title: Alger Hiss

texts:
 search of those archives, that the "Russian intelligence service has no documents proving that <mask> Hiss cooperated with our service somewhere or anywhere," and that Hiss "never had any relationship with Soviet intelligence." The 1995 Venona Papers prompted more support for the theory that he was a Soviet spy, but were not yet deemed conclusive by many sources. Author Anthony Summers argued in 2000 that since many relevant files continue to be unavailable, the Hiss controversy will continue to be debated.Columnist George Will asserted in Newsweek, “the myth of Hiss’s innocence suffers the death of a thousand cuts.” Hiss maintained his innocence until his death. Early life and family
<mask> Hiss was one of five children born in Baltimore, Maryland, to Mary "Minnie" Lavinia (née Hughes) and <mask> Hiss. Both parents came from substantial Baltimore families who could trace their roots to the middle of the eighteenth century. Hiss's paternal great-great-grandfather had emigrated from Germany in 1729, married well, and changed his surname from "Hesse" to "Hiss". Minnie Hughes had attended teacher's college and was active in Baltimore society. Shortly after his marriage at age 24, Charles Hiss entered the business world and joined the dry goods importing firm Daniel Miller and Co. He did well, becoming an executive and stockholder.When Charles's brother John died suddenly at the age of 33, Charles assumed financial and emotional responsibility for his brother's widow and six children in addition to his own expanding family. Charles also helped his wife's favorite brother, Albert Hughes, find work at Daniel Miller.

masks:
Alger
Alger
Charles Alger


title: Alger Hiss

type: original

texts: Hughes at first distinguished himself and was promoted to treasurer of the firm, but then he became involved in a complicated business deal and was unable to meet the financial obligation that was part of a joint agreement. As a matter of honor, <mask> felt compelled to sell all his stocks to make good his brother-in-law's debts, as well as to resign from the firm. This was in 1907, the year of a great financial panic. After inconclusive attempts by relatives to find him a job, Charles fell into a serious depression and committed suicide, cutting his throat with a razor. Minnie, who had made the most of her former prosperity and social position, now had to rely on her inheritance and assistance from family members.<mask> <mask> was two years old at the time of his father's death, and his brother Donald was two months old. As was customary in those days, they were not told of the circumstances of <mask>'s death. When <mask> learned of it inadvertently years later from neighbors, he angrily confronted his older brother Bosley, who then told him the truth. Shocked, Hiss resolved to devote the rest of his life to restoring the family's "good name". Although shadowed by melancholy, Hiss's early childhood, spent in rough-and-tumble games with his siblings and cousins who lived close by, was not unhappy. Their Baltimore neighborhood was described by columnist Murray Kempton as one of "shabby gentility." Hiss, however, portrayed the economic circumstances of his childhood as "modest", but "not particularly shabby".(Two further tragedies occurred when Hiss was in his twenties: his elder brother Bosley died of Bright's

masks:
Charles Hiss
Alger
Hiss
Charles Hiss
Alger


title: Alger Hiss

texts: left-wing assistants, who included future labor lawyer Lee Pressman, were fired in 1935 in what came to be known as "the purge of liberals". Hiss was not fired, but allegations that during this period he was connected with radicals on the Agriculture Department's legal team were to be the source of future controversy. In the meantime, Hiss also served initially as "investigator" and then "legal assistant" (counsel) to the Nye Committee from July 1934 to August 1935.He "badgered" DuPont officials and questioned and cross-examined Bernard Baruch on March 29, 1935. In 1947, Baruch and Hiss both attended the burial of Nicholas Murray Butler. In 1988, he called Baruch a "vain and overrated Polonius much given to trite pronouncements about the nation". In 1936, <mask> <mask> and his younger brother Donald Hiss began working under Cordell Hull in the State Department. <mask> was an assistant to Assistant Secretary of State Francis B. Sayre (son-in-law of Woodrow Wilson) and then special assistant to the director of the Office of Far Eastern Affairs. From 1939 to 1944, Hiss was an assistant to Stanley Hornbeck, a special adviser to Cordell Hull on Far Eastern affairs. In 1944, Hiss was named Director of the Office of Special Political Affairs, a policy-making entity devoted to planning for post-war international organizations.Hiss served as executive secretary of the Dumbarton Oaks Conference, which drew up plans for the future United Nations. In November 1944, Hull, who had led the United Nations project, retired as Secretary of State due to poor health and was succeeded by Undersecretary of State Edward Stettinius.

masks: Alger Hiss Alger


title: Alger Hiss

texts:
 for the Soviet Union itself, the Ukrainian SSR, and the Belorussian SSR. Hiss was Secretary-General of the United Nations Conference on International Organization (the convention that created the UN Charter), which was held in San Francisco from April 25, 1945 to June 26, 1945. Allen Weinstein wrote that Andrei Gromyko, the Soviet delegate to the conference, praised Hiss to his superior Stettinus for his "impartiality and fairness". Hiss later became full Director of the State Department's Office of Special Political Affairs. In late 1946, Hiss left government service to become president of the Carnegie Endowment for International Peace, where he served until May 5, 1949, the end of the presidential term to which he had been elected, when he was forced to step down.Accusation of espionage

On August 3, 1948, Whittaker Chambers, a former Communist Party member, appeared before the House Committee on Un-American Activities (HUAC) to denounce <mask> Hiss. A senior editor at Time magazine, Chambers had written a scathingly satirical editorial critical of the Yalta agreements. Chambers asserted that he had known Hiss as a member of "an underground organization of the United States Communist Party" in the 1930s. The group, which Chambers called the "Ware Group", had been organized by agriculturalist Harold Ware, an American communist intent on organizing black and white tenant farmers in the American South against exploitation and debt peonage by the cotton industry (Ware had died in 1935). According to Chambers, "the purpose of this group at that time was not primarily espionage. Its original purpose was the


title: Alger Hiss

texts: communist infiltration of the American government. But espionage was certainly one of its eventual objectives."As journalist and author Tim Weiner points out, "This was a crucial point. Infiltration and invisible political influence were immoral, but arguably not illegal. Espionage was treason, traditionally punishable by death. The distinction was not lost on the cleverest member of HUAC, Congressman Richard Nixon.... He had been studying the FBI's files for five months, courtesy of J. Edgar Hoover. Nixon launched his political career in hot pursuit of Hiss and the alleged secret Communists of the New Deal." Rumors had circulated about Hiss since 1939, when Chambers, at the urging of anti-Stalinist Isaac Don Levine, had gone to Assistant Secretary of State Adolf A. Berle, Jr. and accused Hiss of having belonged to an underground communist cell at the Department of Agriculture.In 1942, Chambers repeated this allegation to the FBI. In 1945 two other sources appeared to implicate Hiss. In September 1945, Igor Gouzenko, a 26-year-old Ukrainian whose three-year tour as a cipher clerk stationed at the Soviet Embassy in Ottawa was coming to an end, defected from the Soviet Union and remained in Canada. In exchange for asylum, Gouzenko offered to Canadian authorities evidence about a Soviet espionage network actively working to acquire information about nuclear weapons, along with information that an unnamed assistant (or more precisely an "assistant to an assistant") to U.S. Secretary of State Stettinius was a Soviet agent. When informed of this, Hoover assumed Gouzenko was referring to <mask> Hiss. Three months


