title: George Carnegie, 6th Earl of Northesk

texts:
Admiral <mask>, 6th Earl of Northesk (2 August 1716 – 22 January 1792) was born the son of David Carnegie, 4th Earl of Northesk and Lady Margaret Wemyss on 2 August 1716. A career naval officer, he fought in the War of the Austrian Succession and the First Carnatic War, where in the East Indies he participated in the action of 6 July 1746. His service was curtailed by a series of debilitating illnesses and he never served at sea again after being promoted to rear-admiral in 1756. He died on 20 January 1792 at age 75. Early life
<mask> was born on 2 August 1716 as the second son of David Carnegie, 4th Earl of Northesk and his wife Margaret, the daughter of James Wemyss, Lord Burntisland and Margaret Wemyss, 3rd Countess of Wemyss. Naval career
Carnegie became a lieutenant in the Royal Navy on 15 March 1737. His first appointment was as third lieutenant to his good friend Captain Curtis Barnett in the ship of the line HMS Dragon, in the Mediterranean Fleet of Rear-Admiral Nicholas Haddock.Carnegie transferred to the ship of the line HMS Windsor  on 29 April but in August 1738 was taken from Windsor with a debilitating illness while off Minorca, at one point coming so close to death that his funeral arrangements were made. Having recovered from his illness he was appointed as fourth lieutenant of the ship of the line HMS Marlborough on 2 February 1740 and transferred on 7 May to be second lieutenant of the ship of the line HMS Edinburgh. On 23 June 1741 Carnegie's elder brother David Carnegie, 5th Earl of Northesk died, leaving him to succeed as Earl of Northesk. On 25 August of the same year Carnegie was promoted to post captain and given command of the frigate HMS Bideford in which he served in the Western Approaches for the winter of 1741-42. In January 1742

masks:
George Carnegie
George Carnegie


title: George Carnegie, 6th Earl of Northesk

type: original

texts:
 never again accepted a command at sea but by seniority was promoted to vice-admiral on 14 February 1759 and admiral on 18 October 1770. Death
Carnegie died on 22 January 1792 at his seat Ethie Castle in Angus, Scotland, his titles passing down to his eldest surviving son. At the time of his death he was the third most senior officer in the Royal Navy. Family

He married Anne Melville, daughter of the Earl of Leven and Elizabeth Monypenny, on 30 April 1748 and had six children:

Lady Mary Anne Carnegie (d. 2 June 1798) married Rev John Kemp of Edinburgh in 1797
David Carnegie, Lord Rosehill (5 April 1749 – 19 February 1788)
Lady Elizabeth Carnegie (1751 – 19 August 1793) married James Hope-Johnstone, 3rd Earl of Hopetoun. Admiral William Carnegie, 7th Earl of Northesk (10 April 1756 – 28 May 1831)
Lieutenant Colonel <mask> (21 August 1773 – 1839)
Margaret Carnegie (1779 – 15 March 1793)

Notes and citations

Notes

Citations

References

 Charnock, John (1796). Biographia Navalis Or, Impartial Memoirs of the Lives and Characters of Officers of the Navy of Great Britain, from the Year 1660 to the Present Time, Vol.IV. London: R. Faulder. Charnock, John (1797). Biographia Navalis Or, Impartial Memoirs of the Lives and Characters of Officers of the Navy of Great Britain, from the Year 1660 to the Present Time, Vol. V. London: R. Faulder. Debrett, John (1809). The Peerage of the United Kingdom of Great Britain & Ireland, Vol.I. London: Harding and Wright. Fraser, William (1867). History of the Carnegies, Earls of Southesk, and of their Kindred. Vol. II. Edinburgh: Private. Syrett, David and R.L.DiNardo (1994) The Commissioned Sea Officers of the Royal Navy 1660-1815. Aldershot: Scholar Press. 1716 births
1792 deaths
<mask> 6
Royal Navy admirals
Younger sons of

masks:
George Carnegie
George


title: Keith Fowler

texts:
<mask> (born February 23, 1939) is an American actor, director, producer, and educator. He is a professor emeritus of drama and former head of directing in the Drama Department of the Claire Trevor School of the Arts of the University of California, Irvine (UCI), and he is the former artistic director of two LORT/Equity theaters. Early career
After performing children's roles in various San Francisco "little theaters" in the early 1950s, <mask>'s first professional acting was with the Oregon Shakespeare Festival in 1958 and 1960. Awarded a Fulbright Grant in 1960-61 to study at the Shakespeare Institute in Stratford-upon-Avon, he directed his first play while in England--the Midlands premiere of Brecht's Mother Courage. The production in spring 1961 at the Stratford Hippodrome led the town's veteran drama critic to compliment the local troupe for daring a type of theater that Sir Peter Hall hesitated to bring to Stratford's just-founded Royal Shakespeare Company. <mask> received a Wilson Fellowship and Shubert Scholarship to attend the Yale School of Drama, where he earned a doctorate (D.F.A.) studying under Nikos Psacharopoulos, director of the Williamstown Theater Festival in Massachusetts.Psacharopoulos chose <mask> to serve as his assistant, first as resident director of a theater in Holyoke, where <mask> staged productions of J. B., by Archibald MacLeish, and Romeo and Juliet, and then in 1965 as Assistant Director of the main Williamstown Festival, where he directed Oh Dad, Poor Dad... by Arthur Kopit and The Private Ear and the Public Eye by Peter Shaffer. In 1966, he directed his first Macbeth for the Festival Theater in El Paso, treating the tragedy as a psychological nightmare, noted by a local critic as an

masks:
Keith Franklin Fowler
Fowler
Fowler
Fowler
Fowler


title: Keith Fowler

texts:
 "expressionistic... exciting departure from the traditional." In this period, from 1964 to 1968, he also began his academic career as Assistant Professor of Drama at Williams College. Virginia Museum Theater
In 1969, he was appointed head of the Theater Arts Division of the Virginia Museum of Fine Arts and artistic director of the Virginia Museum Theater (VMT, now the Leslie Cheek Theater), and he undertook to guide VMT in becoming Richmond's first resident Actors Equity company and a home for classics and new plays. His productions, beginning with Marat/Sade (the first racially integrated company on the Virginia Museum's stage), brought controversy into the heart of Richmond's museum district but also drew increased attendance, more than doubling audiences between 1969 and the late 1970s. The "<mask> 'Macbeth'"
Dubbing the professional company "VMT Rep", he drew national attention when in 1973 his second staging of Macbeth, a rather more realistic Stonehenge/historical version starring E.G.Marshall, led Clive Barnes of The New York Times to hail it as the "<mask> 'Macbeth.'" Barnes described the production as "splendidly vigorous, forcefully immediate... probably the goriest Shakespearean production I have seen since Peter Brook's 'Titus Andronicus'." Of <mask>, he wrote, "Virginia is lucky to have him." Alfred Drake also joined the company in 1973 to direct the premiere of Richard Stockton's The Royal Rape of Ruari Macasmunde with <mask> in the title role. International attention arrived in 1975 when Soviet Cultural Consul Viktor Sakovich provided coverage on Moscow Television for <mask>'s English-language premiere of Maxim Gorky's Our Father (originally Poslednje). <mask> subsequently produced the New York

masks: Fowler Fowler Fowler Fowler Fowler Fowler


title: Keith Fowler

texts:
 premiere of the Gorky drama at the Manhattan Theater Club. In 1977, refusing the museum administration's pressure to censor his premiere of Romulus Linney's play Childe Byron, <mask> resigned to serve his Yale alma mater as chief of directing for a year.His departure provoked a public outcry over an alleged pattern of censorship by the museum, with some arts patrons supporting the administration and many standing by <mask>, asserting, for instance, that "no one else can jump in and claim credit for what Dr. <mask> has done ... he stood up for what he knew was right." American Revels Company
He returned to Richmond in 1978 with his associate director M. Elizabeth Osborn to lease the Empire Theater (since renamed the November Theater), on the border between historically black Jackson Ward and the city's business district, where they founded the American Revels Company. Revels attracted progressive support for appealing to both black and white communities in Richmond. Without intending to enter into Richmond's post-segregation politics, <mask> nevertheless found Revels becoming a rallying point in the late 1970s for re-balancing the two symbiotic communities through art. Funding through the box office and City Council support was affected directly by public favor in a city with a growing black majority. Unity Audience
Following a summer of advance promotion, American Revels' first season started with strong audiences, including full houses for A Christmas Carol and The Club in the thousand-seat theater. Such peaks in attendance could not be sustained, however, when later play titles, including Othello and I Have a Dream, leaned toward those least likely to afford tickets—the African-American community.<mask> countered

masks: Fowler Fowler Fowler Fowler Fowler


title: Keith Fowler

texts:
 by offering free performances to neighboring residents. The plan drew hundreds of African-American theater-goers and began to build a new sector of audience. In the summer of 1979, Richmond's City Council awarded the company a challenge grant, and a patron stepped forward to raise matching funds by sponsoring a performance by entertainer Ray Charles to benefit Revels. The success of the fund drive propelled the company into a second season in which Revels dealt with racial issues head-on by presenting a satire entitled The Black and White Minstrel Show, a parody of the racially split City Council. The season continued with works aimed at all of Richmond. Still the costs of production were higher than the purses and wallets of many in the core audience could support. American Revels closed after two seasons.The company had made its mark. Revels mounted fourteen productions between 1978 and 1980. By presenting actors of color and dramas with black themes—alongside classics and "standard" works—the company drew a sizable African-American audience to live theater, many for the first time. Richmonders found that new plays and politically engaged works were not alien to their taste. Also, by resurrecting the long-dormant Empire/November Theater, the troupe pioneered the way for downtown professional theater, most significantly for Theatre IV/Virginia Rep, the subsequent occupant of the November. For such a legacy, many Richmonders remember the company fondly, counting the Revels years as a time of theatrical excitement, and <mask>—in the words of Richmond Lifestyle magazine—as a "Rebel with a Cause." Teaching
After closing Revels, <mask> returned to acting at the Pittsburgh Public Theater and joined Yale classmate Robert

masks: Fowler Fowler


title: Keith Fowler

texts:
 Cohen, then chair of drama, on the faculty of the University of California, Irvine.In 1984, he joined Jerzy Grotowski's "Objective Drama" project in the barn and fields south of the UCI campus, working with Grotowski day and night to explore the essential organons and yantras  of performance. From 1996 to 2004, <mask> was the original director of ArtsBridge America, later expanded nationwide, a program created by then dean Jill Beck at UCI in 1996 for granting scholarships to university dance, drama, music, and studio art majors to reintroduce arts education into the depleted curricula of K-12 pupils in local schools. Personal life
Born in San Francisco to Jack Franklin and Jacqueline Hocking <mask>, <mask> is a graduate of George Washington High and SF State. After residing for his first 21 years in San Francisco, he went to The Shakespeare Institute of the University of Birmingham, UK, and Yale University's School of Drama for graduate work. Bibliography

