old T4T Forums for business failures and I would suggest that for a significant business that dies (bankruptcy, liquidation, forced merger). I had lots of those when George W. Bush was President (even before the Crash of 2008), and the only notable ones since then was the infamous Corinthian Colleges (institutions better at grabbing revenue from federal student loans than for educating students or preparing them for the careers they were promised) and some coal company.
(07-12-2016, 10:05 AM)X_4AD_84 Wrote: [ -> ]RIP: "A Prairie Home Companion"

I missed this a few days ago:

An ocean of people swept in to the Hollywood Bowl and sat down with Garrison Keillor for his final show as host of "A Prairie Home Companion."

"... and that's the news from Lake Wobegon"

I was somewhat disappointed that Keillor's last show was in LA rather than at the Fitzgerald Theater in the Twin Cities.
Ninth circle, second round of Hell, from Dante's Inferno:

Tarkhan Tayumurazovich Batirashvili (Georgian: თარხან ბათირაშვილი; 11 February 1986 – presumedly dead in July 2016), known by his nom de guerre Abu Omar al-Shishani (Arabic: أبو عمر الشيشاني‎‎, Abū ‘Umar ash-Shīshānī , "Abu Omar the Chechen")[9] or Omar al-Shishani, was a Georgian Kist jihadist who served as a commander for the Islamic State in Syria, and previously as a sergeant in the Georgian Army.[9]

A veteran of the 2008 Russo-Georgian War, Batirashvili became jihadist after being discharged from the Georgian military and served in various command positions with Islamist militant groups fighting in the Syrian Civil War. Batirashvili was previously the leader of the rebel group Muhajireen Brigade (Emigrants Brigade), and its successor, Jaish al-Muhajireen wal-Ansar (Army of Emigrants and Supporters).

In 2013, Batirashvili joined the Islamic State and rapidly became a senior commander in the organization, directing a series of battles and ultimately earning a seat on ISIS's shura council.

The US Treasury Department added Batirashvili to its list of Specially Designated Global Terrorists on 24 September 2014.[10] and seven months later the US government announced a reward up to US$5 million for information leading to his capture.[11][12] U.S. officials reported that Batirashvili died from injuries several days after being the target of a 4 March 2016 U.S. airstrike, near the Al-Shaddadah district in Northern Syria,[13] however, the Islamic State denied these claims and its Amaq News Agency confirmed that Shishani was killed in July 2016 during fighting in the Iraqi city of Shirqat, south of Mosul, Iraq.[14]
Nathaniel "Nate" Thurmond (July 25, 1941 – July 16, 2016[1]) was an American basketball player best known for his career with the Golden State Warriors. Dominant at both center and power forward, he was a seven-time All-Star and the first player in NBA history to record an official quadruple-double. He is also only one of three players, along with Wilt Chamberlain and Bill Russell, to grab more than 40 rebounds in one NBA game.
Thurmond remains one of the best rebounders and shot blockers ever, named both a member of the Naismith Memorial Basketball Hall of Fame and one of the 50 Greatest Players in NBA History.
Known to fans as "Nate the Great",[2] Thurmond has had his #42 jersey retired by both the Golden State Warriors and Cleveland Cavaliers franchises.[3]

Passing up a scholarship offer to Ohio State to avoid becoming Lucas's backup there, the 6'11" Thurmond chose Bowling Green. He was named a first-team All-American by The Sporting News in 1963, and was drafted by the San Francisco Warriors later that year.