title: Alger Hiss

texts: later (in December 1945), Elizabeth Bentley, an American spy for the Soviet Union, who served also as a courier between communist groups, told the FBI, as documented in the FBI Silvermaster File that "At this time Kramer told me that the person who had originally taken Glasser away from Perlo's group was named Hiss and that he was in the U.S. State Department." Bentley also said that the man in question, whom she called "<mask>" worked in the State Department and was an adviser to Dean Acheson.In both cases (Gouzenko and Bentley), the FBI decided that <mask> <mask> was the likely match. Hoover put a wiretap on Hiss's home phone and had him and his wife investigated and tailed for the next two years. In response to Chambers's accusations, Hiss protested his innocence and insisted on appearing before HUAC to clear himself. Testifying on August 5, 1948, he denied having ever been a communist or having personally met Chambers. Under fire from President Truman and the press, the Committee was reluctant to proceed with its investigation against so eminent a man. Congressman Richard Nixon, however, who later described Hiss's demeanor that day as, "insolent", "condescending", and "insulting in the extreme", wanted to press on. Nixon had received secret information about the FBI's suspicions from John Francis Cronin, a Roman Catholic priest who had infiltrated labor unions in Baltimore during World War II to report on communist activities and had been given access to FBI files.Writing in a paper titled "The Problem of American Communism In 1945", Cronin wrote, "In the State Department, the most influential Communist has

masks:
Eugene Hiss
Alger
Hiss


title: Alger Hiss

texts:
 been <mask> <mask>." With some reluctance, the Committee voted to make Nixon chair of a subcommittee that would seek to determine who was lying, Hiss or Chambers, at least on the question of whether they knew one another. Shown a photograph of Chambers, Hiss conceded that the face "might look familiar" and asked to see Chambers in person. Confronted with him in person in a New York hotel where HUAC was holding session, Hiss admitted that he had indeed known Chambers, but under the name "George Crosley", a man who represented himself as a freelance writer. Hiss said that in the mid-1930s he had sublet his apartment to this "Crosley" and had given him an old car. Chambers, for his part, denied on the stand ever having used the alias Crosley, though he admitted to Hiss's lawyers in private testimony that it could have been one of his pen names. When Hiss and Chambers both appeared before a HUAC subcommittee on August 17, 1948, they had the following exchange:
HISS.Did you ever go under the name of George Crosley? CHAMBERS. Not to my knowledge. HISS. Did you ever sublet an apartment on Twenty-ninth Street from me? CHAMBERS. No; I did not.HISS. You did not? CHAMBERS. No. HISS. Did you ever spend any time with your wife and child in an apartment on Twenty-ninth Street in Washington when I was not there because I and my family were living on P Street? CHAMBERS.I most certainly did. HISS. You did or did not? CHAMBERS. I did. HISS. Would you tell me how you reconcile your negative answers with this affirmative answer?CHAMBERS. Very easily, Alger. I was a Communist and you were a Communist. Chambers's statements, because

masks: Alger Hiss


title: Alger Hiss

texts: 1949, and ended in a hung jury on July 7. Chambers admitted on the witness stand that he had previously committed perjury several times while he was under oath, including deliberately falsifying key dates in his story. Hiss's character witnesses at his first trial included such notables as future Democratic presidential candidate Adlai Stevenson, Supreme Court Justices Felix Frankfurter, and Stanley Reed, and former Democratic presidential candidate John W. Davis. President Truman famously called the investigation "a red herring". The second trial, presided over by Judge Henry W. Goddard, lasted from November 17, 1949, to January 21, 1950.At both trials, a key to the prosecution's case was testimony from expert witnesses, stating that identifying characteristics of the typed Baltimore documents matched samples typed on a typewriter owned by the Hisses at the time of his alleged espionage work with Chambers. The prosecution also presented as evidence the typewriter itself. Given away years earlier, it had been located by defense investigators. This trial resulted in an eight-to-four deadlocked jury. "That, according to one of Hiss's friends and lawyers, Helen Buttenweiser, was the only time that she had ever seen <mask> shocked—stunned by the fact that eight of his fellow citizens did not believe him." In the second trial, Hede Massing, an Austrian-born confessed Soviet spy who was being threatened with deportation, and whom the first judge had not permitted to testify, provided some slight corroboration of Chambers's story. She recounted meeting Hiss at a party in 1935.Massing also described how Hiss had tried


title: Alger Hiss

texts: to recruit Noel Field, another Soviet spy at State, to switch from Massing's ring to his own. This time the jury found Hiss guilty. According to Anthony Summers, "Hiss spoke only two sentences in court after he had been found guilty. The first was to thank the judge. The second was to assert that one day in the future it would be disclosed how forgery by typewriter had been committed." On January 25, 1950, Judge Goddard sentenced Hiss to five years' imprisonment on each of the two counts, to run concurrently. At a subsequent press conference, Secretary of State Dean Acheson reacted emotionally, affirming, "I do not intend to turn my back on <mask> Hiss."Acheson quoted Jesus in the Bible: "I was a Stranger and ye took me in; Naked, and ye clothed me; I was sick and ye visited me; I was in prison and ye came unto me." Acheson's remarks enraged Nixon, who called Acheson's words sacrilege. The verdict was upheld by the United States Court of Appeals for the Second Circuit, and the Supreme Court of the United States denied a writ of certiorari. The case heightened public concern about Soviet espionage penetration of the U.S. government in the 1930s and 1940s. As a well-educated and highly connected government official from an old American family, <mask> Hiss did not fit the profile of a typical spy. Publicity surrounding the case thrust Richard M. Nixon into the public spotlight, helping him move from the U.S. House of Representatives to the U.S. Senate in 1950, to the Vice Presidency of the United States in 1952, and finally to President of the United States in 1968. Senator Joseph McCarthy made his famous speech

masks: Alger Alger


title: Alger Hiss

texts:
 at Wheeling, West Virginia, two weeks after the Hiss verdict, launching his career as the nation's most visible anti-communist.Incarceration
On 22nd March, 1951, <mask> <mask> was sent to a maximum security federal facility. Although he had been sentenced to five years' imprisonment, Hiss served only three years and eight months in Lewisburg Federal Prison. He was released from prison on November 27, 1954. While in prison, Hiss acted as a volunteer attorney, adviser, and tutor for many of his fellow inmates. Post-incarceration
After his release in 1954, <mask>, who had been disbarred, worked as a salesman for the stationery company S. Novick & Sons located in the Puck Building, 295 Lafayette St. in New York City. In 1957, he published In the Court of Public Opinion, a book challenging in detail the prosecution's case against him, and maintaining the typewritten documents traced to his typewriter had been forged. Hiss separated from his first wife, Priscilla, in 1959, though they remained married until her death in 1984.In 1985 he married Isabel Johnson, who had been living with him since soon after they met in 1960. On November 11, 1962, following Richard Nixon's failed 1962 bid for governor of California, Hiss appeared in a segment titled "The Political Obituary of Richard M. Nixon" on the Howard K. Smith: News and Comment show on ABC television. (The Chicago Tribune reported targets of Hiss's "invective" and whom he "denounced as conspirators in a monstrous plot to convict him on concocted evidence" included: the presiding judge at his second trial, the three appellate court judges who rejected his appeal, J.