 Hypnotic Transformation: Three Studies of Theatrical Role-Playing by <mask> in The International Journal of Clinical and Experimental Hypnosis, 1988, vol. XXXVI, No. 4.Precise functions of hypnosis in dramatic acting,  by <mask>, National Auxiliary Publication Service, 1986. "Who is he supposed to be?," by <mask>, in Müller in America, American Productions of Heiner Müller, copyright 2003 by Castillo Cultural Center. "The Grotowski Papers," by <mask>, in American Theater, January 2014. References

1939 births
American theatre directors
Educators from California
Male actors from California
Free speech activists
American civil rights activists
Living people
American hypnotists
Yale School of Drama alumni
San Francisco State University alumni
Activists from

masks:
Fowler
Montgomery Fowler
Keith
Keith Fowler
Keith Fowler
Keith Fowler
Keith Fowler


title: Don Dokken

texts:
<mask> (born June 29, 1953) is an American singer and musician. He's best known for being the lead singer, occasional guitarist, and founder of the band Dokken. He is known for his vibrato-laden, melodic vocal style which has made him an influential figure in American heavy metal/glam metal. After enjoying mainstream success with Dokken, he parted ways with the band in 1988 and pursued a solo career. His 1990 solo album, Up from the Ashes, spawned two singles, and achieved modest success. He released his second solo album, titled Solitary in 2008, which was a stylistic departure from his Dokken material. <mask> reformed Dokken in the early 1990s and has been continuing on with the band ever since.He is the only remaining original member of Dokken. Biography

Early success
In the late 1970s, <mask> was playing in a Los Angeles-based band called Airborn, and had the opportunity to reach a record deal in Germany. After seeing the band Xciter with future bandmates George Lynch and Mick Brown, he tried to recruit them for a new band. Lynch and Brown were not interested in joining forces with him when he first contacted them. <mask>, with the help of one of Xciter's songs, secured the deal in Germany and convinced Lynch and Brown, along with bassist Juan Croucier, to join him in Dokken soon after he received it. During his time in Germany, <mask> befriended the German band Scorpions, and sang with them in rehearsals for their Blackout album while lead vocalist Klaus Meine was being treated for nodes on his vocal cords. <mask> has stated that he recorded scratch vocals for "No One Like You," "You Give Me All I Need," and "Dynamite."<mask> has also stated, "I was just helping Klaus out," and "You'll never hear those (tracks)...because it's not fair to the Scorpions." Meine recovered and returned to record the album. In 1983, America saw the release of the first Dokken album, Breaking the Chains which got a moderate reception. After Juan Croucier left the band to join

masks:
Donald Maynard Dokken
Don
Don Dokken
Don
Dokken
Don
Don


title: Don Dokken

texts:
 Ratt, Jeff Pilson was brought in for their second release, Tooth and Nail, and at this time metal fans and critics began to take notice of the band. <mask>'s strong, melodic vocals, coupled with Lynch's blazing guitar playing, guided Dokken to national fame. Solo release
In the late 1980s, however, personal tension between Dokken and Lynch took its toll on the band. In 1988, after the Monsters of Rock Tour and a further platinum album, <mask> decided to break up the band and they went on their separate ways.<mask> originally wanted to continue on under the Dokken moniker, but since the other three members shared partial ownership over the Dokken name, he was forced to put out his next album under his own name, and it became known as his first solo album. The album, titled Up from the Ashes, was released in 1990, and was very similar to the Dokken catalog. This project was a supergroup of sorts, made up of guitarists John Norum (of Europe fame) and Billy White (of Watchtower fame), bassist Peter Baltes (of Accept fame), and drummer Mikkey Dee (of King Diamond and Motörhead and Scorpions). John Norum's drummer Hempo Hildén was initially part of the band but was replaced by Dee before the album was recorded. Baltes had previously been a member of Dokken during the late 1970s for a brief period. Two music videos were made for the singles "Mirror Mirror" and "Stay," respectively. Also, during the late 1980s and early 1990s, <mask> spent time as a producer for the metal band XYZ.He also made a guest appearance on the German progressive metal band Vanden Plas's Spirit of Live album as the vocalist for their live performance of Dokken's "Kiss of Death," the studio version of which can be found on Vanden Plas's Far Off Grace album. Dokken reunion
Around late 1993, <mask> started to talk with Mick Brown, who had recently left George Lynch's new group, Lynch Mob. They joined up with Jeff Pilson, and started to write new songs. In 1994, they sent what they had written

masks:
Don
Don Dokken
Don Dokken
Don
Don


title: Don Dokken

texts:
 to George Lynch, who was impressed with the material. Together, they decided to reunite and tour again. This reunion lasted for three years and resulted in two new Dokken albums, an acoustic live disc, and a full live concert recorded in Japan in 1995. In the late 90s, Dokken once again parted ways with George Lynch, gained guitarist Reb Beach, and later kicked off a new era with guitarist John Norum after the departure of Reb Beach.That union didn't last long, as Norum soon departed to re-unite with Europe. Norum was briefly replaced by Italian guitarist Alex De Rosso for the live tour  until 2003 when <mask> managed to find a permanent replacement in guitarist/lawyer Jon Levin. Since 1994, Dokken has released six studio albums, two live albums, a Greatest Hits album, as well as their first two DVDs. <mask> released a new solo album titled Solitary in 2008, and <mask> released a new album titled Lightning Strikes Again during the same year. On March 1, 2010, the band Dokken's second greatest hits album, aptly titled Greatest Hits, was digitally released to iTunes and Amazon.com. The physical album with additional tracks was released in US by Cleopatra Records May 4, 2010, and in Japan May 11, 2010, by King Records (Japan). On September 22, 2010, in an interview with BraveWords.com, <mask> revealed that he would be undergoing vocal surgery, to correct problems with nodes and tears in his vocal chords.February 4, 2011 Anchorage, Alaska was <mask>'s first show since surgery. In addition to the vocal chord surgery, <mask> underwent treatment for cancer around the same time. He has since recovered and his voice has seen great improvement over the past few years. (1992)
 Maxx Explosion – Forever'' (2013)

References

1953 births
American heavy metal singers
American male singers
American people of Norwegian descent
Record producers from California
Dokken members
Living people
Musicians from Manhattan Beach, California
Singers from Los Angeles
Glam metal

masks:
Don
Don Dokken
Dokken
Don Dokken
Dokken
Dokken


title: Agness Underwood

texts:
<mask> (December 17, 1902 – July 3, 1984) was an American journalist and newspaper editor, and one of the first women in the United States to hold a city editorship on a major metropolitan daily. She was preceded by Laura Vitray who became city editor of the New York Evening Graphic in 1930, and by Mary Holland Kinkaid who was city editor at the old Herald, likely in the early 1900s. She worked as a reporter for the Los Angeles Record from 1928 to 1935, the Herald-Express from 1935 to 1962, and the Herald-Examiner from 1962 to 1968. Life and career

Agnes May Wilson was born in San Francisco, California, to Clifford Wilson, a journeyman glass-blower, and Mamie Sullivan Wilson, a housewife. <mask> would adopt the distinctive double "s" at the end of her first name in 1920. <mask> was the elder of two daughters. The Wilson family's frequent moves were determined by where Clifford could find work.In November 1907, Mamie died in childbirth. Clifford's work required him to travel, which made it impossible for him to care for the girls on his own. <mask> and her younger sister were handed over to relatives in Terre Haute, Indiana, to be raised. <mask> recalled that she and her sister did not stay in Terre Haute and that they moved frequently, often winding up in the hands of public charity. Clifford became distressed with the way his daughters were being treated and found two foster homes in Portland, Indiana, each willing to take one of the girls. <mask>'s sister was sent to live with a farm family. <mask>'s new home was with Charles and Belle Ewry and their three sons.She and the eldest of the three sons, Ralph, liked each other

masks:
Agness May Underwood
Underwood
Underwood
Underwood
Underwood
Underwood
Underwood


title: Agness Underwood

texts: immediately. Ralph Ewry became her friend and protector. <mask> later described the Ewry household as a serious environment, made bearable only by Ralph's kindness. <mask> did well in school and skipped three grades; however, by the time she entered high school in 1916 her enthusiasm for her studies had waned and she dropped out in the tenth grade. <mask> took as job as a clerk in the basement of Cartwright's department store in Portland, Indiana. She became increasingly unhappy living with the Ewrys, particularly following Ralph's deployment overseas as a soldier during World War I.  Ralph sensed <mask>'s discontent in her letters to him and, believing that she might be better off with a blood relative, managed to locate one of her distant relatives in San Francisco. <mask> arrived in San Francisco in November 1918, and moved in with her relative who lived in an apartment on Geary Street.<mask> knew she would be expected to contribute to household expenses and set out to find a job. After a few frustrating days of unsuccessful job hunting, she arrived at the apartment only to discover that her relative had moved out leaving <mask> broke, alone, and homeless. Another of <mask>'s female relatives invited her to move to Hollywood, California, and live with her. Soon after her arrival it became clear that <mask>'s relative was interested only in transforming the girl into a child star. When that plan failed, the relative put <mask> out on the street. <mask> became a resident at the Salvation Army's home for working women in downtown Los Angeles and got a job at the Broadway Department Store. It was there that she met Evelyn Conners,

masks: Underwood Underwood Underwood Underwood Underwood Underwood Underwood Underwood Underwood Underwood Underwood


title: Agness Underwood

texts:
 a woman a few months her junior, who would become her lifelong friend.Following a brief move to Salt Lake City, Utah, <mask> returned to Los Angeles, where she found work as a waitress at the Pig 'n Whistle restaurant in downtown Los Angeles. One day in April 1920, she was lamenting to <mask>, a co-worker, that her Hollywood relative had resurfaced and demanded that <mask> live with her again and relinquish her paychecks to her, or she would turn the underage girl over to the authorities. Harry told her that the relative could not do that if he and <mask> were married. The couple married three weeks later on April 28, 1920. By 1926, <mask> and her husband had become parents to a daughter and son. <mask>'s husband and sister worked outside the home, but the family still struggled to make ends meet. One of the small economies that <mask> practiced was to wear her sister's hand-me-down silk stockings.One day <mask> asked her husband for the money to buy a new pair of stockings, but he demurred. An argument ensued and <mask> told her husband that if he would not give her money for stockings, she would get a job and earn them herself. In her autobiography, Newspaperwoman (Harper Brothers, 1949), <mask> said that she did not want to work outside the home, and that she had no idea where to look for a job. As it turned out, a job found her. The day following the stockings argument <mask>'s friend, Evelyn Connors, called and asked her if she would be interested in a temporary job on the switchboard at the Record. <mask> seized the opportunity, and thus began her career in the newspaper business. Los Angeles Record