In 1963, he was drafted by the San Francisco Warriors later that year. With the Warriors, Thurmond was an aggressive rebounder-defender who played at the forward position opposite superstar Wilt Chamberlain or was his backup at center. Despite playing on the same team as the dominant Chamberlain, Thurmond made an impact and was named to the NBA All-Rookie Team in 1964.
[Image: 175px-Nate_Thurmond_1969.jpeg]

Thurmond in 1969.
When Chamberlain was traded to the Philadelphia 76ers, Thurmond became the All-Star starting center Chamberlain said he could be. Among his many accomplishments, Thurmond still holds the regular season record for rebounds in a quarter with 18. He averaged 21.3 and 22.0 rebounds per game in the 1966–67 and 1967–68 seasons — season averages exceeded by only Bill Russell and Chamberlain in NBA history. Thurmond placed second to Chamberlain in the MVP balloting in the 1966–67 season, and averaged over 20 points per game each season from 1967–68 through 1971–72, and played in seven NBA All-Star Games while with the Warriors. However, while star players like Rick Barry and Jerry Lucas came and went, the Warriors were unable to win a championship with Thurmond at center, often failing to get past the star studded Los Angeles Lakers in the Western Division playoffs. Thurmond was an excellent passing center and was well known as the best screen setter in the league for many years.

He was traded to the Chicago Bulls for Clifford Ray prior to the 1974–75 season. On October 18, 1974 against the Atlanta Hawks, in his debut as a Bull, he recorded 22 points, 14 rebounds, 13 assists and 12 blocked shots, becoming the first player in NBA history to officially record a quadruple-double (blocked shots were not counted before 1973–74).[4]

He was then traded to Cleveland Cavaliers 13 games into the following season. In Cleveland, the now 35-year-old Thurmond came off the bench for the injured Jim Chones to lead Cleveland to the NBA Eastern Conference Finals before the Cavaliers lost to the star-studded Boston Celtics in 1976.

After retirement, Thurmond returned to San Francisco and opened a restaurant, Big Nate's BBQ[5], after a brief attempt at broadcasting. He sold the restaurant after 20 years, while living in San Francisco with his wife, Marci.[6] He was given the title "Warriors Legend & Ambassador" by the Warriors organization.[6]

Thurmond died at the age of 74 on July 16, 2016 after a short battle with leukemia.[7]

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(07-18-2016, 11:40 AM)X_4AD_84 Wrote: [ -> ]
(07-16-2016, 05:19 PM)pbrower2a Wrote: [ -> ]Nathaniel "Nate" Thurmond (July 25, 1941 – July 16, 2016[1]) was an American basketball player best known for his career with the Golden State Warriors. Dominant at both center and power forward, he was a seven-time All-Star and the first player in NBA history to record an official quadruple-double. He is also only one of three players, along with Wilt Chamberlain and Bill Russell, to grab more than 40 rebounds in one NBA game.
Thurmond remains one of the best rebounders and shot blockers ever, named both a member of the Naismith Memorial Basketball Hall of Fame and one of the 50 Greatest Players in NBA History.
Known to fans as "Nate the Great",[2] Thurmond has had his #42 jersey retired by both the Golden State Warriors and Cleveland Cavaliers franchises.[3]


You're a fellow Cal alumn IIRC. I'm guessing you were here during the early - mid 70s? So you knew Nate!

BTW - that old "The City" emblem is a thing again. It's considered cool to sport it on clothing or as a decal, etc.

"Ole school!"

1974 to 1978. But I did not have much time for following pro sports. That's how college goes -- if one wants to graduate.
[Image: 220px-Canadian_Dollar_-_reverse.png]

Designer of the Canadian dollar coin:

Robert-Ralph Carmichael (1937 – July 16, 2016) was a Canadian artist who designed the loonie side of the Canadian one dollar coin.[1]

Robert-Ralph lived near the northern town of Echo Bay, Ontario in the scenic Sylvan Valley. The town has recently erected a large loonie statue in honour of Mr. Carmichael along the highway. The Statue has been called "the big loonie" in reference to the neighbouring town Sudbury's "Big Nickel" monument. His work can be seen and purchased at Roses Art Gallery in Sault Ste. Marie, Ontario, Canada.
Garry Kent Marshall (November 13, 1934 – July 19, 2016) was an American actor, director, producer, writer, voice artist, and comedian. His notable credits included creating Happy Days and its various spin-offs, developing Neil Simon's 1965 play The Odd Couple for television, and directing Pretty Woman, Runaway Bride, Valentine's Day, New Year's Eve, Mother's Day, [i]The Princess Diaries[/i], and The Princess Diaries 2: Royal Engagement.