masks: Alger Hiss Hiss


title: Alger Hiss

texts:
 Edgar Hoover and the FBI, assistant attorney general Alexander M. Campbell, federal prosecutor Thomas F. Murphy, members of the New York grand jury who indicted him, jury members in his two trials who convicted him, and HUAC members and particularly Richard Nixon and Karl Mundt".) His appearance led sponsors to withdraw from Smith's program when viewers bombarded ABC with complaints about letting a convicted perjurer appear on the air. Smith's show was cancelled in June 1963. The five rolls of 35 mm film known as the "pumpkin papers" had been characterized as highly classified and too sensitive to reveal and were thought until late 1974 to be locked in HUAC files. In 1975, independent researcher Stephen W. Salant, an economist at the University of Michigan, sued the U.S. Justice Department when it denied his request for access to them under the Freedom of Information Act.On July 31, 1975, as a result of this lawsuit and follow-on suits filed by Peter Irons and by <mask> <mask> and William A. Reuben, the Justice Department released copies of the "pumpkin papers" that had been used to implicate Hiss. One roll of film turned out to be totally blank due to overexposure,
two others are faintly legible copies of non-classified Navy Department documents relating to such subjects as life rafts and fire extinguishers, and the remaining two are photographs of the State Department documents that had been introduced at the two Hiss trials. A few days after the release of the Pumpkin Papers, on August 5, 1975, Hiss was readmitted to the Massachusetts bar. The state's Supreme Judicial Court overruled its Committee of Bar


title: Alger Hiss

texts:
 Édouard Daladier had advised him of French intelligence reports that two State Department officials named Hiss were Soviet agents. When asked about it the next day, Daladier, then 68 years old, told reporters that he did not recall this conversation from 13 years previously. Also called to testify before the McCarran committee was economist Nathaniel Weyl, a former Communist Party member "at large" who had worked for the Department of Agriculture during the early days of the New Deal and had become disillusioned with what he considered the underhanded methods of the Communist Party. In 1950 Weyl had been interviewed by the FBI and had told them that in 1933 he had belonged to a secret Communist Party unit along with Harold Ware and Lee Pressman and confirmed that <mask> <mask> had been present at some meetings held at Ware's sister's violin studio. Weyl's is thus the only testimony appearing to corroborate some of Chambers's allegations.In 1950 Weyl, however, had published an anti-communist book, Treason: The Story of Disloyalty and Betrayal in American History (1950) that made no mention of the so-called "Ware Group". Moreover, in this book, which came out shortly after Hiss's conviction, Weyl expressed doubt that <mask> Hiss had been guilty of espionage. Forgery by typewriter hypothesis
At both trials, FBI typewriter experts testified that the Baltimore documents in Chambers's possession matched samples of typing done in the 1930s by Priscilla Hiss on the Hisses' home typewriter, a Woodstock brand. At both trials, the testimony was directed to comparing two sets of typed documents and not to the typewriter


title: Alger Hiss

texts: be able to produce at the hearing, expert testimony that this machine is a deliberately fabricated job, a new type face on an old body. This being so, it can only have been planted on the defense by or on behalf of Whittaker Chambers as part of his plot for the false incrimination of <mask> Hiss." In July 1952 Judge Goddard denied Hiss's motion for a new trial, expressing great skepticism that Chambers had the resources, knew how to commit forgery by typewriter, and would have known where to plant such a fake machine so it would be found. In his decision, Goddard did not address the possibility, raised by Hiss's defenders, that someone other than Chambers, namely Horace Schmahl and/or his associates on the prosecution side, might have been involved in faking the typewriter. In 1976, Hiss called ex-FBI official William C. Sullivan, who recounted in his 1979 memoir:      In 1976, five years after I left the FBI, I got a telephone call at my home in New Hampshire from <mask> Hiss. Still working on his case, he wanted me to tell him whether the typewriter that helped convict him of a perjury charge was a fake which had been put together at the FBI Laboratory. Although I never worked on the Hiss case myself, I knew that we were giving Richard Nixon, who was in charge of the investigation, every possible assistance.Had Nixon asked the FBI to manufacture evidence to provide his case against Hiss, Hoover would have been only too glad to oblige. I told Hiss that the typewriter was not made in the FBI Lab. What I didn't tell him was that even if we had wanted to, we simply wouldn't have been capable of it. Based on


title: Alger Hiss

texts:
 things were done:We won the Hiss case in the papers. We did. I had to leak stuff all over the place. Because the Justice Department would not prosecute it. Hoover didn't even cooperate.... It was won in the papers. I leaked out the papers....I leaked out the testimony. I had Hiss convicted before he ever got to the grand jury.... Go back and read the chapter on the Hiss case in Six Crises and you'll see how it was done. It wasn't done waiting for the goddamn courts or the attorney general or the FBI. According to Anthony Summers: The one substantive piece of information indicating typewriter forgery features the OSS and its chief, William Donovan. In late 1948, when the Hiss defense and the FBI began hunting for the Woodstock typewriter, a man named Horace Schmahl joined the defense team as an investigator. Schmahl had worked for either the OSS or army intelligence during the war, then joined the Central Intelligence Group, which operated between the closedown of the OSS and the inception of the CIA. After his stint for the Hiss side, Schmahl defected to the prosecution team.Against the forged typewriter theory Allen Weinstein writes: [I]f there existed any persons with the means, motive, and opportunity to "substitute" a different Woodstock for the Hiss machine in the months after Hiss's indictment, the evidence ... indicates the possible conspirators, Mike Catlett and <mask>, who for two months withheld knowledge from <mask>'s lawyers that the typewriter had been traced to Ira Lockey. Noel Field

In 1992, records were found in Hungarian Interior Ministry archives in which self-confessed Soviet spy Noel Field

masks:
Donald Hiss
Alger


title: Alger Hiss

texts: named <mask> <mask> as a fellow agent. An American citizen from a Quaker family who had grown up in Switzerland, Field attended Harvard and worked in the US Foreign Service from 1929 until 1936, when he left the State Department for a job at the League of Nations in Geneva, helping refugees from the Spanish Civil War. During World War II, Field, who never concealed he was a communist, headed a Unitarian Services organization to aid displaced persons in Marseilles, before fleeing to Geneva, where he collaborated with Allen Dulles of the OSS (who was based in Bern). In 1948, when the Hiss trials started, Field and his German wife were still living in Switzerland. By 1949 Field was broke, having been fired from the U.S.-based Unitarian Service Committee for his communist associations. Wishing to avoid returning to the United States and possibly having to testify before Congress, Field traveled to Prague, hoping to be hired as a lecturer at the Charles University.Instead, he was seized by Stalinist security services from Poland and Czechoslovakia and secretly imprisoned in Hungary. Field was accused of having organized an anti-communist resistance network in Eastern Europe for the OSS during the war and later for the new CIA and was held for five years in solitary confinement. Repeatedly interrogated under rigorous torture, Field broke down and confessed to being "head of the U.S. Secret Service", under his controller, Allen Dulles, "the famous pro-Nazi OSS spymaster". While being "rehabilitated" after the torture had ceased, Field referred four times to Hiss as a Soviet agent, for example: "Around the summer of


title: Alger Hiss

texts:
 1935 <mask> Hiss tried to induce me to do service for the Soviets. I was indiscreet enough to tell him he had come too late." This agreed with Hede Massing's assertion to US authorities in 1947 that when she attempted to recruit Noel Field for one Soviet spy network (the OGPU), Field had replied that he already worked for another (the GRU). (Massing repeated this story at Hiss's second trial when she testified that at a party at Noel Field's house in 1935 she had obliquely joked with Hiss about recruiting Noel Field.)In 1954, the Hungarian secret police released Field, exonerating him. He then formally wrote to the Communist Party's Central Committee in Moscow stating for the record that the tortures he had undergone in captivity had made him "confess more and more lies as truth". Hiss's defenders argue that Field's implications of Hiss may well have been among those lies. Field remained in communist Hungary until his death in 1970. In public, Field continued to maintain Hiss was innocent and, in 1957, wrote Hiss a letter calling Hede Massing's dinner party story "the false testimony of a perjured witness" and an "outrageous lie". Venona and "ALES"