In October 1926, <mask>

masks:
Underwood
Harry Underwood
Underwood
Underwood
Underwood
Underwood
Underwood
Underwood
Underwood
Underwood
Underwood
Underwood
Underwood


title: Agness Underwood

texts: began her job as the switchboard operator at the Los Angeles Record.It was at the Record that <mask> learned the newspaper business from the ground up. She was a quick study and worked hard at any task to which she was assigned. She assisted Gertrude Price, who wrote a woman's column under the pseudonym of Cynthia Grey, in the Christmas basket program for the poor. Price recognized <mask>'s innate talent and became <mask>'s mentor. In December 1927 William Edward Hickman kidnapped, murdered, and then butchered twelve-year-old Marion Parker. Hickman was on the run when <mask> saw the United Press flash that he had been captured in Oregon. <mask> telephoned her husband with the news.Price overheard the call and reprimanded <mask> for talking about a story outside of the newsroom before it was in print. <mask> never made that mistake again. <mask> worked her way up to reporter at the Record, and her first byline was an interview with an elderly man who was credited with having planted the first cotton in California. <mask>'s first major crime reporting began on May 20, 1931, when Los Angeles was shaken by the murders of Charles H. Crawford and Herbert F. Spencer. Crawford was a former saloon keeper and was a power behind the scenes in the city's government. Spencer was a former police reporter who had become associated with the Critic of Critics, a political crusading weekly. The day following the murders thirty-three-year-old David H. Clark, a former deputy district attorney and candidate for municipal judge, surrendered himself to the district attorney and admitted to the murders.<mask> had noticed a couple of gaps in the coverage

masks: Underwood Underwood Underwood Underwood Underwood Underwood Underwood Underwood Underwood Underwood


title: Agness Underwood

texts:
 of the murders. She thought it odd that no one had interviewed Clark's parents. <mask> managed to locate them and they gave her an exclusive interview and photographs. <mask>'s interview with Clark's parents appeared in the paper under the headline "Mrs. Clark Says Son is Innocent", earning her a double column byline. <mask> was given an increasing number of major stories to cover for the Record, and her reputation as a reporter grew. She was offered a job at William Randolph Hearst's Herald-Express, but she turned it down. The Herald-Express expected her to provide her own automobile, but she did not own a car.In addition, she felt that she was gaining valuable experience in every aspect of the newspaper business at the perennially short-staffed Record, and she worried that she would be more constricted at the Herald-Express. Early in January 1935 the Herald-Express again offered <mask> a job. She had decided to decline the offer when a couple of days later she learned that the Record had been sold to the Illustrated Daily News. Despite assurances that her position would be safe, <mask> decided to accept the offer to work for the Herald-Express. Herald-Express

<mask>'s first assignment for the Herald-Express was to interview Amelia Earhart. The aviator had successfully completed a historic solo flight from Honolulu, Hawaii, to Oakland, California. <mask> staked out Earhart's North Hollywood home for several hours before she turned up.The interview was worth the wait; <mask> discovered that she was the only Herald-Express reporter who had caught up with Earhart. Three weeks after she began working at the Herald-Express, <mask>

masks: Underwood Underwood Underwood Underwood Underwood Underwood Underwood Underwood Underwood


title: Agness Underwood

texts: drew photographer Perry Fowler for a story on the rape of a sixteen-year-old girl. <mask> and Fowler worked together regularly after that and were unofficially regarded as a team. They made the early morning rounds (called "milk runs") of local jails. They visited the Lincoln Heights Jail almost daily, ferreting out crimes and scandals on which to report. Among the stories <mask> covered over the next twelve years were the untimely deaths of Hollywood stars Thelma Todd (whose autopsy she attended) and Jean Harlow. She wrote a series of articles on the lives of the women incarcerated in the California women's prison at Tehachapi, and she would report on nearly every major murder case in the city, culminating with the infamous murder of twenty-two-year-old Elizabeth Short in January 1947. she also reported on the case of Nellie May Madison who was convicted of shooting and killing her husband on March 24, 1935.At first <mask> assumed Madison was guilty because she was married five times and produced no children from the marriage. She eventually became an advocate for Madison and garnered outcry of letters which had Madison's conviction from death to life in prison. On January 15, 1947, the bisected body of a young woman was found in Leimert Park near Thirty-Ninth and Norton. According to <mask>, she was the first reporter to arrive at the body dump site. The dead woman was soon identified as Elizabeth Short from Medford, Massachusetts. <mask> stated in her autobiography, Newspaperwoman, that the popularization of Short's "Black Dahlia" nickname was the result of information she had received from a Los Angeles Police Department

masks: Underwood Underwood Underwood Underwood Underwood


title: Agness Underwood

texts:
 homicide detective. In the midst of reporting on the Black Dahlia case, <mask> was promoted to city editor of the Herald-Express.<mask> said that she had been pulled from reporting on the case twice, each time without warning, or explanation. The second time she was informed that her new assignment was as editor of the city desk. Wielding a sawed-off baseball bat and a starter pistol, <mask> ran a staff of hard-nosed reporters and photographers who called her "Aggie" (the nickname she had acquired while working at the Record) until her retirement in 1968. CBS lawsuit

On April 22, 1981, <mask>'s attorney, Caryl Warner, filed a $110 million defamation lawsuit against author Ovid Demaris and publisher Times Books over a passage in The Last Mafioso. The book related the life story of mobster Jimmy "The Weasel" Fratianno. The contested passage referred to an incident in the late 1940s involving gangster Mickey Cohen. According to Fratianno, Cohen had pocketed $1 million from contributors to the Israeli cause by planting a false story in the Herald-Express stating that the ship carrying the money had gone down at sea.Fratianno was quoted as saying:

"[Cohen's] got this broad at the Herald, Aggie <mask>. She's a big editor there and this broad would walk on hot coals for Mickey. Prints any shit he gives her. The way I see it, Mickey called her and made up a story about buying guns and ammunition for the Jews and told her the boat sank." Fratianno repeated the story to interviewer Mike Wallace on the CBS television show 60 Minutes, and the lawsuit was expanded to include Wallace et al. According to <mask>, she did not know Cohen until

masks: Underwood Underwood Underwood Underwood Underwood Underwood


title: Agness Underwood

texts:
 the early 1950s, a few years after the alleged incident. <mask> never denied being friends with Cohen, and she admitted that he was often a news source; in fact, Cohen had obtained the Lana Turner-Johnny Stompanato letters for <mask> after Turner's daughter, Cheryl, had been indicted for the stabbing death of Stompanato on April 4, 1958.<mask> died before the lawsuit could go to trial. The suit was later dropped by her family. Later life and death

In 1981, and in failing health, <mask> moved from Los Angeles to Greeley, Colorado, to live near her son and grandchildren. On July 3, 1984, she suffered a fatal heart attack. <mask>'s funeral was held at St. James Episcopal Church in downtown Los Angeles on July 7, 1984. Following her death, <mask> was eulogized in all of the local newspapers. The Herald-Examiner said:

"She was undeterred by the grisliest of crime scenes and had a knack for getting details that eluded other reporters.As editor, she knew the names and telephone numbers of numerous celebrities, in addition to all the bars her reporters frequented. She cultivated the day's best sources, ranging from gangsters and prostitutes to movie stars and government officials." <mask> is buried at Forest Lawn Memorial Park, Glendale, California, in the Court of Freedom, Sanctuary of Affection, crypt 1239. Filmography
On November 11, 1956, <mask> was the subject of an episode of the television program This Is Your Life. She was also the subject  of a 2017 film documentary entitled Agness <mask>: First Lady of the Newsroom. Honors and awards

March 31, 1949. Woman of Achievement Award, American Legion, Los Angeles County Council


title: Agness Underwood

texts:
 patriotic, cultural and charitable endeavors". November 6, 1966. Printer's Devil Award, Theta Sigma Phi, Los Angeles Chapter, for outstanding achievement in journalism –the first time the award was presented to a woman. March 20, 1967.Citation, U.S. Social Security Administration, for "…journalistic excellence" and community service. October 26, 1967. Named honorary citizen of Montebello and officially presented key to city by Mayor Anthony Lambo, at first annual Montebello Art Festival. (First U.S. citizen so designated—honor theretofore confined to foreign dignitaries.) Source: Agness Underwood Collection, California State University, Northridge

Legacy
The Agness <mask> Reporting Award is offered by the Department of Journalism at California State University, Northridge (CSUN). <mask>'s archives are held in Special Collections and Archives at CSUN's University Library. References

Further reading

 Bradley, Patricia.Women and the Press: The Struggle for Equality. Northwestern University Press, 2005. Cairns, Kathleen A. The Enigma Woman: The Death Sentence of Nellie May Madison. U of Nebraska Press, 2009. Cairns, Kathleen A. Front-Page Women Journalists, 1920-1950.New York: Penguin, 2006. Davies, David Randall. The Postwar Decline of American Newspapers, 1945-1965: The History of American Journalism. Greenwood Publishing Group, 2006. Donati, William. The Life and Death of Thelma Todd. McFarland, 2012.Hodel, Steve. The Black Dahlia Avenger: The True Story. Arcade Publishing, 2003. Lieberman, Paul. Gangster Squad: Covert Cops, the Mob, and the Battle for Los Angeles. St. Martin's Press, 2012. Starr, Kevin.Embattled Dreams:

masks: Underwood Underwood


title: Derrick Morgan

texts:
<mask> (born 27 March 1940) is a Jamaican musical artist popular in the 1960s and 1970s. He worked with Desmond Dekker, Bob Marley, and Jimmy Cliff in the rhythm and blues and ska genres, and he also performed rocksteady and skinhead reggae. Biography
In 1957, <mask> entered the Vere Johns Opportunity Hour, a talent show held at the Palace Theatre in Kingston. He won with rousing impressions of Little Richard and, shortly after that, was recruited to perform around the island with the popular Jamaican comedy team Bim and Bam. In 1959, <mask> entered the recording studio for the first time. Duke Reid, the sound system boss, was looking for talent to record for his Treasure Isle record label. <mask> cut two popular shuffle-boogie sides "Lover Boy", a.k.a."S-Corner Rock", and "Oh My". Soon after, <mask> cut the bolero-tinged boogie "Fat Man", which also became a hit. He also found time to record for Coxsone Dodd. In 1960 <mask> became the only artist ever to fill the places from one to seven on the Jamaican pop chart simultaneously. Among those hits were "Don't Call Me Daddy", "In My Heart", "Be Still", and "Meekly Wait and Murmur Not". But it was the following year that <mask> released the biggest hit of his career, the Leslie Kong production of "Don't You Know", later retitled "Housewives' Choice" by a local DJ. The song featured a bouncing ska riddim, along with a duet by <mask> and Millicent "Patsy" Todd."Housewives' Choice" began the rivalry between <mask> and Prince Buster, who accused <mask> of stealing his ideas. Buster quickly released "Blackhead Chiney Man", chiding <mask> with the sarcastic put-down, "I did not know your parents were from Hong Kong" – a swipe at Kong. <mask> returned with the classic "Blazing Fire", in which he warns Buster to "Live and let others live, and your days will be much

masks:
Derrick Morgan
Morgan
Morgan
Morgan
Morgan
Morgan
Morgan
Morgan
Morgan
Morgan
Morgan
Morgan