Marshall began his career as a joke writer for such comedians as Joey Bishop and Phil Foster and then became a writer for The Tonight Show with Jack Paar.[10] In 1961, he moved to Hollywood, where he teamed up with Jerry Belson as a writer for television. The pair worked on The Dick Van Dyke Show, The Joey Bishop Show, The Danny Thomas Show, and The Lucy Show. Their first television series as creator / producers was Hey, Landlord, which lasted one season (1966–67). Then they adapted Neil Simon's play The Odd Couple for television. On his own, Marshall created Happy Days, Laverne and Shirley (starring his sister Penny), and Mork & Mindy, which were produced by his associates Thomas L. Miller, Robert L. Boyett, and Edward K. Milkis.[11] He was also a co-creator of Makin' It,[12] which the three men also produced.

In the early 1980s, he met Hector Elizondo while playing basketball and became great friends. Elizondo appeared in every film that Marshall directed, beginning with Marshall's first feature film Young Doctors in Love. Elizondo once noted that he is written into all of Marshall's contracts whether he wanted to do the movie or not.[13] In the opening credits of Exit to Eden (their eighth film together), Elizondo is credited "As Usual ... Hector Elizondo".[14] In 1984, Marshall had a film hit as the writer and director of The Flamingo Kid.[15]
[Image: 220px-Jonny_Blu_Garry_Marshall_Princess_Diaries_2.jpg]

Marshall and Jonny Blu on the set of The Princess Diaries 2: Royal Engagement in 2004

A consummate producer, Marshall wore many hats during this period of his career: Most of his hit television series were created and executive produced by him. His first producing assignment came with Hey, Landlord in 1966. He stepped up the very next year, producing The Lucy Show.[16] Then came successes in producing The Odd Couple, Laverne and Shirley, Blansky's Beauties, Mork & Mindy, Angie, and Happy Days. Marshall also launched independent productions through his theater (The Falcon in Toluca Lake) and in association with productions launched with talent he was grooming and working with for years. One such project titled Four Stars was directed by Lynda Goodfriend (who portrayed Lori Beth in Happy Days), and was based on a play Goodfriend had read when she was studying at the Lee Strasberg Center, which had been written by John Schulte and Kevin Mahoney.[17] It starred Julie Paris (the daughter of Happy Days director and Dick Van Dyke Show co-star Jerry Paris) and Bert Kramer. Marshall went on to focus on directing feature films, with a series of hits, such as Beaches, Pretty Woman, The Princess Diaries, Valentine's Day, and New Year's Eve.[17]
[Image: 220px-GarryMarshall-Jan2008.jpg]

Marshall in January 2008

Marshall was also an actor, making his television acting debut starting as a child with a recurring role in The George Burns and Gracie Allen Show (1950–58),[18] appearing in Murphy Brown and in such films as Soapdish, On the Lot, and provided a guest-starring voice for The Simpsons episodes Eight Misbehavin' and Homer the Father. He also appeared in two episodes of Happy Days as a drummer.[17]

His theater credits included Wrong Turn at Lungfish, which he wrote in collaboration with Lowell Ganz,[19] The Roast with Jerry Belson,[20] Shelves and Happy Days: A New Musical with Paul Williams,[21] which had its premiere at the Falcon Theater in Burbank, California, February 24, 2006.[22] He portrayed the role of "director" on Burbank's "!" float in the 2014 Rose Parade.

His son Scott Marshall is also a director.

In 2014, Marshall appeared in a guest star role in a February episode in season 11 of Two and a Half Men.