In 1995, the CIA and the NSA for the first time made public the existence of the World War II Venona project, which, beginning in 1943, had decrypted or partially decrypted thousands of telegrams sent from 1940 to 1948 to the primary Soviet foreign intelligence agency—for most of that period, the NKVD—by its U.S. operatives. Although known to the FBI, Venona had been kept secret even from President Truman.One cable, Venona #1822, mentioned a Soviet spy codenamed


title: Alger Hiss

texts: "ALES" who worked with a group of "Neighbors"—members of another Soviet intelligence organization, such as the military's GRU. FBI Special Agent Robert J. Lamphere, who supervised the FBI's spy chasing squad, concluded that the codename "ALES" was "probably Alger Hiss". In 1997, Allen Weinstein, in the second edition of his 1978 book Perjury: The Hiss-Chambers Case, calls the Venona evidence "persuasive but not conclusive". The bipartisan Moynihan Commission on Government Secrecy, chaired by Democratic Senator Daniel Patrick Moynihan, however, stated in its findings that year: "The complicity of <mask> Hiss of the State Department seems settled. As does that of Harry Dexter White of the Treasury Department." In his 1998 book Secrecy: The American Experience, Moynihan wrote, "Belief in the guilt or innocence of <mask> Hiss became a defining issue in American intellectual life. Parts of the American government had conclusive evidence of his guilt, but they never told."In their numerous books, Harvey Klehr, professor of political science at Emory University, and John Earl Haynes, historian of twentieth-century politics at the Library of Congress, have mounted an energetic defense of Lamphere's conclusion that ALES indeed referred to <mask> Hiss. National Security Agency analysts have also gone on record asserting that ALES could only have been <mask> Hiss. The Venona transcript # 1822, sent March 30, 1945, from the Soviets' Washington station chief to Moscow, appears to indicate that ALES attended the February 4–11, 1945, Yalta conference and then went to Moscow. Hiss did attend Yalta and then traveled to Moscow

masks: Alger Alger Alger Alger


title: Alger Hiss

texts:
 with Secretary of State Stettinius. Some, however, question whether Venona #1822 constitutes definitive proof that ALES was Hiss. Hiss's lawyer, John Lowenthal argued:

 ALES was said to be the leader of a small group of espionage agents but, apart from using his wife as a typist and Chambers as courier, Hiss was alleged by the prosecution to have acted alone. The CIA, however, concluded the "small group" comprised <mask>, his wife Priscilla, and brother Donald.ALES was a GRU (military intelligence) agent who obtained military intelligence and only rarely provided State Department material. In contrast, during his trial, <mask> <mask>, an employee of the State Department, was accused of having obtained only non-military information, and the papers he was accused of having passed to the Soviets on a regular basis were non-military, State Department documents. Even had Hiss been a spy as alleged, after 1938 he would have been unlikely to have continued espionage activities as ALES did, since in 1938 Whittaker Chambers had broken with the Communist Party and gone into hiding, threatening to denounce his Communist Party colleagues unless they followed suit. Had Hiss been ALES, his cover would thus have been in extreme jeopardy and it would have been too risky for any Soviet agency to continue using him. Lowenthal suggests that ALES was not at the Yalta conference at all and that the cable instead was directed to Soviet deputy foreign minister Andrey Vyshinsky. According to Lowenthal, in paragraph six of Venona #1822, the GRU asks Vyshinsky to get in touch with ALES to convey thanks from the GRU for a job well

masks: Alger Alger Hiss


title: Alger Hiss

texts:
 done—which would have been unnecessary if ALES had actually gone to Moscow, because the GRU could have thanked him there in person. Eduard Mark of the Center for Air Force History hotly disputed this analysis.In 2005, NSA released the original Russian of the Venona texts. At a symposium held at the Center for Cryptologic History that year, intelligence historian John R. Schindler concluded that the Russian text of Venona #1822 made clear that ALES was indeed at Yalta: "the identification of ALES as <mask> Hiss, made by the U.S. Government more than a half-century ago, seems exceptionally solid, based on the evidence now available; message 1822 is only one piece of that evidence, yet a compelling one." Rebutting Lowenthal's other points, John Earl Haynes and Harvey Klehr argued that:
 None of the evidence presented at the Hiss trial precludes the possibility that Hiss could have been an espionage agent after 1938 or that he had only passed State Department documents after 1938. Chambers's charges were not seriously investigated until 1945 when Elizabeth Bentley defected, so the Soviets could in theory have considered it an acceptable risk for him continue his espionage work even after Chambers's 1938 defection. Vyshinsky was not in the U.S. between Yalta and the time of the Venona message, and the message is from the Washington KGB station reporting on a talk with ALES in the U.S., rendering Lowenthal's analysis impossible. An earlier Venona document, #1579, had actually mentioned "HISS" by name. This partially decrypted cable consists of fragments of a 1943 message from the GRU chief in New York to headquarters


title: Alger Hiss

texts:
 in Moscow and reads: "from the State Department by name of HISS" (with "HISS" "spelled out in the Latin alphabet", according to a footnote by the cryptanalysts)."HISS" could refer either to <mask> or Donald Hiss, both State Department officials at that time. Lowenthal argued that had <mask> Hiss really been a spy, the GRU would not have mentioned his real name in a coded transmission, since this was contrary to their usual practice. At an April 2007 symposium, authors Kai Bird and Svetlana Chervonnaya postulated that, based on the movements of officials present at Yalta, Wilder Foote, a U.S. diplomat, not Hiss, was the best match for ALES. They note Foote was in Mexico City when a Soviet cable placed ALES there, whereas Hiss had left several days earlier for Washington (see above). In response, Haynes and Klehr point out that Foote doesn't fit other aspects of the description of ALES (Foote was publishing newspapers in Vermont at the time when ALES was said to have been working for Soviet military intelligence) and suggest that the cable came from someone who managed KGB assets (rather than GRU assets like ALES) and may have been mistaken when he stated that ALES was still in Mexico City. Mark also disputes that Foote was ALES, arguing that Foote was never shown to be associated with the communists or any foreign intelligence services; Hiss was the "one possible candidate" who could have been ALES, Mark contends. Oleg Gordievsky

In 1985, a high-ranking KGB agent, Oleg Gordievsky (b.1938), who was recruited in 1974 as a British double agent, defected and wrote a series of memoirs, in one of which, The KGB


title: Alger Hiss

texts:
 (1990), he recalled attending a lecture given before a KGB audience by Iskhak Abdulovich Akhmerov, who identified Hiss as a World War II Soviet agent. Gordievsky went further and claimed that Hiss had the codename identity of "ALES". Appearing before the Venona cables were made public, this at first appeared to be independent corroboration of the codename, but it was later revealed that Gordievsky's source for the ALES identity was an article by journalist Thomas Powell, who had seen National Security Agency documents on Venona years before their release. Gordievsky's status as a reliable source was challenged in sections of the British media. Aleksandr Feklisov

According to Serguei Kostine in the introduction to Alexandr Feklisov's book The Man Behind the Rosenbergs (2001), Hiss was guilty:  "Like <mask> <mask>, who went to his death pretending innocence, Morton Sobell has spent his entire life honoring the lie..."