title: Derrick Morgan

texts: longer. You said it. Now it's the Blazing Fire". Buster shot back with, "Watch It Blackhead", which <mask> countered with "No Raise No Praise" and "Still Insist". Followers of the two artists often clashed, and eventually the government had to step in with a staged photo shoot depicting the rivals as friends.<mask> had a major success in 1962 with "Forward March", a song celebrating Jamaican independence from Great Britain. In the mid-1960s, when ska evolved into rocksteady, <mask> continued to release top quality material, including the seminal rude boy songs, "Tougher Than Tough", "Do the Beng Beng", "Conquering Ruler", and a cover of Ben E. King's soul hit, "Seven Letters". Produced by Bunny Lee, "Seven Letters" is often cited as the first true reggae single. In 1969 <mask> recorded the skinhead anthem "Moon Hop" (on Crab Records). However, failing eyesight then forced him to give up regular stage appearances. <mask> still performs occasionally at ska revival shows across the world – often backed by the guitarist Lynn Taitt. He remained popular in Jamaica and the UK into the early 1970s, and has lived primarily in the UK or the US since the late 1960s.With reggae music's significant popularity of reggae in the UK in the late 1960s and early 1970s, British reggae label Trojan Records created a subsidiary, Song Bird, to issue <mask>'s productions. The label issued 75 singles between 1969 and 1973. <mask> has written several songs that have won the Festival Song Contest for other artists, including "Jamaica Whoa" (1998, Neville Martin), "Fi Wi Island A Boom" (2000, Stanley Beckford), and "Progress" (2002, Devon Black). In July 2002 in Toronto, Ontario, Canada, a two-night "Legends of Ska" concert was held. Reuniting were The Skatalites, Lloyd Knibb, Rico Rodriguez, Lloyd Brevett, Lester Sterling, Johnny

masks: Morgan Morgan Morgan Morgan Morgan Morgan Morgan


title: Derrick Morgan

texts:
 Moore and Lynn Taitt; along with Prince Buster, Alton Ellis, Owen Gray, Lord Creator, Justin Hinds, <mask>, Winston Samuels, Roy Wilson, Patsy Todd, Doreen Shaffer, Stranger Cole, Lord Tanamo and <mask>. In 2007 <mask> appeared on the bill at the annual Augustibuller music festival. His song "Tougher Than Tough" was featured in the video game  Scarface: The World is Yours.<mask> retired from the music industry because of illness in the 2010s, but returned in 2016 to collaborate with Kirk Diamond on a remake of <mask>'s song 1960s "Conqueror". <mask> headlined the Supernova International Ska Festival, in Fredericksburg, Virginia on May 27–28, 2017. Discography

Albums
Seven Letters (1969)
<mask> in London (1969)
Moon Hop (1970)
Feel So Good (1975) (featuring Hortense Ellis)
People's Decision (1977)
Still in Love (1977) (also featuring Hortense Ellis)
Sunset at Moonlight City
Love City
The Legend of <mask> (1980)
I Am the Ruler (1992) – Trojan Records
Tougher Than Tough (Rudie in Court) (1992)
The Conquering Ruler (and the Sensational Yebo) (1994) – Pork Pie Records
Ska Man Classics (1995)
Ska Man Classics (1997)
21 Hits Salute (1997)
Meets the High Notes Live (2003)
Moon Hop: Best of the Early Years 1960–69 (2003)
Derrick:Top the Top (2003)
<mask> Meets the High Notes (2004)
Shake A Leg (2014)
Storybook Revisted (2019)

Singles
<mask> released nearly 200 singles in the UK, and more than 250 in Jamaica. These include:
"The Hop" / "Tell It To Me", 7-inch: Island WI 006, UK, 1962
"Forward March" / "Please Don't Talk About Me", 7-inch: Island WI 011, UK, 1962
"See The Blind" / "Cherry Home", 7-inch: Island WI 013, UK, 1962
"I Am The Ruler" / "I Mean It" Pyramid 1968
"No Dice" / "I Mean It" Pyramid 1968
"Fat Man" / "South Parkway Rock" Trojan TR 626 UK, 1968
Singles on Crab Records

"Moon Hop" – 1969 – UK

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Derrick Harriott
Derrick Morgan
Morgan
Morgan
Morgan
Morgan
Derrick Morgan
Derrick Morgan
Derrick
Morgan


title: Maria Martins (artist)

texts:
<mask> (born <mask>; 7 August 1894 – 27 March 1973) was a Brazilian visual artist who was particularly well known for her modern sculptures. Early life
<mask> was born on 7 August 1894 in Campanha, Brazil. to a minister father and a pianist mother. Her first husband was a literary critic named Otavio Tarquinio de Souza, with whom she had a daughter. However, when she married the young diplomat <mask> in 1926 she changed her name to <mask>. <mask> is known in the international world as “the sculptor of the tropics” and “the great sculptor of Surrealism”. Career
<mask> studied in diverse geographical locations in her early years, representing a time frame 1894 to 1938.Her initial education was in music at a French school in Rio de Janeiro, pursuing a career as a professional musician. Early in her first marriage she became interested in sculpture, and studied in Paris under Catherine Barjansky. While living in Japan she studied ceramics and Zen philosophy with D. T. Suzuki at the University of Kyoto. Her interest in sculptural abstractions was inspired by simple large wooden sculptures of her early Belgium instructor Oscar Jespers. This sculptural interest evolved to Surrealism, exploration of her Brazilian - Amazonian roots, and bronze casting under the teaching of Jacques Lipchitz. Lipchitz introduced <mask> to bronze casting using the Egyptian lost-wax casting technique, which she evolved by adding fat to the wax to increase the detail in her bronze sculptures. Eventually bronze became her creative process of choice.<mask>' association with the 1940s expatriate artist community in New York helped formulate her view on art’s political power. These views on art, its role in peace, and the responsibility of artists is articulated in an essay

masks:
Maria Martins
Maria de Lourdes Alves
Maria de Lourdes Alves
Carlos Martins
Maria Martins
Maria Martins
Martins
Martins
Martins


title: Maria Martins (artist)

texts: that was read into the U.S. congressional record on June 18, 1947 by Congressman Jacob Javits of New York. In the essay, titled Art, Liberation and Peace, she describes a world in which differences of race, nationalities, religions, social conditions and opinions are freely discussed, thereby negating the impacts of politics and wealth. She highlighted Adolf Hitler’s destruction of works of art as the beginning of his “nihilistic drive of conquest, domination and destruction”. She describes art as an appeal to emotions, a liberation and is immortal emphasizing that art’s value is to mobilize human beings to counter the impacts of war. In 1939 her husband Carlos became the Brazilian ambassador to the United States, moving their family to the States. During her US residency from 1939 to 1949, <mask> studied with the sculptors Jacques Lipchitz and printmaker Stanley William Hayter.Lipchitz introduced her to bronze casting and encouraged exploration of Surrealism and her Brazilian roots. She evolved to using the Egyptian lost-wax casting technique as her creative process of choice. In 1941 <mask> had a solo exhibition of her work, entitled Maria, at the Corcoran Gallery of Art in Washington, D.C. In 1943 the Valentine Gallery in New York City organized a two-artist exhibition with <mask> and Piet Mondrian, Maria: New Sculptures and Mondrian: New Paintings. <mask> later bought Mondrian's famous work from the exhibition, Broadway Boogie Woogie, for only $800, though she eventually donated it to the Museum of Modern Art. Also in 1943 she met André Breton and other surrealists in exile and collaborated with them in the surrealist journal VVV. Breton celebrated her sculpture and wrote the preface to the catalogue for her 1947 solo show at the

masks: Martins Martins Martins Martins


title: Maria Martins (artist)

texts:
 Julien Levy Gallery in New York, it states that “<mask> owes nothing to the sculpture of the past or the present – she is far too sure, for that, of the original rhythm which is increasingly lacking in modern sculpture; she is prodigal with what the Amazon has given her”.She took part in the International Surrealist Exhibition in Paris in 1947. Surrealism
<mask> was completely marginalized in accounts of Surrealism for decades, despite her sculpture being included in a number of surrealist exhibitions and publications and the prominent role she played in the movement during the 1940s. <mask> came to the surrealist movement late. She borrowed from artists like Giacometti, Ernst, and Arp. <mask> learned to work in bronze from Jacques Lipchitz, whose influence can perhaps be seen in “Impossible III” (1946). Brazilian anthropophagy and cannibalism interested <mask> and informed much of her later work. Example of this can be seen in works like her 1942 sculpture “Yara,” inspired by the Tupi or Guarani Indian myth of a man-eating river goddess.Yara would sing her song of seduction to passing men enticing them to visit her jungle domain where she would devour them, like an insect in a Venus flytrap. Imagery like this caught the attention of Surrealist Movement founder, Andre Breton, at her 1943 exhibition at the Valentine Gallery. Here, Breton connected <mask>’s interest in the mythology of the Amazon River with his own desire to create new myths to base a future society on. Breton recounted the impact Martin’s sculpture had on him in his preface to her 1947 exhibition at the Julien Levy Gallery:”<mask>’s sculpture began to carry a whole legend on its shoulders, a legend that was nothing less than the Amazon itself. Sculpture garlanded, like the

masks: Maria Martins Martins Martins Martins Maria Maria


title: Maria Martins (artist)

texts: Amazon’s own waters, with tropical creepers. This legend sang in those works of hers which I had the chance to see in New York in 1943 and admired so greatly. Just as it sang with all its immemorial voices man’s passion from birth to death, re-created in symbols of unparalleled denseness by the Indian tribes which have succeeded each other along those treacherous banks.In her bronzes...<mask> has succeeded marvelously in capturing at their primitive source not only anguish, temptation and fever, but also the sunrise, happiness and calm, and even occasionally pure delight; she is the emanation of all these things, all these wings and flowers. <mask> owes nothing to the sculpture of the past or the present—she is far too sure, for that, of the original rhythm which is increasingly lacking in modern sculpture; she is prodigal with what the Amazon has given her—the overwhelming abundance of life. "Breton did not know that <mask>’s interest in her cultural myths pre-dated her involvement with the Surrealists by over a decade. This can be seen in the works she made in the mid-to-late 1930s under the influence of Catherine Barjanski whom she studied with in Paris, and Oscar Jespers whom she studied with in Belgium. Though most of the sculptures <mask> made before moving to America in 1939 are now lost, a visual record of these works is found in an unpublished photograph album that she assembled in the early 1940s documenting her early sculptures. <mask> carved her early figures in wood from the subtropical jacaranda tree, which is native to Brazil. Jacaranda’s straight grain and relatively soft, knot-free properties made it ideal for sculpting.<mask> chose this specific wood also to resonate with the Brazilian themes of her work. Her 1939 work

masks: Maria Maria Maria Martins Martins Martins


title: Maria Martins (artist)

texts:
 “Macumba” references the underground Afro-Brazilian religion, imagery she frequently references in subsequent works. Étant donnés
<mask> had an affair with the artist Marcel Duchamp, which lasted for several years from 1946 onwards, ending with her departure for Brazil in 1951 and with his 1954 marriage to his second wife Alexina Duchamp. In 2009, members of <mask>'s family released letters written by Duchamp and <mask> that substantiated previous claims that <mask> was indeed the model for the nude figure in Duchamp's final masterpiece, the Étant donnés, as opposed to his wife Teeny. It is now widely acknowledged that <mask> was the model for the reclining nude torso in Duchamp's installation piece and that his wife Alexina (Teeny) served only as the model for the figure's arms. On her return to Brazil in 1949, critics in Brazil did not favor her work, feeling it was non-traditional and too erotic. <mask> helped to found the very first edition of the São Paulo Art Biennial.While in Brazil she took part in the International Surrealist Exhibition in Paris 1959-1960, New York (1960–61) and São Paulo (1967). <mask> leveraged her international connections to promote modern art in Brazil. She was a founding member of the Museum of Modern Art in Rio in 1952. Later in her life she returned to writing and published poetry and essays on Friedrich Nietzsche and China. Death
<mask> died on 27 March 1973 in Rio de Janeiro. Public collections
<mask>' work can be found in a number of public institutions, including:

Museum of Modern Art
Metropolitan Museum of Art
Brooklyn Museum
 The Baltimore Museum of Art

References

1894 births
1973 deaths
Brazilian women sculptors
20th-century Brazilian sculptors
20th-century Brazilian women artists
People from

masks: Martins Martins Martins Martins Martins Martins Martins Martins Martins


title: Vincent Schaefer

texts:
<mask> (July 4, 1906 – July 25, 1993) was an American chemist and meteorologist who developed cloud seeding. On November 13, 1946, while a researcher at the General Electric Research Laboratory, Schaefer modified clouds in the Berkshire Mountains by seeding them with dry ice. While he was self-taught and never completed high school, he was issued 14 patents. Personal life
The <mask> family lived in Schenectady, New York, and due to his mother's health, starting in 1921 the family made summer trips to the Adirondack Mountains. <mask>er had a lifelong association with the Adirondacks, as well as interests in hiking, natural history, and archeology. In his youth he was the founder of a local tribe of the Lone Scouts and with some of his tribe mates wrote and printed a tribe paper called "Archaeological Research." Schaefer credited this publication with his introduction to many prominent individuals in the Schenectady area, including Dr. Willis Rodney Whitney of the General Electric Research Laboratory.During the late 1920s and early 1930s, Schaefer built up his personal library on natural history, science, and his other areas of interest and read a great deal. He also organized groups with those who shared his many interests — the Mohawk Valley Hiking Club in 1929, the Van Epps-Hartley Chapter of the New York Archaeological Association in 1931, and the Schenectady Wintersport Club (which established snow trains to ski slopes in the Adirondacks) in 1933-34. In 1931 Schaefer began work on creating the Long Path of New York (a hiking trail beginning near New York City and ending at Whiteface Mountain in the Adirondacks). During this period Schaefer also created adult education programs on natural history topics which gave him opportunities to speak in the community. Through these many activities Schaefer continued to expand his acquaintances, including John S. Apperson, an engineer at General Electric and a devout conservationist of the Adirondacks. Apperson introduced Schaefer

masks:
Vincent Joseph Schaefer
Schaefer
Vincent Schaef


title: Vincent Schaefer

texts:
 Sciences Research Center, State University of New York, 1978.The air quality patterns of aerosols on the global scale, Atmospheric Sciences Research Center, State University of New York, 1976. Hailstorms and hailstones of the western Great Plains, Smithsonian Institution, 1961. The possibilities of modifying lightning storms in the northern Rockies, Northern Rocky Mountain Forest & Range Experiment Station, 1949. Heat requirements for instruments and airfoils during icing storms on Mt. Washington, General Electric Research Laboratory, 1946. The Use of high speed model propellers for studying de-icing coatings at the Mt. Washington Observatory, General Electric Research Laboratory, 1946.The Liquid water content of summer clouds on the summit of Mt. Washington, General Electric Research Laboratory, 1946. The Preparation and use of water sensitive coatings for sampling cloud particles, General Electric Research Laboratory, 1946. A Heated, vaned pitot tube and a recorder for measuring air speed under severe icing conditions,  General Electric Research Laboratory, 1946. Fossilizing snowflakes, 1941. Grenander Department of Special Collections and Archives, University at Albany Libraries. Our History, GE Global Research.Accessed February 14, 2006
Weather Services in the US: 1644-1970, National Weather Service Weather Forecast Office. <Serendipity in Science: Twenty Years at Langmuir University, and autobiography (1993), Compiled and Edited by Don Rittner, Square Circle Press, Voorheesville, NY>

External links
Finding Aid for the Papers of <mask> J. Schaefer, M.E. Grenander Department of Special Collections and Archives, University at Albany Libraries. Weather Modification: The Physical basis for Cloud Seeding
Manipulating the weather, CBC. 1906 births
1993 deaths
American people of German descent
20th-century American chemists
American meteorologists
General Electric people
Scientists from Schenectady, New York
University at Albany, SUNY faculty
Weather modification
Weather


title: Margaret Reed Lewis

texts:
<mask> (1881–1970) was an American cell biologist and embryologist who made contributions to cancer research and cell culture techniques, and was likely the first person to successfully grow mammalian tissue in vitro. She authored around 150 papers, many co-authored with her husband <mask>. The <mask>es developed a growth medium called the Locke-Lewis solution and jointly received the Gerhard Gold Medal from the Pathological Society of Philadelphia. Early life and education
<mask> was born in Kittanning, Pennsylvania, on November 9, 1881, to parents Joseph C. and Martha A. (Walker<mask>. From 1897 to 1901 she attended Goucher College (then known as Woman's College of Baltimore), where she earned an A.B. After graduation she studied at Bryn Mawr College, Columbia University, and the Universities of Zurich, Paris, and Berlin,  but never earned a graduate degree.At Bryn Mawr and Columbia she researched regeneration in amphibians and crayfish, and assisted noted embryologist Thomas Hunt Morgan. Career

Mammalian in vitro culture
In 1908, <mask> researched in Berlin in Max Hartmann's lab where she performed probably the first in vitro mammalian cell culture with guinea pig bone marrow by explanting the bone marrow and placing it into a nutrient-rich agar produced by fellow lab researcher Rhoda Erdmann and incubating the sample. A few days after doing so, she found that some of the nuclei exhibited characteristics of mitosis. This discovery was revisited by <mask> after she married <mask>, in 1910. In their combined efforts, the <mask>es found that cell proliferation with their media selection and methods seemed only to occur in tissues common to all organs, such as connective tissue and blood vessel endothelium. Since the <mask>es main interest was microscopic cell structures, their objective was

masks:
Margaret Adaline Reed Lewis
Warren Harmon Lewis
Lewis
Margaret Adaline Reed
) Reed
Margaret Reed
Margaret Reed
Warren Lewis
Lewis
Lewis


title: Margaret Reed Lewis

texts:
 to create optically clear media, which led to the creation of the Locke-Lewis solution. This medium is composed of salt solutions supplemented with bouillon and dextrose.The tissue grown in this medium was prepared in a method that become known as the “Lewis Culture” where the tissue bits were put into a hanging drop on the underside of a thin glass slip. In the Locke-Lewis solution, the more robust cells, such as fibroblasts and macrophages, had a tendency to migrate out of the explant and flatten, making them easy to observe under high magnifications. Cell biology
<mask> was among the first scientists to observe the dynamics of mitochondria in living cells. In 1915 <mask> and <mask> published a comprehensive analysis of the shapes and movements of mitochondria in cultured cells. <mask>'s pioneering time-lapse studies included observations of mitochondrial movement toward and away from the centrosome, mitochondrial fission, and mitochondrial fusion. In the same paper, <mask> presented perhaps the first descriptions of stress-induced mitochondrial fragmentation and mitophagy. Embryology
<mask> and her husband helped develop and put into practice the first experimental systems for observing and understanding somatic cell physiology in complex organisms, which demonstrated that the behavior of these autonomous cells had a significant relationship to the development, infection, immunity, physiology and development of cancer for the organism.As a result, their work served to establish the importance of cellular behavior. As a result, this couple's greatest impact on embryology and cell biology in the twentieth century was teaching later generations of biologists the basic factors involved in tissue culture based on what they had learned from their research. The <mask>es saw a place for the

masks:
Lewis
Margaret
Warren Lewis
Lewis
Lewis
Lewis
Lewis


title: Margaret Reed Lewis

texts: findings on the cell related to embryology as well, and expressed this perspective to the president of the Carnegie Institution of Washington when they wrote to him that knowing the extent of a cell's permanent individuality must be determined before it is possible to understand how they cooperate and are integrated into a tissue. This perspective is what gave <mask> and <mask> their place in the Department of Embryology at the Carnegie Institution. With so many avenues opened by cell culture to explore, <mask> and her husband diverged in their area of study, with <mask> choosing to focus on microbiological problems, which involved close observations of chick embryo intestines reacting to typhoid bacilli in the medium in which it was grown. Through the tissue culture techniques the <mask>es had developed, these studies showed that infections and diseases were cellular phenomena in that infection was observed in an isolated system but the events occurred in a way that would be observed in an organism as a whole. In her work with chick embryos, <mask> studied connective tissue formation within the tissues as well as outside of an environment where factors involved in coagulation are present.<mask> observed that the connective tissue fibrils resulted from the cytoplasmic transformations of the cells. In her studies of explanted tissue cultures, <mask> noted that the cells choose to migrate away from the tissue sample and divide as individual cells, resulting in loss of the tissue's characteristic appearance. However, she also made the distinction that the cells do not become more embryonic like Champy and others claimed, but instead lose their differentiated appearance as a tissue. This spreading of the cells and lack of characteristic tissue form caused fibril development in many tissue cultures

masks:
Margaret
Warren Lewis
Margaret Lewis
Margaret Lewis
Lewis
Margaret Lewis
Lewis
Lewis


title: Margaret Reed Lewis

texts:
 to be lacking; however, there were a few cultures where connective tissue fibers did develop, and their progression could be tracked. She observed that fibrils start as delicate lines in the exoplasm and become bundles that are passed between cells. <mask> also found no evidence of vacuoles forming fibrils as was believed to be the case by other researchers. Cancer
In 1951, <mask> isolated a spontaneous epidermoid carcinoma in a mouse lung, which became known as a Lewis lung carcinoma.This carcinoma was one of the earliest tumors that could be transplanted and used to determine if a compound had potential as an anticancer agent. It has played a significant role in more recent tumor models used in metastatic and angiogenesis studies as it is a highly malignant carcinoma, producing tumors when it was transplanted and increasing metastatic growth after the subcutaneously implanted carcinoma is removed. Some of <mask> <mask>’ research in the mechanics of cancer included myeloid infiltration and strangulation-induced atrophy of tumors in rats. In her study on myeloid infiltration, <mask> found that this phenomenon occurred in the adrenals but was not common to all subjects tested with tumors. However, tumor growth seemed to be associated with the progression of neutrophilia in peripheral blood and myeloid hyperplasia in certain organs. In the tumor atrophy paper, <mask> showed that tumor tissue inactivated in environments devoid of sufficient circulation and continued to stay in this arrested state when transplanted to other rats. This led to absorption and resistance to viable tumor implantation.Teaching
Between 1901 and 1912, <mask> held several teaching positions. She was an assistant in zoology at Bryn Mawr College (1901–1902); a science teacher at Miss Chapin's School, lecturer in physiology

