IN: Pieter Cornelis "Piet" Mondriaan, after 1906 Mondrian (; Dutch: ['pit 'mondrija:n], later ['mondrijan]; 7 March 1872 - 1 February 1944), was a Dutch painter and theoretician who is regarded as one of the greatest artists of the 20th century. He is known for being one of the pioneers of 20th century abstract art, as he changed his artistic direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements. Mondrian's art was highly utopian and was concerned with a search for universal values and aesthetics. He proclaimed in 1914: Art is higher than reality and has no direct relation to reality.

Unlike the Cubists, Mondrian still attempted to reconcile his painting with his spiritual pursuits, and in 1913 he began to fuse his art and his theosophical studies into a theory that signaled his final break from representational painting. While Mondrian was visiting the Netherlands in 1914, World War I began, forcing him to remain in there for the duration of the conflict. During this period, he stayed at the Laren artists' colony, where he met Bart van der Leck and Theo van Doesburg, who were both undergoing their own personal journeys toward abstraction. Van der Leck's use of only primary colors in his art greatly influenced Mondrian. After a meeting with Van der Leck in 1916, Mondrian wrote, "My technique which was more or less Cubist, and therefore more or less pictorial, came under the influence of his precise method." With Van Doesburg, Mondrian founded De Stijl (The Style), a journal of the De Stijl Group, in which he first published essays defining his theory, which he called neoplasticism.  Mondrian published "De Nieuwe Beelding in de schilderkunst" ("The New Plastic in Painting") in twelve installments during 1917 and 1918. This was his first major attempt to express his artistic theory in writing. Mondrian's best and most-often quoted expression of this theory, however, comes from a letter he wrote to H. P. Bremmer in 1914:  I construct lines and color combinations on a flat surface, in order to express general beauty with the utmost awareness. Nature (or, that which I see) inspires me, puts me, as with any painter, in an emotional state so that an urge comes about to make something, but I want to come as close as possible to the truth and abstract everything from that, until I reach the foundation (still just an external foundation!) of things...  I believe it is possible that, through horizontal and vertical lines constructed with awareness, but not with calculation, led by high intuition, and brought to harmony and rhythm, these basic forms of beauty, supplemented if necessary by other direct lines or curves, can become a work of art, as strong as it is true.

What was Mondrian works were influenced by?

OUT: During this period, he stayed at the Laren artists' colony, where he met Bart van der Leck and Theo van Doesburg,


IN: Ellington was born on April 29, 1899, to James Edward Ellington and Daisy (Kennedy) Ellington in Washington, D.C. Both his parents were pianists. Daisy primarily played parlor songs and James preferred operatic arias.

From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year.  After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year.  Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe.

Was he successful with his new agency?

OUT: After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937,


IN: The Outfield were an English rock band based in London, England. The band achieved success in the mid-1980s and are best remembered for their hit single, "Your Love". The band's lineup consisted of guitarist John Spinks, vocalist and bassist Tony Lewis, and drummer Alan Jackman. They had an unusual experience for a British band in that they enjoyed commercial success in the US, but never in their homeland.

1987 saw the release of their second album, Bangin'. This album did not achieve the acclaim of Play Deep, but it did spawn a Top 40 single "Since You've Been Gone" (not to be confused with the 1970s Rainbow and Head East hit of the same name) and the minor radio/MTV hit "No Surrender", and the album was certified Gold in the US A US summer tour opening for Night Ranger followed.  For the group's third album, 1989's Voices of Babylon, a new producer (David Kahne) and sound was evident. The title track was a Top 25 single and "My Paradise" was a mid-sized album-rock hit, but overall the group's popularity continued to decline.  After the Babylon LP, Alan Jackman parted ways with the band and was replaced for a concert tour by Paul Read. Spinks and Lewis continued as a duo, switched labels and began recording Diamond Days for MCA. Playing drums on the disc was session drummer Simon Dawson. The LP, released in 1990, produced a Top 30 US hit, "For You". Quick to follow was "One Hot Country", included on the soundtrack for the 1991 action film If Looks Could Kill. The Outfield returned with 1992's Rockeye. Its leadoff single, "Closer to Me", was a near Top 40 hit, and a second release, "Winning It All", gained some notice due to extensive play during NBC's NBA Finals coverage, NBA Superstars series featuring Larry Bird, the 1992 Barcelona Summer Olympics and the film The Mighty Ducks. Simon Dawson, who played on Rockeye, would eventually become the band's official third member.

Did the band have any other top 40 hits?

OUT:
The LP, released in 1990, produced a Top 30 US hit, "For You". Quick to follow was "One Hot Country",