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K. Mark Takai (July 1, 1967 – July 20, 2016) was an American politician from the state of Hawaii who served in the United States House of Representatives, representing Hawaii's 1st congressional district, from 2015 to 2016. He previously served in the Hawaii House of Representatives from 1994 to 2014.
Takai was from Aiea, Hawaii. He served in the Hawaii Army National Guard as a Lieutenant Colonel and took part in Operation Iraqi Freedom in 2009.
Takai became the Democratic Party nominee for the U.S. House of Representatives in the 2014 elections. He defeated former Congressman Charles Djou to win the seat. Takai stated that he would not seek reelection in 2016 because he had pancreatic cancer. He died from the disease on July 20, 2016.

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Egon Matijevic (27 April 1922 – 20 July 2016) was an American chemist. He earned his B.Sc. and Ph.D. in chemistry from the University of Zagreb. After specialization at the University of Cambridge he continued to work at the Clarkson University. He is the author of more than 550 scientific papers in colloidal and surface chemistry with numerous applications in medicine and industry. Matijevic is the member of American Chemical Society, American Association for Crystal Growth, World Academy of Ceramics, International Association of Colloid and Interface Scientists and honorary member of American Ceramic Society, German Colloid Society, Chemical Society of Japan and Materials Research Society of Japan.[1][2][3][4][5]

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Sounds important.
Marni Nixon (February 22, 1930 – July 24, 2016) was an American soprano and playback singer for featured actresses in movie musicals. She is best known for having dubbed the singing voices of the leading actresses in films, including The King and I, West Side Story and My Fair Lady.

Nixon's varied career included, besides her voice work in films, some film roles of her own, television, opera, concerts with major symphony orchestras around the world, musicals on stage throughout the United States and recordings.

Nixon's career in film started in 1948 when she sang the voices of the angels heard by Ingrid Bergman in Joan of Arc (1948). The same year, she did her first dubbing work when she provided Margaret O'Brien's singing voice in 1948's Big City and then 1949's The Secret Garden. She also dubbed Marilyn Monroe's high notes in "Diamonds Are a Girl's Best Friend" in Gentlemen Prefer Blondes (1953). She appeared on Broadway in 1954 in The Girl in Pink Tights.[2]
In 1956, she worked closely with Deborah Kerr to supply the star's singing voice for the film version of Rodgers & Hammerstein's The King and I, and the next year she again worked with Kerr to dub her voice in An Affair to Remember.[1] That year, she also sang for Sophia Loren in Boy on a Dolphin. In 1960, she had an on-screen chorus role in Can-Can.[3] In 1961's West Side Story, the studio kept her work on the film (as the singing voice of Natalie Wood's Maria) a secret from the actress,[4][5] and Nixon also dubbed Rita Moreno's singing in the film's "Tonight" quintet. She asked the film's producers for, but did not receive, any direct royalties from her work on the film, but Leonard Bernstein contractually gave her 1/4 of one percent of his personal royalties from it.[6] In 1962, she also sang Wood's high notes in Gypsy.[3][7] For My Fair Lady in 1964, she again worked with the female lead of the film, Audrey Hepburn, to perform the songs of Hepburn's character Eliza.[4] Because of her uncredited dubbing work in these films, Time magazine called her "The Ghostess with the Mostest".[8][9]

Nixon made a special guest appearance on Leonard Bernstein's Young People's Concerts broadcast that aired April 9, 1961, entitled "Folk Music in the Concert Hall". She sang three "Songs of the Auvergne" by Canteloube.[10] Before My Fair Lady was released in theatres in 1964, Nixon played Eliza in a production at New York City Center.[3] Nixon's first onscreen appearance was as Sister Sophia in the 1965 film The Sound of Music. In the DVD commentary to the film, director Robert Wise comments that audiences were finally able to see the woman whose voice they knew so well.[11] In 1967, she was the singing voice of Princess Serena in a live action and animated version of Jack and the Beanstalk on NBC. Also in the 1960s, Nixon made concert appearances.[12]