masks:
Lewis
Lewis
Margaret Reed
Lewis
Lewis
Margaret Lewis
Lewis


title: Margaret Reed Lewis

texts:
 at New York Medical College for Women (1904–1907); lecturer at Barnard College (1907–1909), and instructor of anatomy and physiology at the Johns Hopkins Hospital Training School for Nurses (1911–1912). Marriage
In 1910 she married Warren Harmon <mask>, also a cell physiologist. The <mask>es collaborated on many research projects over the years, including the discovery that macrophage cells derived from monocytes and were not separate cell types. Whether working on an independent or collaborative project, the couple worked alongside each other in lab and consulted with each other on their findings. Their children were <mask> <mask>, who became a physicist, Warren R<mask>, who worked as an engineer and atomic physicist, and Jessica H<mask>, who was an associate research professor. Later life, legacy and death
As a female scientist in the early twentieth century, <mask> <mask> was not able to push her own achievements in her field of work, but she with her husband was able to further develop tissue culturing techniques and demonstrate how single cells impacted the organism as a whole.In 1915 <mask> joined the Carnegie Institution of Washington. In 1940 she was elected to the Wistar Institute in Philadelphia, and was an honorary life member of the Tissue Culture Society. <mask> with her husband was awarded a William Wood Gerhard Gold Medal by the Pathological Society of Philadelphia in 1958 because of their contributions to pathology. <mask> died on July 20, 1970, at the age of 88. References

External links

American medical researchers
Cell biologists
American embryologists
1871 births
1970 deaths
American women biologists
Women medical researchers
Goucher College alumni
People from Kittanning, Pennsylvania
Scientists from Pennsylvania
20th-century American biologists
20th-century American

masks:
Lewis
Lewis
Margaret Nast
Lewis
. Lewis
. Lewis
Margaret Reed
Lewis
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Lewis


title: Hubertus Strughold

texts:
<mask> (June 15, 1898 – September 25, 1986) was a German-born physiologist and prominent medical researcher. Beginning in 1935 he served as chief of aeromedical research for Hermann Göring's Ministry of Aviation, holding this position throughout World War II. In 1947 he was brought to the United States as part of Operation Paperclip and went on to serve in a number of high-level scientific posts with the US Air Force and NASA. For his role in pioneering the study of the physical and psychological effects of manned spaceflight he became known as "The Father of Space Medicine". Following his death, <mask>'s activities in Germany during World War II came under greater scrutiny in the media and allegations surrounding his involvement in Nazi-era human experimentation greatly damaged his legacy. Biography

Early life and academic career
<mask> was born in the town of Westtünnen-im-Hamm in the Prussian province of Westphalia on 15 June 1898. As a young man he studied medicine and the natural sciences at the Ludwig Maximilian University of Munich and the Georg August University of Göttingen, where he received his doctorate (Dr. med.et phil.) in 1922. He later went on to obtain his medical degree (Dr. med.) from the University of Münster and completed his habilitation (Dr. habil.) at the Julius Maximilian University of Würzburg in 1927.<mask> also worked

masks:
Hubertus Strughold
Strughold
Strughold
Strughold


title: Hubertus Strughold

texts:
 as a research assistant to the renowned German-Austrian physiologist Dr. Maximilian von Frey. He continued on at the University of Würzburg and pursued a career as a professor of physiology. During this time <mask>'s attention was increasingly drawn to the emerging science of aviation medicine and he collaborated with the famed World War I pilot Robert Ritter von Greim to study the effects of high-altitude flight on human biology. In 1928 <mask> traveled to the United States on a year-long research fellowship from the Rockefeller Foundation. He conducted specialized studies into aviation medicine and human physiology at the University of Chicago and Case Western Reserve University in Cleveland, Ohio. He also toured the medical laboratories at Harvard, Columbia and the Mayo Clinic. <mask> returned to Germany the following year and accepted a teaching position at the Würzburg Physiological Institute before eventually becoming a professor of physiology at Friedrich Wilhelm University in Berlin.Work for Nazi Germany
Through his association with Robert Ritter von Greim (now Adolf Hitler's personal pilot), <mask> became acquainted socially with Hermann Göring and other high-ranking members of the Nazi regime, though he never formally joined the Nazi Party. In April 1935, he was appointed director of the Berlin-based Research Institute for Aviation

masks: Strughold Strughold Strughold Strughold


title: Hubertus Strughold

texts:
 Medicine, a medical think tank that operated under the auspices of the Reich Ministry of Aviation. Under <mask>'s leadership, the Institute grew to become Germany's foremost aeromedical research establishment, pioneering the study of the physical effects of high-altitude and supersonic speed flight, along with establishing the altitude chamber concept of "time of useful consciousness". Though <mask> was ostensibly a civilian researcher, the majority of the studies and projects his institute undertook were commissioned and financed by the German armed forces (principally the Luftwaffe) as part of the Nazi's ongoing policy of re-armament preceding World War II. With the outbreak of war in 1939 the organization was absorbed into the German military and attached to the medical corps of the Luftwaffe where it was renamed the Air Force Institute for Aviation Medicine and placed under the command of Surgeon-General (Generaloberstabsarzt) Erich Hippke. <mask> himself was also commissioned as an officer in the German air force, eventually rising to the rank of Colonel (Oberst). Human experimentation
In October 1942, <mask> and Hippke attended a medical conference in Nuremberg where  SS-Hauptsturmführer Dr. Sigmund Rascher delivered a presentation outlining various "scientific" experiments he had conducted in conjunction with the Luftwaffe medical corps in


title: Hubertus Strughold

texts: which prisoners from the Dachau concentration camp were used as human test subjects.These experiments included physiological tests during which camp inmates were immersed in freezing water, placed in air pressure chambers and made to endure exploratory surgery without anesthetic. Many of the inmates forced to participate died as a result. What, if any, role <mask> himself may have had in Rascher's experiments remains a source of controversy. However several junior physicians who had participated in the medical atrocities had close personal and professional ties to <mask>, through both the Institute for Aviation Medicine and the Luftwaffe medical corps. Following the German surrender in May 1945, <mask> claimed to Allied authorities that, despite his senior position with the Luftwaffe medical corps and his attendance at the October 1942 Nuremberg conference, he had no knowledge of the atrocities committed at Dachau. He was never subsequently charged with any wrongdoing by the Allies. However, a 1946 memorandum produced by the staff of the Nuremberg Trials listed <mask> as one of thirteen "persons, firms or individuals implicated" in the war crimes committed at Dachau.In addition, several of <mask>'s wartime associates, including his former assistant Hermann Becker-Freyseng, were convicted of crimes against humanity in connection with the Dachau

masks: Strughold Strughold Strughold Strughold Strughold


title: Hubertus Strughold

texts:
 experiments at the 1946-1947 Nuremberg Doctor's Trial. During these proceedings, <mask> contributed several affidavits for the defense on behalf of his accused colleagues. Work for the United States
In October 1945 <mask> returned to academia, becoming director of the Physiological Institute at Heidelberg University. He also began working on behalf of the US Army Air Force, becoming Chief Scientist of its Aeromedical Center, located on the campus of the former Kaiser Wilhelm Institute for Medical Research. In this capacity <mask> edited German Aviation Medicine in World War II, a book-length summary of the knowledge gained by German aviation researchers during the war. In 1947, <mask> was brought to the United States, along with many other highly valuable German scientists, as part of Operation Paperclip. With another former Luftwaffe physician, Richard Lindenberg, <mask> was assigned to the US Air Force School of Aviation Medicine at Randolph Field near San Antonio, Texas.It was while at Randolph Field that <mask> began conducting some of the first research into the potential medical challenges posed by space travel, in conjunction with fellow "Paperclip Scientist" Dr. Heinz Haber. <mask> coined the terms "space medicine" and "astrobiology" to describe this area of study in 1948. The following year he was appointed as the first and only

masks: Strughold Strughold Strughold Strughold Strughold Strughold Strughold


title: Hubertus Strughold

texts: Professor of Space Medicine at the US Air Force's newly established School of Aviation Medicine (SAM), one of the first institutions dedicated to conducting research on "astrobiology" and the so-called "human factors" associated with manned spaceflight. He first described "Mars jars", containers that simulate the atmosphere of Mars, that have now become an essential tool in astrobiological research. Under <mask>, the School of Aviation Medicine conducted pioneering studies on issues such as atmospheric control, the physical effects of weightlessness and the disruption of normal time cycles. In 1951 <mask> revolutionized existing notions concerning spaceflight when he co-authored the influential research paper Where Does Space Begin? in which he proposed that space was present in small gradations that grew as altitude levels increased, rather than existing in remote regions of the atmosphere.Between 1952 and 1954 he would oversee the building of the space cabin simulator, a sealed chamber in which human test subjects were placed for extended periods of time in order to view the potential physical, astrobiological, and psychological effects of extra-atmospheric flight. <mask> obtained US citizenship in 1956 and was appointed Chief Scientist of the National Aeronautics and Space Administration's (NASA) Aerospace Medical Division in 1962. While at

masks: Strughold Strughold Strughold


title: Hubertus Strughold

texts:
 NASA, <mask> played a central role in designing the pressure suit and onboard life support systems used by both the Gemini and Apollo astronauts. He also directed the specialized training of the flight surgeons and medical staff of the Apollo program in advance of the planned mission to the Moon. <mask> retired from his position at NASA in 1968. Controversy
During his work on behalf of the US Air Force and NASA, <mask> was the subject of three different US government investigations into his suspected involvement in war crimes committed under the Nazis. A 1958 investigation by the Justice Department fully exonerated <mask>, while a second inquiry launched by the Immigration and Naturalization Service in 1974 was later abandoned due to lack of evidence.In 1983 the Office of Special Investigations reopened his case but withdrew from the effort when <mask> died in September 1986. Following his death, <mask>'s alleged connection to the Dachau experiments became more widely known following the release of US Army Intelligence documents from 1945 that listed him among those being sought as war criminals by US authorities. These revelations did significant damage to <mask>'s reputation and resulted in the revocation of various honors that had been bestowed upon him over the course of his career. In 1993, at the request of the World Jewish Congress, his


title: Hubertus Strughold

texts:
 portrait was removed from a mural of prominent physicians displayed at Ohio State University. Following similar protests by the Anti-Defamation League (ADL), the Air Force decided in 1995 to rename the Hubertus Strughold Aeromedical Library at Brooks Air Force Base, which had been named in <mask>'s honor in 1977. His portrait, however, still hangs there. Further action by the ADL also led to <mask>'s removal from the International Space Hall of Fame in Alamogordo, New Mexico in May 2006.Later revelations
Further questions about <mask>'s activities during World War II emerged in 2004 following an investigation conducted by the Historical Committee of the German Society of Air and Space Medicine. The inquiry uncovered evidence of oxygen deprivation experiments carried out by Strughold's Institute for Aviation Medicine in 1943. According to these findings six epileptic children, between the ages of 11 and 13, were taken from the Nazis' Brandenburg Euthanasia Centre to Strughold's Berlin laboratory where they were placed in vacuum chambers to induce epileptic seizures in an effort to simulate the effects of high-altitude sicknesses, such as hypoxia. While, unlike the Dachau experiments, all the test subjects survived the research process, this revelation led the Society of Air and Space Medicine to abolish a major award bearing <mask>'s name. A


title: Hubertus Strughold

texts:
 similar campaign by American scholars prompted the US branch of the Aerospace Medical Association to announce in 2012 that it would also consider renaming a similar award, also named in <mask>'s honor, which it had been bestowing since 1963. The move was met with opposition from defenders of <mask>, citing his many notable contributions to the American space program and the lack of any formal proof of his direct involvement in war crimes. Awards and honors
Known as The Father of Space Medicine
Theodore C. Lyster Award, Aerospace Medical Association, 1958
Louis H. Bauer Founders Award, Aerospace Medical Association, 1965