Soviet archives

After the dissolution of the Soviet Union in 1991, <mask> Hiss petitioned General Dmitry Antonovich Volkogonov, who had become President Yeltsin's military advisor and the overseer of all the Soviet intelligence archives, to request the release of any Soviet files on the Hiss case. Both former President Nixon and the director of his presidential library, John H. Taylor, wrote similar letters, though their full contents are not yet publicly available. Russian archivists responded by reviewing their files, and in late 1992 reported back that they had found no evidence Hiss ever engaged in espionage for the Soviet Union nor that he was a member of the Communist Party.However,


title: Alger Hiss

texts: Volkogonov subsequently stated he spent only two days on the search and had mainly relied on the word of KGB archivists. "What I saw gave me no basis to claim a full clarification", he said. Referring to Hiss's lawyer, he added, "John Lowenthal pushed me to say things of which I was not fully convinced." General-Lieutenant Vitaly Pavlov, who ran Soviet intelligence work in North America in the late 1930s and early 1940s for the NKVD said that Hiss never worked for the USSR as one of his agents. In 2003, retired Russian intelligence official General Julius Kobyakov disclosed that it was he who had actually searched the files for Volkogonov. Kobyakov stated that Hiss did not have a relationship with SVR predecessor organizations, although Hiss was accused of being with the GRU, a military intelligence organization separate from SVR predecessors. In 2007, Svetlana Chervonnaya, a Russian researcher who had been studying Soviet archives since the early 1990s, argued that based on documents she reviewed, Hiss was not implicated in spying.In May 2009, at a conference hosted by the Wilson Center, Mark Kramer, director of Cold War Studies at Harvard University at the John F. Kennedy School of Government, stated that he did not "trust a word [Kobyakov] says", At the same conference, historian Ronald Radosh reported that while researching the papers of Marshal Voroshilov in Moscow, he and Mary Habeck had encountered two GRU (Soviet military intelligence) files referring to <mask> Hiss as "our agent". In 2009, Haynes, Klehr, and Alexander Vassiliev published Spies: The Rise and Fall of the KGB in America, based on KGB


title: Alger Hiss

texts: documents reportedly hand-copied by Vassiliev, a former KGB agent, during the 1990s. The authors attempted to show definitively that <mask> Hiss had indeed been a Soviet spy and argue that KGB documents prove not only that Hiss was the elusive ALES, but that he also went by the codenames "Jurist" and "Leonard" while working for the GRU. Some documentation brought back by Vassiliev also refers to Hiss by his actual name, leaving no room, in the authors' opinion, for doubt about his guilt. Calling this the "massive weight of accumulated evidence", Haynes and Klehr conclude, "to serious students of history continued claims for Hiss's innocence are akin to a terminal case of ideological blindness." In a review published in the Journal of Cold War Studies, military historian Eduard Mark heartily concurred, stating that the documents "conclusively show that Hiss was, as Whittaker Chambers charged more than six decades ago, an agent of Soviet military intelligence (GRU) in the 1930s". Newsweek magazine reported that Civil Rights Movement historian David Garrow also concluded that, in his opinion, Spies "provides irrefutable confirmation of [Hiss's] guilt".Other historians, such as D. D. Guttenplan, Jeff Kisseloff, and Amy Knight, however, assert that Spies conclusions were not borne out by the evidence and accused its authors of engaging in "shoddy" research. Guttenplan stresses that Haynes and Klehr never saw and cannot even prove the existence of the documents that supposedly convict Hiss and others of espionage, but rather relied exclusively on handwritten notebooks authored by Vassiliev during the time he was


title: Alger Hiss

texts: given access to the Soviet archives in the 1990s while he collaborated with Weinstein. According to Guttenplan, Vassiliev could never explain how he managed, despite being required to leave his files and notebooks in a safe at the KGB press office at the end of each day, to smuggle out the notebooks with his extensive transcriptions of documents. Haynes and Klehr respond that the material was examined by historians, archivists, and intelligence professionals who unanimously agreed that the material was genuine. Guttenplan also suggested, moreover, that Vassiliev might have omitted relevant facts and selectively replaced cover names with his own notion of the real names of various persons. According to Guttenplan, Boris Labusov, a press officer of the SVR, the successor to the KGB, has stated that Vassiliev could not in the course of his research have possibly "met the name of <mask> Hiss in the context of some cooperation with some special services of the Soviet Union". Guttenplan also points out that Vasiliev admitted under oath in 2003 that he'd never seen a single document linking Hiss with the cover name "Ales".However, Haynes and Klehr also cite a 1950 memo indicating that a GRU agent, described as a senior State Department official, had recently been convicted in an American court. "The only senior American diplomat convicted of an espionage-related crime in 1950 was <mask> Hiss." Historian Jeff Kisseloff questions Haynes and Klehr's conclusion that Vassiliev's notes support Hede Massing's story about talking to Hiss at a party in 1935 about recruiting their mutual friend and host Noel Field into the


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texts:
 by The Times for trying to exert a "chilling effect" on scholarship by resorting to the law courts.Vassiliev has since also unsuccessfully sued Amazon.com for publishing a customer review critical of his work. In 1978, Victor Navasky interviewed six people Weinstein had quoted in his book Perjury, who all claimed to have been misquoted by Weinstein. One, Sam Krieger, won a cash payment from Weinstein, who issued an apology and promised to correct future editions of his book and to release his interview transcripts, which he subsequently failed to do. See also

 Priscilla Hiss
 Donald Hiss
 John Abt
 Elizabeth Bentley
 Whittaker Chambers
 Noel Field
 Harold Glasser
 John Herrmann
 Victor Perlo
 J. Peters
 Ward Pigman
 Lee Pressman
 Vincent Reno
 Julian Wadleigh
 Harold Ware
 Nathaniel Weyl
 Harry Dexter White
 Nathan Witt

References

Further reading

Books
 Brady, Joan (2015). America's Dreyfus: The Case Nixon Rigged. London, UK: Skyscraper Publications. Cook, Fred J (1957).The Unfinished Story of <mask> Hiss. New York: William Morrow. Gentry, Curt. J. Edgar Hoover: The Man and The Secrets. New York: W. W. Norton, 1991. Hartshorn, Lewis. <mask> <mask>, Whittaker Chambers and the Case That Ignited McCarthyism.Jefferson, North Carolina: McFarland, 2013. Jacoby, Susan (2009). <mask> Hiss and the Battle for History. New Haven: Yale University Press. Levitt, Morton and Michael Levitt (1979). A Tissue Of Lies: Nixon Vs. Hiss. New York: McGraw Hill.Lowenthal, David. "Academic Freedom: The Hiss Case Yields a Noteworthy Victory". American Historical Association Perspectives (May 2004): 23–26. Moore, William Howard.

masks: Alger Alger Hiss Alger


title: Alger Hiss

texts:
 (1987) Two Foolish Men: The True Story of the Friendship Between <mask> Hiss and Whittaker Chambers. Moorup
 Smith, John Chalbot (1976). <mask> Hiss: The True Story.New York, Holt Rinehart Winston. Summers, Anthony (2000). The Arrogance of Power: The Secret World of Richard Nixon. Penguin-Putnam Inc. . Articles
 Kai Bird and Svetlana Chervonnaya, "The Mystery of Ales (expanded version)", The American Scholar, Summer 2007. John Erhman (2007), "The <mask> Hiss Case; A Half-Century of Controversy", Center for the Study of Intelligence, Central Intelligence Agency, 2007. Searchable by google: www.cia.gov › ... › Studies Archive Indexes › Vol44No5 › html
 Interview footage with <mask> <mask>
 Chervonnaya, Svetlana.Letting Documents Talk: A Non-Definitive History. Website about documents from formerly secret Soviet and other Eastern and Central European archives relating to the Hiss controversy. A review of the 1976 edition of Weinstein's Perjury
 Fetter, Henry D. 2020. "<mask> Hiss at Yalta: A Reassessment of Hiss's Arguments against Including Any of the Soviet Republics as Initial UN Members." Journal of Cold War Studies. A detailed critique of the book <mask> <mask>'s Looking-Glass Wars
  A critique of the chapter of Coulter's book that deals with Hiss
 Levin, David (1976). "In the Court of Historical Criticism: <mask> Hiss's Narrative", Virginia Quarterly Review Online, Winter, 1976, 41pp.–71.Levin, David (1978). "Perjury, History, and Unreliable Witnesses", Virginia Quarterly Review Online, Autumn, 1978, pp. 725–32. Lowenthal, David. (2005) "Did Allen Weinstein Get the Hiss Story Wrong?" History News Network

masks: Alger Alger Alger Alger Hiss Alger Alger Hiss Alger


title: Alger Hiss

texts:
  A review of Weinstein's "Perjury"