Nixon taught at the California Institute of Arts from 1969 to 1971 and joined the faculty of the Music Academy of the West, Santa Barbara, in 1980, where she taught for many years.[1][13] In the late 1970s and early 1980s, she hosted a children's television show in Seattle on KOMO-TV channel 4 called Boomerang, winning four Emmy Awards as best actress, and made numerous other television appearances on variety shows and as a guest star in prime time series.[14][15] Nixon's opera repertory included Zerbinetta in Ariadne auf Naxos, Susanna in Le nozze di Figaro, both Blonde and Konstanze in Die Entführung aus dem Serail, Violetta in La traviata, the title role in La Périchole and Philine in Mignon. Her opera credits include performances at Los Angeles Opera, Seattle Opera,[6] San Francisco Opera and the Tanglewood Festival among others.[3] In addition to giving recitals, she appeared as an oratorio and concert soloist with the New York Philharmonic under Leonard Bernstein, the Los Angeles Philharmonic, the Cleveland Orchestra, Toronto Symphony Orchestra, the London Symphony Orchestra and the Israel Philharmonic Orchestra among others.[13][14]

Nixon also toured with Liberace and Victor Borge and in her own cabaret shows. On stage, in 1984, she originated the role of Edna Off-Broadway in Taking My Turn, composed by Gary William Friedman, receiving a nomination for a Drama Desk Award. She also originated the role of Sadie McKibben in Opal (1992), and she had a 1997 film role as Aunt Alice in I Think I Do.[2][14][16] Under her own name, beginning in the 1980s, Nixon recorded songs by Jerome Kern, George Gershwin, Arnold Schönberg, Charles Ives, Aaron Copland and Anton Webern. She was nominated for two Grammy Awards for Best Classical Performance, Vocal Soloist, one for her Schönberg album and one for her Copland album.[1][14]
In the 1998 Disney film Mulan, Nixon was the singing voice of "Grandmother Fa". She then returned to the stage, touring the US as Fraulein Schneider in Cabaret in 1997–1998.[14] In 1999, she originated the role of Mrs. Wilson in the premiere of Ballymore, an opera by Richard Wargo at Skylight Opera Theatre in Milwaukee, Wisconsin, which was taped for PBS.[17] In regional theatre and Off-Broadway, she played Nurse in Romeo & Juliet and appeared in productions of The King and I and The Sound of Music.[12] She also continued to teach voice and judge vocal competitions.[14][17]

In 2000, after nearly a half century away, she returned to Broadway as Aunt Kate in James Joyce's The Dead.[2][12] In 2001, Nixon replaced Joan Roberts as Heidi Schiller in the Broadway revival of Stephen Sondheim's Follies.[1] She played Eunice Miller in 70, Girls, 70 in a 2002 production in Los Angeles.[12] In 2003, she was again on Broadway as a replacement in role of Guido's mother in the revival of Nine.[18] Her autobiography, I Could Have Sung All Night, was published in 2006.[6] She performed in the 2008 North American Tour of Cameron Mackintosh's UK revival of My Fair Lady in the role of Mrs. Higgins.[19][20]
Do you remember the psychic "Miss Cleo"? File under "Fakes, Frauds, and Poseurs".

Youree Dell Harris (August 12, 1962 – July 26, 2016) was an American television personality best known as Miss Cleo, a spokeswoman for a psychic pay-per-call service from 1997 to 2003.[1][2]

Harris used various aliases, including LaShawnda Williams, Corvette Mama, Elenore St. Julian, Desiree Canterlaw, Janet Snyder, Maria Delcampo, Christina Garcia, Cleomili Harris and Youree Perris.[3]

In the late 1990s, Harris began to work for the Psychic Readers Network under the name Cleo. She appeared as a television infomercial psychic in which she claimed she was a mystical shaman from Jamaica.[5][7] Her employers' website also stated that Harris had been born in Trelawny, Jamaica, and grown up there.[4]