Hubertus Strughold Award
The Hubertus Strughold Award was established by the Space Medicine Branch, known today as the Space Medicine Association, a member organization of the Aerospace Medical Association.In 1962 the Award was established in honor of Dr. <mask> <mask>, also known as "The Father of Space Medicine". The award was presented every year from 1963 through 2012 to a Space Medicine Branch member for outstanding contributions in applications and research in the field of space-related medical research. Awardees

1960s
1963 Cpt. Ashton Graybiel, Cpt. M.D., USN
1964 Maj. Gen. Otis O. Benson, Jr., USAF, M.C. 1965 Hans-Georg Clamann, M.D. 1966 Hermann J. Schaefer, Ph.D.
1967 Charles Alden Berry, M.D.1968 David G. Simons, M.D.

masks: Strughold Strughold Hubertus Strughold


title: Hubertus Strughold

texts:
 Vanderploeg, M.D. 2010s
2010 Irene Duhart Long, M.D. 2011 Michael Barratt, M.D. 2012 Smith L. Johnston III, M.D. 2013 Award retired by the Space Medicine Association

See also
Aerospace Medical Association
Human factors and ergonomics
Nazi human experimentation
Sigmund Rascher

References

Bibliography

External links
Additional references and photograph at  and
 February 22, 1982, March 8, 1982, March 15, 1982, April 19, 1982, April 27, 1982, Interview with <mask> <mask>, May 23, 1982, University of Texas at San Antonio: Institute of Texan Cultures: Oral History Collection, UA 15.01, University of Texas at San Antonio Libraries Special Collections.1898 births
1986 deaths
People from Hamm
Physicians in the Nazi Party
People from the Province of Westphalia
Luftwaffe personnel of World War II
German military doctors
German physiologists
Rockefeller Fellows
Ludwig Maximilian University of Munich alumni
University of Göttingen alumni
University of Würzburg alumni
Heidelberg University faculty
German emigrants to the United States
United States Air Force civilians
People from San Antonio
Early spaceflight scientists
NASA people
American physiologists
Operation Paperclip
United States Air Force School of Aerospace Medicine
Recipients of the Order of Merit of the Federal Republic of

masks: Hubertus Strughold


title: Peju Alatise

texts:
<mask> (born 1975) is a Nigerian artist, poet, writer, and a fellow at the National Museum of African Art, part of the Smithsonian Institution. Alatise received formal training as an architect at Ladoke Akintola University in Oyo State, Nigeria. She then went on to work for 20 years as a studio artist. Her work was exhibited at Venice Biennale’s 57th edition, themed Viva Arte Viva (Long Live Art). <mask>, along with two other Nigerian artists, Victor Ehikhamenor and Qudus Onikeku, were the first Nigerians to appear at the art exhibition. Her work was a group of life-size figures based on the life of a servant girl. Alatise was a recipient of the 2017 FNB Art Prize.Alatise cites artist David Dale, Bruce Onabrakpeya, Nike Monica Davies, Susanna Wenger, Nigerian and Yoruba culture as influences of her artwork. Early life
Alatise was born in 1975 in Lagos, Nigeria. She and her seven siblings grew up in a traditional Muslim family. Alatise first considered art as a career at age fifteen when she viewed an exhibit by Nigerian artist David Dale. When Alatise expressed her plan to become an artist, her father discouraged the idea, feeling that art was a waste of time. He wanted his daughter to choose an occupation that was more economically stable. Her mother, however, supported Alatise's artistic pursuits, as a spiritualist had foretold that Alatise would one day be wealthy.Despite his original disapproval, her father was eventually won over to the idea before he died. Before pursuing art, Alatise studied architecture at a university, valuing the way it taught her to see and think logically. During her college years Alatise began to explore her interests in art by visiting Jakande, a crafts market in Lagos. There, she

masks:
Peju Alatise
Alatise


title: Peju Alatise

texts:
 practiced various media, including painting, sculpting, and jewelry making. Career
She began her art career with painting, then branched out to be a multimedia artist, using beads, cloth, resin and other materials. She now works in sculpture, using her art to make statements about social issues, while incorporating literature, symbolism and traditional Yoruba mythology into her works. Alatise also used media such as bead making, visual arts consultancy, creative writing, leather accessory designing, and interior designing.According to Vogue, “<mask> defines her artistic practice as a search for truth and to this end much of her work centres on women in Nigeria and on the political and religious issues at the heart of the country.” Strongly believing that an artist should depict the world she lives in, Alatise strives to visualize social issues of her country and personal experience. Considering the strongly held social views of gender roles in Nigeria, it is not surprising that much of Alatise's artwork focuses on gender inequality and women's rights. Using her art to make statements about social issues, Alatise acts as a creative social activist through art. Alatise's work expands on Afro-feminist views by fracturing the male mould of Modern African culture. Over the years, Alatise's work has put her on a pedestal with many other distinguished Nigerian female artists like Nike Davies Okundaye, Lara Ige-Jacks, and Ndidi Dike. Although Alatise started her artistic career by exploring three-dimensional illusions on two-dimensional surfaces, she also creates through literature. This combined love of art and literature is reflected in one of her most stunning pieces, "Flying Girls".Exhibited in Venice Biennale, this


title: Peju Alatise

texts:
 piece consisted of eight life-size girls with wings, and, according to fashion and entertainment website BellaNaija, is "based on the story of a ten-year-old girl who works as a housemaid in Lagos while dreaming of a realm where she is free, who belongs to no one but herself, and can fly." Bella also states that this piece "addresses the injustice of the present, but through a vision of a safer imaginary future, especially for little girls." Additionally, this work addresses the issue of child labor. <mask> more directly combines her multidisciplinary skills in her 2013 exhibition, titled Wrapture. This piece combined short stories with sculptures, creating a visual narrative. <mask> has authored two novels her debut novel called Orita meta and is a leading voice for contemporary African artists. She has used her work as a medium and voice to address societal ills and changing the stereotypical narrative and ideology.<mask> <mask> is a fellow at the National Museum of African Art, part of the Smithsonian Institution. Art auctions
<mask>'s 2011 work titled "Ascension" was sold at N4.4 million in Nigeria's Art Auction, this made her work the best priced among emerging artists. Awards
Alatise received the 2017 FNB Art Prize at the launch of the 10th installment of the FNB Joburg Art Fair. This art fair is located in Johannesburg, South Africa. Other accomplishments
Her most recent concerns include creating artist residencies in Morocco and Turkey. These are places where artists can live and work on their various art projects while being near other artists with similar interests. In this way, Alatise focuses on supporting up-and-coming artists.In an interview with Aljazeera, <mask> described her goals in these words:

masks: Alatise Peju Peju Alatise Alatise Alatise


title: Peju Alatise

texts:
 "When I look at the standard in which I want my work to be, I look at what is happening on a global scale. The artists who inspire me are [those] whose works engage in a way that either inform or inspire you, [that] talk to the true essence of the human in you and I want my work to do the same." <mask> founded the ANAI Foundationa non-profit foundation dedicated to the development of visual arts in Nigeria, offering sponsored training programs for artists. Exhibitions
She has exhibited her works in various countries including the 2014 Casablanca biennale in Morocco, Cooper gallery for African and African American art Harvard University-2017, Resignification of Black body 2016 in Museo Bardini – Florence. Familiar boundaries - Infinite possibilities exhibition, August Wilson centre, Pittsburgh,  USA. Curator- Kilolo Luckett, October 2018 to March 2019. EVA Ireland Biennial 2018.Curator- Inti Guerrero. Manifesta 12, Resignification of Black bodies. Palermo, Italy, Curator- Awam Ampka (New York University) June 2018. Péju Alatise 'Memoirs of the forgotten' 2019  Sulger Buel Gallery, London. Intricacies: Fragment & Meaning Aicon Gallery, New York 2019
Material Witness (2012): Nike Art Gallery, Lagos. Photography by Marc C and Yinka Akingbade
WRAPTURE: a Story of Cloth (Sept 12- Nov 16, 2013): Art Twenty-One, Lagos. Photography by Marc C and Yinka Akingbade
Casablanca Biennale 2014: Ifitry residency, Essaouira, 2013
1:54 CONTEMPORARY AFRICAN ARTFAIR (2014): Somerset House, London
57th Venice Biennale (2017): August Wilson Centre for Arts, 2018
Prelude, pretexts and presumptions (2018): Arthouse Contemporary, Lagos

References

External links

1975 births
Living people
Yoruba women artists
Nigerian women artists
Artists


title: Jeremy Bates (boxer)

texts:
<mask> (born January 12, 1974) is an American professional boxer. Nicknamed "The Beast", <mask> was a moderately successful fighter who fought several other journeyman fighters of his era. <mask> has become something of a "comeback" opponent for veteran fighters such as Holyfield, Golota, and Meehan. Professional boxing career