 Rustin, Susanna. "Joan Brady: <mask> Hiss 'was framed by Nixon'" The Guardian, October 19, 2015.Read online

 Schrecker, Ellen (December 14, 2009). Review of John Earl Haynes, Harvey Klehr, and Alexander Vassiliev's Spies: The Rise and Fall of the KGB in America. Diplo Roundtable Review: XI: 9 (December 14, 2009): 22–25. Discusses "unique context" of 1930s and 1940s espionage. Weinberg, Robert L. "Not Guilty as Charged: A Revised Verdict for <mask> Hiss". The Champion, May/June 2008, Page 18. (Published by the National Association of Criminal Defense Lawyers)

Unpublished materials

External links

20th-century American lawyers
1904 births
1996 deaths
American male non-fiction writers
American people in the Venona papers
American people of German descent
American perjurers
Anti-communism in the United States
Baltimore City College alumni
Birdwatchers
Carnegie Endowment for International Peace
Disbarred American lawyers
Harvard Law School alumni
Johns Hopkins University alumni
Law clerks of the Supreme Court of the United States
Lawyers from Baltimore
Prisoners and detainees of the United States federal government
United States Department of State officials
Writers from Baltimore
20th-century American non-fiction writers
20th-century American male


title: Herbert Yost

texts:
<mask> (also credited as Barry O'Moore and <mask>; December 8, 1879October 23, 1945) was an American actor who in a career that spanned nearly half a century performed predominantly on stage in stock companies and in numerous Broadway productions. Yost also acted in motion pictures, mostly in one-reel silent shorts released by the Biograph Company and Edison Studios between November 1908 and July 1915. By the time he began working in the film industry, Yost already had more than a decade of stage experience in hundreds of dramatic and comedic roles and was widely regarded in the theatre community "as one of the country's finest stock actors". Reportedly, to reduce the risk of tarnishing his reputation as a professional actor by being identified as a screen performer, Yost often billed himself as "Barry O'Moore" while working in films. He was ultimately cast in scores of motion pictures in the early silent era, although with the exceptions of appearing in three more films in the sound era, Yost spent the remaining decades of his career acting in major theatre productions, almost exclusively on Broadway. Early life and early stage career
Born in Harrison, Ohio, in December 1879, <mask> was the youngest of three sons of Angeline Leona (née Bennett) and Peter H<mask>. The following year, the decennial federal census documents the Yost family living in northern Kentucky, in Covington, where <mask>'s father owned and operated a prosperous retail grocery and a dry goods store.After working in the family business in his youth, <mask> at age 17 chose to leave home and pursue a career in show business like his older siblings Walter and Harry. Harry, in fact, guided or "sponsored" his little

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title: Herbert Yost

texts:
 brother's entry into performing on stage by getting <mask> a job in 1897 with the Murray-Hart Comedy Company, which specialized in "one-night stands". In its travels to various cities and towns, that troupe presented single performances of satirical plays such as When London Sleeps and A Life for a Life. After one full season working for Murray-Hart, <mask> joined the Frost Stock Company and did a multitude of jobs in its traveling shows for a salary of six dollars a week ($ today). He portrayed several characters in the company's staging of The Three Musketeers and The Two Orphans, and was responsible as well for entertaining audiences by playing the piano before each show, during intermissions, and giving concerts following every performance. By 1901, <mask> had left Frost to work for seven years with a series of other stock companies in Philadelphia, Boston, Cleveland, Toledo, and elsewhere. During that time he was also cast in several Broadway productions.He portrayed, for example, Lieutenant Pierre d'Norville in the 1900 musical farce The Military Maid and the character Jimmy Burnett in the Broadway drama The Measure of a Man at Weber's Music Hall in 1906. Films
By 1908, with more than a decade of experience traveling and performing with various companies, <mask> had established himself a "considerable reputation" as a stage actor. Near the end of that year he began working as well in the rapidly expanding motion-picture industry. At that time, in the opinion of many theatre actors and producers, performing on screen in the new medium of film was an inferior, far less prestigious occupation than acting on stage in the "legitimate" theatre. <mask> therefore adopted the name Barry

masks: Herbert Yost Yost Yost Yost


title: Herbert Yost

texts:
 O'Moore during his early years as a film actor to distinguish his screen work from his stage career, allegedly in an effort to conceal his identity and, at least to some degree, to distance himself professionally "from the shame of the cinema". Nevertheless, <mask> during the motion-picture portion of his career was not credited as Barry O'Moore in all of his films or referred to consistently as O'Moore in studio production records or in release advertisements in either the silent or sound eras. Yet, outside the film industry, in the realm of theatre, he was invariably credited for decades as <mask>st in his many Broadway roles and in other stage productions.Biograph Company, 19081909

In October 1908, <mask> joined the growing number of "photoplayers" at the Biograph Company, which then had its headquarters and main studio inside a sprawling, renovated brownstone mansion at 11 East 14th Street in Manhattan. It was there where <mask> started working for D. W. Griffith, who was just beginning his legendary career as a film director. Under contract to produce at least two motion pictures and sometimes as many as three pictures each week for the company, Griffith was given a "virtual carte blanche" by Biograph to make all decisions regarding story, casting and shooting. It was therefore Griffith who officially hired <mask>. The use of a screen name to hide or obscure one's identity proved to be an irrelevant issue for <mask> at Biograph. The company, as a matter of official policy, did not publicly identify its performers and production crews, not even Griffith himself, with on-screen credits or in film advertisements in trade publications or newspapers. Such public recognition of cast and

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 crew would not begin at Biograph until 1913, nearly four years after <mask> left the company.Linda Arvidson, who was one of <mask>'s fellow actors at Biograph, was also at the time the wife of D. W. Griffith. In When the Movies Were YoungArvidson's 1925 memoir about the early years of the American film industryshe takes exception to accounts that <mask> adopted a screen name to avoid the "shame" of working in films:

Since Biograph did not publicly credit its actors on screen or acknowledge them in print prior to 1913, confirming the casting and presence of any one of the company's actors in a production prior to that year requires direct references to a performer in primary-source material such as original Biograph production records, contemporary personal notes, period correspondence, or footage from a surviving film in which the actor is clearly identifiable. Some modern filmographies relating to <mask> or to his screen name Barry O'Moore include his casting in some 1908 and 1909 Biograph releases but do so without any source citations. One modern referencethe 1985 volume D. W. Griffith and the Biograph Company by Cooper C. Graham and othersrelies heavily for its content on the D. W. Griffith Papers preserved at the Museum of Modern Art. Those papers include details on Biograph's development of Griffith's scenarios as well as casting and filming schedules. The company's "Cameraman's Register" for 18991911, its Biograph Bulletins from 1908 through 1912, entries in contemporary studio directories, and print copies of Biograph's 1908 and 1909 releases preserved in the Library of Congress provide documentation that <mask> performed in no less than 20 productions for Biograph during his