The Psychic Readers Network is said to have coined the title "Miss Cleo" and sent unsolicited emails,[8] some of which stated, "[Miss Cleo has] been authorized to issue you a Special Tarot Reading!... it is vital that you call immediately!" Charges of deceptive advertising and of fraud on the part of the Psychic Readers Network began to surface around this time.[9] Among the complaints were allegations that calls to Miss Cleo were answered by her "associates" who were actors reading from scripts, and that calls promoted as "free" were in fact charged for.[5][10]

In 2001, Access Resource Services doing business as Psychic Readers Network was sued in various lawsuits brought by (among others) Arkansas, Illinois, Indiana, Kansas, Missouri, New York, Oklahoma, Pennsylvania, Wisconsin, Florida, and the Federal Communications Commission, although reports later said that "many customers were satisfied with the service".[11]

In 2002, the Federal Trade Commission charged the company's owners and Harris' promoters, Steven Feder and Peter Stotz, with deceptive advertising, billing, and collection practices; Harris was not indicted.[12] Her promoters agreed to settle for a fraction of the amount they took in.[13] It emerged that she had been born in Los Angeles, and that her parents were U.S. citizens.[11]

"The cards, they do not lie!"... but attempting to interpret them is still folly.

My sympathy about the cancer nonetheless.
Father Jacques Hamel (30 November 1930 – 26 July 2016) was a French Catholic priest in the parish of Saint-Étienne-du-Rouvray. Hamel was martyred by two men pledging allegiance to the Islamic State while he said mass in his church on 26 July 2016.

Hamel was ordained as a priest in 1958.[2] He served as a vicar at the St.-Antoine church in Le Petit-Quevilly in 1958, a vicar at the Notre-Dame de Lourdes church in Sotteville-lès-Rouen in 1967, a parish priest at Saint-Pierre-lès-Elbeuf in 1975, and a parish priest in Cléon in 1988.[3] He joined the church at Saint-Étienne-du-Rouvray in 2000 and assumed his role as the parish’s auxiliary priest in 2005.[3]

With Mohammed Karabila, the president of Normandy's regional council of Muslims, Hamel worked on an interfaith committee.[2][4]

Hamel's throat was slit by two men pledging allegiance to the Islamic State while he was saying mass in his parish in Saint-Étienne-du-Rouvray on 26 July 2016.[5][6] The very same day, Italian politician Roberto Maroni called on the Pope to "immediately proclaim him St Jacques."[7]

Comment: Death to Daesh!
Actually of course, tarot is a mythical book of wisdom, and readings by those with real skills and insight are not folly.

Stamping out the IS is going to be tough, but it's got to be done. And Hillary is right that the propaganda online is a proper target for removal as much as possible. Trump is right that immigrants and refugees have to be screened thoroughly, but like most of what he advocates that America do, it's already being done.
Einojuhani Rautavaara ([Image: 11px-Loudspeaker.svg.png] pronunciation (help·info); 9 October 1928 – 27 July 2016) was a Finnish composer of classical music. He was one of the most notable Finnish composers after Jean Sibelius.

Rautavaara wrote a great number of works spanning various styles. Having written early works using 12-tone serial techniques, his later music may be described as neo-romantic and mystical. Major works include Cantus Arcticus and Symphony No. 7 "Angel of Light".

Rautavaara was born in Helsinki in 1928. His father Eino was an opera singer and cantor, and his mother Elsa was a doctor. Both of his parents died before he reached his 16th birthday, and he went on to live with his aunt Hilja Teräskeli in a Helsinki suburb.[1]
Rautavaara studied at the Sibelius Academy in Helsinki under Aarre Merikanto from 1948 to 1952. He first came to international attention when he won the Thor Johnson Contest for his composition A Requiem for Our Time in 1954, and the work prompted Jean Sibelius to recommended him for a scholarship to study at the Juilliard School in New York City. There he was taught by Vincent Persichetti, and he also took lessons from Roger Sessions and Aaron Copland at Tanglewood. He graduated at the Sibelius Academy in 1957.[1]

Rautavaara served as a non-tenured teacher at the Sibelius Academy from 1957 to 1959, music archivist of the Helsinki Philharmonic Orchestra from 1959 to 1961, rector of the Käpylä Music Institute in Helsinki from 1965 to 1966, tenured teacher at the Sibelius Academy from 1966 to 1976, artist professor (appointed by the Arts Council of Finland) from 1971 to 1976, and professor of composition at the Sibelius Academy from 1976 to 1990.