Early career
<mask> turned professional in 1999 and fought mainly journeyman fighters, losing to prospect Andre Purlette in 2001. <mask> later lost to Sedreck Fields, Kirk Johnson, Leo Nolan, Brian Minto, and Ray Austin before his first retirement. The Evander Holyfield fight
<mask> was persuaded to postpone his retirement when he was given an opportunity to fight four-time heavyweight champion Evander Holyfield. On August 18, 2006, in a 10-round bout at the American Airlines Center in Dallas, Texas, 44-year-old Holyfield dominated the fight which was stopped in the second round after he landed around 20 consecutive punches on <mask>.The events prior to, and the fight itself, are documented in Evander Holyfield's book 'Becoming Holyfield'. Retirement from boxing
<mask> retired with a record of 21 wins, 13 losses and 1 draw, with 18 wins by knockout. Post boxing, <mask> began a successful career as a full-time insurance

masks:
Jeremy Bates
Bates
Bates
Bates
Bates
Bates
Bates
Bates
Bates


title: Jeremy Bates (boxer)

texts:
 sales professional. <mask> is currently employed at the United States Enrichment Corporation. (USEC) is a Uranium gaseous diffusion plant in Portsmouth OH. Coming out of retirement
<mask> would come out of retirement to face Guillermo Jones, Andrew Golota, Odlanier Solis, Kevin Rainey, and most recently Kali Meehan. All of those fights, with the exception of <mask>' bout with Kevin Rainey, would be losses.Currently, <mask>' record stands at 23 wins, 17 losses and 1 draw, with 19 wins by knockout. He defeated "The Driller" Eddie Browning on December 13 at OCW's Season's Beatings. <mask> got his third victory at OCW on January 10, 2009 at the New Year's Bash by defeating NWA All-Star Wrestling Heavyweight Champion "Pretty Boy" Stan Lee. <mask> made his wrestling debut at an arena where he is undefeated in the boxing ranks, the Veterans Memorial Fieldhouse in Huntington, West Virginia, at 304 Wrestling's Battlefront. He defeated Vinnie Viagra in that outing. <mask> is now in training to fight in the Ultimate Fighting Championship. His progress is being documented in a YouTube series called "Being the Beast".References

External links

ESPN Article on <mask>

1974 births
Living people
Boxers from Kentucky
Heavyweight boxers
American male

masks: Bates Bates Bates Bates Bates Bates Bates Bates


title: Mary Jobe Akeley

texts:
<mask> (January 29, 1878 – January 19, 1966) was an American explorer, author, mountaineer, and photographer. She undertook expeditions in the Canadian Rockies and in the Belgian Congo. She worked at the American Museum of Natural History creating exhibits featuring taxidermy animals in realistic natural settings. She worked on behalf of conservation efforts, including being one of the first advocates for the creation of game preserves. She also founded Camp Mystic, an outdoor camp for girls. Biography

Early life
<mask> was born <mask> on January 29, 1878, in Tappan, Harrison County, Ohio; the town was submerged below Tappan Lake in 1938. (Although several printed sources, including her death certificate, give <mask>'s birth year as 1888, the 1880 census and records at the Bryn Mawr College Archives confirm the 1878 date.)Both of her parents were of English descent; her father was a veteran of the American Civil War. Jobe attended Scio College from 1893–1897, graduating with a bachelor's degree, after which she taught at the elementary and high school level in Uhrichsville, Ohio. She went on to study at Bryn Mawr College from 1901–1903, while teaching at Temple University (1902–1903). She taught history and civics at the normal school in Cortland, New York from 1903–1906, and then taught history at the Normal College of the City of New York (now Hunter College) from 1906–1916. She earned a master's degree in History and English from Columbia University in 1909. During her time at Bryn Mawr, Jobe had her first opportunity to join a scientific expedition, joining a botanical expedition to the Selkirk Mountains in British Columbia. It was the first of many expeditions to the mountains of British

masks:
Mary Jobe Akeley
Akeley
Mary Lenore Jobe
Akeley


title: Mary Jobe Akeley

texts:
 Columbia.Mountaineering
Jobe was an accomplished mountain climber and was a member of the Alpine Club of Canada (ACC) and the American Alpine Club. From 1905 to 1918 she made ten expeditions to the Canadian Rockies. In 1913, she left her teaching job at Hunter to undertake an ethnographic expedition to study and photograph the Gitksan and Carrier Indians living between the Skeena River and the Peace River. Jobe concluded the summer of 1913 by meeting up with the annual camp of the ACC. There she heard of a distant mountain northwest of Mount Robson that had been glimpsed by members Samuel Prescott Fay and Donald 'Curly' Philips. In 1914, she returned to the Canadian Rockies in search of the mountain, hiring Philips as her guide. At the time, Jobe called their destination "Big Ice Mountain," but in her later reports she referred to the peak as Mount Kitchi (from a Cree word meaning "mighty"); the mountain was officially named Mount Sir Alexander in 1916.Joining <mask> and Philips on the expedition were Margaret Springate and Philips's assistant (and brother-in-law), Bert Wilkins. From their starting point near Mount Robson, the trip to and from Mount Sir Alexander took six weeks on foot and on horseback, during which time they saw very little evidence of prior human activity along the route. They reached the base of the peak on August 21, 1914, and reached their highest point on the mountain on August 25, stopping at about  above sea level, well short of the summit, which Jobe estimated to be between  and . She took about 400 photographs on the trip. Upon her return, the New York Times hailed her as "the first white person and probably the first human being" to explore the remote mountain. The Times


title: Mary Jobe Akeley

texts:
 to Mystic Island (now called Ram Island (Connecticut)) in Fishers Island Sound. In 1921, Jobe purchased the southern half of Mystic Island, and later bought the rest of the island. In addition to giving girls first-hand experience with the outdoors, the camp was visited by famous explorers and naturalists of the day such as VIlhjalmur Stefannson, Herbert Spinden, George Cherrie, and Martin and Osa Johnson. The fee for campers in 1923 was $375.In a brochure for the camp, Jobe wrote that "girls find health, happiness and their highest development out-of-doors, where they leave behind them the artificialities of towns and cities for the joyous realities of the wooded hills and seashore." Another stated that "girls of today have a right to freedom, health, and happiness." Although she did not describe herself as a feminist or suffragist, she has been so identified by others, and she declared herself to be "very much in sympathy with the [suffrage] movement." The camp closed in 1930 due to the Great Depression. She remained the camp's director throughout its existence. Marriage and African expeditions
In 1920, fellow explorer Vilhjalmur Stefansson introduced <mask> to naturalist and taxidermist <mask>. <mask> was married to Delia <mask> at the time, but <mask> and Carl began an affair.Delia and Carl concluded a bitter divorce in 1923, and <mask> married Akeley on October 28, 1924, at All Souls Episcopal Church in New York City. He was deeply involved with a project to collect specimens for a new Africa exhibit at the American Museum of Natural History, and she wrote later that he expected <mask> to abandon her own work and devote her time to his African project. Although she described this as "startling,"

masks:
Jobe
Carl Akeley
Akeley
Akeley
Mary
Jobe
Mary


title: Mary Jobe Akeley

texts:
 she largely complied. In 1926, she accompanied him on his fifth expedition in Africa (and her first) to collect specimens. On the trip, known as the Akeley-Eastman-Pomeroy Expedition, he became sick on Mount Mikeno of the Belgian Congo and died of a fever. She completed the expedition, mapping parts of the Belgian Congo as well as Kenya and Tanzania, and collecting plant specimens, taking hundreds of photographs. Upon her return to the United States, the museum named her to be her husband's successor as the Special Adviser to the development of their African Hall, a role she held until 1938.In that role, she lectured, wrote, and raised funds for the hall. The hall was renamed in <mask>'s honor in 1936. (Upon her death, the New York Times incorrectly stated that the hall was named after <mask>.) Part of the purpose of the 1926 expedition was to map the area around the new Belgian game preserve Parc National Albert. Following the end of the expedition, <mask> collaborated with Belgian zoologist Jean Marie Derscheid to complete a report on the park. She was awarded the Cross of the Knight, Order of the Crown by the Belgian king for her efforts. From 1929–1936, <mask> also served as the American secretary for an international committee organized to preserve the Park.<mask> returned to Africa in 1935 to Transvaal Province, Southern Rhodesia, and Portuguese East Africa, as well as Kruger National Park in South Africa. There she photographed Zulu people and Swazi people. She returned again in 1947 at the behest of the Belgian crown to inspect the wildlife reserves in the Congo, and to film endangered species. Photography
<mask> began her photographic work in the Canadian Rockies on a 1909 expedition led by

masks:
Carl Akeley
Mary
Akeley
Akeley
Akeley
Akeley


title: Mary Jobe Akeley

texts:
 Herschel C. Parker for the Canadian Topographical Survey. The results of her early work are preserved on hand-colored lantern slides she used when lecturing about her expeditions. Her ethnographic work records people and their customs, including ceremonial objects. Her work in Africa focused on wildlife, as well as on their environment.On the 1926 trip to the Congo, her husband Carl was in the process of developing a gorilla scene for the American Museum of Natural History. Carl died before completing the research for the exhibit, so <mask> used his reference photos to identify the particular spot he was trying to re-create, taking hundreds of photos of the scene, both of individual plant species and the larger scene. She also collected specimens of the plants. She also took a side-trip to Lake Hannington in Kenya to photograph flamingos. Her photos were used in the Akeley African Hall of the American Museum of Natural History. Over 2000 of Akeley's lantern slides survive. Her photographic output is preserved at the American Museum of Natural History and the Mystic River Historical Society.Biographer Dawn-Starr Crowther describes Akeley's photography as representing an important period for women, revealing Akeley to be "resolving for herself  the dilemma of many women who were struggling to shake off the tenets of Victorianism and find meaningful ways through which to express themselves." She describes Akeley's photographic style as "straight-forward... direct and powerful," as well as "stable and balanced," documenting the people and places she encountered on her expedition. Authorship and public life
Akeley spoke frequently about her work. In 1912, she is reported to have given over 40 lectures


title: Mary Jobe Akeley

texts: about her early expeditions. Following her return from Africa in 1927 and throughout much of the rest of her life, Akeley worked for conservation causes, lectured extensively, and appeared on the radio. She dined at the White House with first lady Eleanor Roosevelt, who noted Akeley's conservation and education work in Roosevelt's daily syndicated newspaper column, "My Day." Akeley was the author of seven books, some of them posthumously co-authored with her husband by making use of materials he had written before his death.The first book, <mask>'s Africa (1929), was <mask>'s account of the expedition that cost <mask> his life, documenting the animals and native peoples encountered on the expedition to the Congo. The following year, she published Adventures in the African Jungle (1930), with Carl listed as a co-author, in keeping a plan they had made while both were still alive. Chapters are signed either by <mask> or Carl; <mask> assembled Carl's chapters from his field notes and from stories related by his friends. Her chapters include her accounts of experiences from their journey to the Congo, both before and after his death on the expedition. Lions, Gorillas, and their Neighbors (1932) also lists Carl as a co-author and also covers their expedition, using the story to convey a message of conservation, noting the decline in large animal populations over the previous 30 years. A review in the Times of London of the book tells a thrilling tale of the hunt, but emphasizes that their purpose was scientific, not thrill-seeking. The reviewer writes, "they show how greater and more lasting pleasure [can] be had by restrained and intelligent hunt than by indiscriminate killing... the big game of Africa is

masks:
Carl Akeley
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Carl Akeley
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Mary