masks: Yost Yost Yost Yost Yost


title: Herbert Yost

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 employment there. Even though <mask> was a highly experienced theatre actor by 1908, the performance techniques required for silent films were very different from those used on stage, with the most obvious difference being the total absence of spoken dialogue.Intertitles provided audiences with some context for storylines, but <mask>, like other screen actors of that period, had to convey his characters' intent and emotions solely through facial expressions, hand gestures, and by other subtle and exaggerated body movements. In his first few films for Biograph, <mask> served as minor supporting characters, likely casting assignments made by Griffith to acclimate the veteran stage actor to film sets and performance methods before placing him in starring roles. <mask>'s first confirmed screen appearance for Biograph is in the 14-minute Civil War drama The Guerrilla in which he is among a group of Confederate and Union soldiers. His second verified role is in the 10-minute drama The Criminal Hypnotist, which was filmed at Biograph's Manhattan studio on December 8 and 21, 1908 and released the following month, on January 18. Griffith cast <mask> in that short to serve simply as one guest among a small crowd of partygoers. After <mask> performed in two other supporting roles, in The Fascinating Mrs. Francis and
The Brahma Diamond, Griffith assigned him to star in the 1909 short Edgar Allen Poe . Released by Biograph on February 8, the historical drama, which has a running time less than seven minutes, is loosely based on actual events in the life of the 19th-century American writer and poet.More specifically, the film's action focuses on the death of Poe's wife Virginia Clemm, who is

masks: Yost Yost Yost Yost Yost Yost


title: Herbert Yost

texts:
 portrayed on screen by Linda Arvidson. Copies of this film survive, and they show that <mask> in his 19th-century costume, wig, mustache, and makeup presents a very credible representation of Poe. A few other examples of 1909 releases in which <mask> performed at Biograph are the comedy The Suicide Club; the dramedy The Road to the Heart; The Deception, a drama with the "Biograph Girl" Florence Lawrence; and <mask>'s final film for company, The Cardinal's Conspiracy, released in July 1909. Shortly after completing the latter film, the now-experienced screen actor signed a contract to work for Edison Studios, also located at that time in New York City, in the Bronx. Edison Studios, 1909, 19121915
Once he joined Edison in August 1909, <mask> performed in only two shorts for the remainder of that year: in the comedy Ethel's Luncheon, released on September 3, and the drama The Little Sister, released on September 14. In both films <mask> is credited as Bertram Yost rather than by his previously noted screen name Barry O'Moore. After the release of those shorts, he took time away from films to return to stage acting.Upon his return to Edison in 1912, he began performing again in studio productions and was then credited consistently as Barry O'Moore. From 1912 through 1914, <mask> was cast in nearly 90 one-reelers for Edison and in a wide assortment of roles, including as the character Nelson Wales in a series of dramatic shorts. <mask>'s greatest film success credited as O'Moore and his most notable casting while working at Edison occurred in 1914, when he starred in a dozen comedy shorts portraying the "amateur detective" Octavius. Characterized as a wealthy young man and a "gentle and

masks: Yost Yost Yost Yost Yost Yost Yost


title: Herbert Yost

texts:
 genial idiot", Octavius was presented as having "sublime confidence in his own marvellous  ability as a sleuth" to solve crimes and mysteries. Edison's bumbling screen character is described further in a 1914 issue of Illustrated Films Monthly as being someone who "could not trail a limberger cheese through a bed of violets." O'Moore's first short as Octavius in the studio's popular "Adventure" series is The Adventure of the Actress' Jewels, released in January 1914; his last, The Adventure of the Wrong Santa Claus, in December 1914. Following his work as Octavius, O'Moore in early 1915 co-starred in his final two motion pictures for Edison: the drama shorts The Master Mummer and For His Mother.He then moved to World Film Corporation to co-star in just one production, a five-reel film adaptation of the popular stage comedy Over Night in which <mask> had co-starred on Broadway in 1911. The 1915 film version was the veteran actor's last screen performance of the silent era and one in which he was credited as <mask>, no longer as Barry O'Moore. After the release of Over Night, <mask> did not return to films for another 14 years. Until 1929 he devoted himself solely to acting on stage. Still, he received excellent reviews in his final silent production. Variety in its December 31, 1915 assessment of Over Night focuses special attention on cast members "<mask> and Sam B. Hardy", the "two comedians" who in the trade paper's opinion "take the picture along." In distinguishing the two actors' performances, Variety observes, "Mr. Yost is the better fun maker for the screen.He knows how to inject a laugh. Hardy often aims for one but must be assisted." Brief return to films, 19291930, 1934
Yost

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title: Herbert Yost

texts:
 spent the vast majority of the final 30 years of his career acting on stage, but he did return very briefly to films during the early sound era. Recordings of his voice are therefore preserved in at least three screen productions in which he was cast and also credited as <mask>. Those releases are "his talking picture debut", which is the two-reel short Love, Honor and Oh! Baby (1929); the feature comedy Fast and Loose (1930); and the romance drama The Age of Innocence (1934). Continuing stage career
During his early years acting in motion pictures, <mask> periodically suspended his screen work to perform again on stage, sometimes for extended periods.He took such time away in 1910 and 1911, which explains the lack of entries for those years in his available filmographies. After the release of his first two shorts for Edison in 1909, <mask> soon embarked on a tour to perform with his future wife Agnes Scott in The Wall Between, a "sentimental playet" that they presented at the Grand Opera House in Indianapolis, the Majestic in Chicago, the Orpheum in Harrisburg, Pennsylvania, and at other major theatres. In late 1910, <mask> accepted an important role in the three-act Broadway farce Over Night, which opened at the Hackett Theatre in Manhattan on January 2, 1911. The play was a critical and popular success and brought the actor very positive notices from New York City's top reviewers. In an assessment of the production's premiere, The New York Times focused special attention on the performances of two cast members, noting that the players "who seemed to win from the audience the most favor were Margaret Lawrence and <mask>. <mask>." In another Manhattan review, the New York Tribune found

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Herbert Yost
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title: Herbert Yost

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 Over Night "commonplace" but, like The Times, complimented <mask>'s portrayal of the "bashful bridegroom" Richard Kettle as one of the bright, "amusing" parts in the production.By the standards of the day, the play was a long-running hit with 160 performances at the Hackett Theatre before moving in April to the Playhouse Theatre for additional presentations. More Broadway roles, 19141930s
The success of Over Night occupied most of <mask>'s professional time in 1911, but he did return to screen acting to work in a variety of releases for Edison Studios from 1912 to mid-1915. In 1914 he took time away again from films to accept a role in the Broadway play The Marriage of Columbine, another stage production that garnered him rave reviews for his role as Alfred Scott. The New York Times included "HERBERT YOST EXCELS" in bold print in the heading of its review of Harold Chapin's four-act comedy. The newspaper also reported, "The most distinguished performance of the evening is given by <mask>", adding that "He plays throughout with a complete understanding that is reflected in every slightest tone and gesture." In summarizing  the actor's abilities, The New York Times stated, "Mr. Yost is a most gifted and intelligent comedian." In 1915, almost immediately after his acclaimed work in The Marriage of Columbine, <mask> performed yet again on Broadway in The Clever Ones.He continued to be cast in play after play, further enhancing his reputation as a seasoned, reliable stage performer whether working in comedies, farces, or in a range of drama types. Some of the Broadway productions in which he was cast in the late 1910s and 1920s include In for the Night (1917), The Morris Dance (1917), Polly