He married actor Heidi Maria Suovanen, an actor, in 1959; they separated in 1982, after Einojuhani fell in love Sinikka Koivisto, and they divorced in 1984. They had two sons and a daughter. In 1984 he married Sinikka, who survived him.[1][2]
Rautavaara suffered an aortic dissection in January 2004. He had to spend almost half a year in intensive care but he later recovered and managed to continue his work.[3] He died on 27 July 2016 from complications of a hip surgery.[3][4]

[Image: 170px-EinojuhaniRautavaara1950s.jpg]

Rautavaara in the 1950s

Rautavaara was a prolific composer and wrote in a variety of forms and styles. He experimented with serial techniques in his early career but abandoned them in the 1960s. Even his serial works are not obviously serial. His third symphony, for example, uses such techniques, but sounds more like Anton Bruckner than more traditional serialists such as Pierre Boulez.[2] His later works often have a mystical element (several of his works have titles which allude to angels).[5] A characteristic 'Rautavaara sound' might be a rhapsodic string theme of austere beauty, with whirling flute lines, gently dissonant bells, and perhaps the suggestion of a pastoral horn.[citation needed]

His compositions include eight symphonies, 14 concertos, choral works (several for unaccompanied choir, including Vigilia (1971–1972)), sonatas for various instruments, string quartets and other chamber music, and a number of biographical operas including Vincent (1986–1987, based on the life of Vincent van Gogh), Aleksis Kivi (1995–1996) and Rasputin (2001–2003).[1] A number of his works have parts for magnetic tape, including Cantus Arcticus (1972, also known as Concerto for Birds & Orchestra) for taped bird song and orchestra,[1] and True and False Unicorn (1971, second version 1974, revised 2001–02), the final version of which is for three reciters, choir, orchestra and tape.[6]

His later works include orchestral works Book of Visions (2003–2005), Manhattan Trilogy (2003–2005) and Before the Icons (2005) which is an expanded version of his early piano work Icons.[7] In 2005 he finished a work for violin and piano called Lost Landscapes, commissioned by the violinist Midori Goto. Orchestral workA Tapestry of Life, was premiered by the New Zealand Symphony Orchestra in April 2008, directed by Pietari Inkinen.[8]

Many of Rautavaara's works have been recorded, a performance of his 7th symphony, Angel of Light (1995), by the Helsinki Philharmonic Orchestra conducted by Leif Segerstam on the Ondine label, being a particular critical and popular success - it was nominated for several awards, including a Grammy. Rautavaara's Symphony No. 8 has been recorded four times.Almost all of Rautavaara's works have been recorded by Ondine. Some of his major works have also been recorded by Naxos. An album called "Rautavaara songs" was recorded by the Swedish label BIS Records.

Rautavaara wrote a percussion concerto called Incantations' for Colin Currie, and his second cello concerto for Truls Mork.
In 2010, Rautavaara's "Christmas Carol" was commissioned and performed by the men and boys choir of King's College, Cambridge (UK) for their annual Festival of Nine Lessons and Carols.

In 2011 Rautavaara completed two larger-scale compositions: Missa a capella (premiered in the Netherlands, November 2011) and a work for string orchestra, Into the Heart of Light, which premiered in September 2012.

At the time of his death he was working on a large-scale opera based on texts by Federico García Lorca.
Rautavaara was a great composer, and I am surprised that he is not more of a household name.