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title: Herbert Yost

texts:
 With a Past (1917), The Young Visitors (1920), A Bachelor's Night (1921), Why Men Leave Home (1922), The New Poor (1924), The Comedienne (1924), The Enchanted April  (1924), The Goat Song (1926), A Proud Woman (1926), One Glorious Hour (1927), What the Doctor Ordered (1927), and Congratulations (1929). Yost began the decade of the 1930s co-starring with Spring Byington in the Broadway comedy I Want My Wife (1930) at the Liberty Theatre. He then performed in Rock Me, Julie (1931). More Broadway roles for Yost followed as did more accolades from reviewers. Some of the additional productions in which he was cast were John Brown (1934), The Red Cat (1934), Post Road (1934), Battleship Gertie (1935), End of Summer (1936) The Masque of Kings (1937). In 1938 Variety recognized him as one of the "standouts" in the Broadway comedy Wine of Choice in his portrayal of the "disappointed uncle" Charles Dow Hanlon.<mask> was next cast as David Crampton in another Broadway comedy, Morning's at Seven, which was presented at the Longacre Theatre from November 1939 to January 1940. Final stage performances, 1940s
With decades of stage experience and being well known among theatre companies as an accomplished character actor, <mask> continued his Broadway career into the 1940s. Additional roles for him followed in the Broadway productions of My Fair Ladies (1941), Ring Around Elizabeth (1941), and The Cat Screams (1942). Two years later he made his final stage appearances as the "Tragic Gentleman" in the three-act comedy Jacobowsky and the Colonel co-starring Louis Calhern, Oskar Karlweis, and Annabella. That play, directed by Elia Kazan, premiered at the Martin Beck Theatre in Manhattan on March 14, 1944,

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title: Herbert Yost

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 and <mask> performed not only there during the production's one-year run in New York but also during the play's subsequent tour, which continued across the country until July 1945, ending just three months before the actor's death. Personal life and death
<mask> married only once. In February 1916, he wed Agnes Scott, who was a native of Tennessee and also a professional stage actor.The couple remained together until <mask>'s death nearly three decades later. Federal census records and other official records indicate that they had no children and for many years resided in Old Greenwich, Connecticut, located about 40 miles northeast of lower Manhattan. When away from his stage roles and film-making, <mask> spent much of his personal time presenting lectures about theatrical history as well as writing several plays, including No Roof Big Enough, which was produced and presented in Southern theatres. He also served for many years as a lay preacher for Practical Christianity. In that capacity he convened meetings at the Unity Center in New York City and later established near his home in Old Greenwich an affiliated chapel, where he often conducted services and hosted related events. According to his obituaries, in Manhattan on the evening of October 22, 1945, <mask> failed to meet his wife Agnes as planned at the 46th Street Theatre following her performance there in the play Dark of the Moon. Concerned about <mask>, she quickly returned to their room at the nearby Bristol Hotel, where she found him unconscious on the floor.It was reported that <mask> died in the room a short time later, after midnight, on October 23. Additional reports at the time cited "a heart ailment" as <mask>'s cause

masks: Yost Yost Herbert Yost Yost Herbert Yost Yost


title: Jersey Joe Walcott

texts:
Arnold Raymond Cream (January 31, 1914 – February 25, 1994), best known as <mask>, was an American professional boxer who competed from 1930 to 1953. He held the NYSAC, NBA, and The Ring heavyweight titles from 1951 to 1952, and broke the record for the oldest man to win the title, at the age of 37. That record would eventually be broken in 1994 by 45-year-old George Foreman. Despite holding the world heavyweight title for a relatively short period of time, <mask> was regarded among the best heavyweights in the world during the 1940s and 1950s. After retiring from boxing, <mask> did some acting, playing small parts in a few movies and television shows. He also refereed several boxing matches, but after the controversial ending to the second fight between Muhammad Ali and Sonny Liston, <mask> was not asked to referee again. From 1971 to 1974, <mask> held the elected position of Sheriff of Camden County, New Jersey, the first African-American to do so.From 1975 to 1984, he was the chairman of the New Jersey State Athletic Commission. Early life
<mask> was born in Pennsauken Township, New Jersey. His father was an immigrant from St. Thomas, Danish West Indies. His mother was from Jordantown (Pennsauken Township), New Jersey. <mask> was only 15 years old when his father died. He quit school and worked in a soup factory to support his mother and 11 younger brothers and sisters. He also began training as a boxer.He took the name of his boxing idol, <mask>, a welterweight champion from Barbados. He added "Jersey" to distinguish himself and show where he was from. Boxing career
He debuted as a professional boxer on September 9, 1930, fighting Cowboy Wallace and winning by

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title: Jersey Joe Walcott

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 a knockout in round one. After five straight knockout wins, in 1933, he lost for the first time, beaten on points by Henry Wilson in Philadelphia. He built a record of 45 wins, 11 losses and 1 draw before challenging for the world title for the first time. <mask> lost early bouts against world-class competition. He lost a pair of fights to Tiger Jack Fox and was knocked out by contender Abe Simon.But that would change in 1945 when <mask> beat top heavyweights such as <mask>i, Lee Q. Murray, Curtis Sheppard and Jimmy Bivins. He closed out 1946 with a pair of losses to former light heavyweight champ <mask> and heavyweight contender Elmer Ray, but he promptly avenged those defeats in 1947. <mask> vs Louis
On December 5, 1947, he fought <mask>, at thirty-three years of age breaking the record as the oldest man to fight for the world heavyweight title. Despite dropping Louis in round one and again in round four, he lost a 15-round split decision. Most ringside observers and boxing writers felt <mask> deserved the win; a debate ensued, and sportswriters carried the topic throughout America. The lone official to vote for <mask>, referee Ruby Goldstein, was cast as a hero. Letters and telegrams poured in to the Goldstein household, praising his judgment.There was talk of an investigation being assembled for rule revisions in judging. Louis went into seclusion for a couple of days, then quieted dissent with the following: "I know Ruby. He calls them as he sees them and that should be good enough for anybody." What controversy remained was the kind that builds the gate, and <mask> was rightfully granted a rematch on June 25, 1948. Though dropped again, this time in the

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title: Jersey Joe Walcott

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 third, Louis prevailed by a knockout in round 11. The bout was the first closed-circuit telecast (CCTV) sports broadcast, distributed via theatre television. <mask> vs Charles
On June 22 of 1949, <mask> got another chance to become world heavyweight champion when he and Ezzard Charles met for the title left vacant by Louis.However, Charles prevailed, winning by decision in 15 rounds. <mask>, disappointed but eager to see his dream of being a champion come true, went on, and in 1950 he won four of his five bouts, including a third-round knockout of future world light heavyweight champion Harold Johnson. On March 7, 1951, he and Charles fought for a second time and again Charles won a 15-round decision to retain his world title. But on July 18, he joined a handful of boxers who claimed the world title in their fifth try, when he knocked out Charles in seven rounds in Pittsburgh to finally become world heavyweight champion at the age of 37. This made him the oldest man ever to win the world heavyweight crown a distinction he would hold until George Foreman won the title at age 45 in 1994. Losing the Title
<mask> retained the title with a 15-round decision victory against arch-enemy Charles. On September 23, 1952, he put his title on the line for the second time.His opponent was the undefeated Rocky Marciano. In the first round, <mask> floored Marciano with a left hook; the first time in his career that Rocky had ever been down. After twelve intense rounds, <mask> stood well ahead on two of the three official scorecards, leaving Marciano needing a knockout to win. In the thirteenth round, with Marciano pressuring <mask> against the ropes, simultaneously each threw

masks: Walcott Walcott Walcott Walcott Walcott Walcott Walcott


title: Jersey Joe Walcott

texts:
 a right hand. Marciano landed first and flush on <mask>'s jaw with what many consider the hardest punch thrown in boxing history. The title changed hands in an instant. <mask> collapsed with his left arm hanging over the ropes, slowly sinking to the canvas, where he was counted out.An immediate rematch was set for May 15, 1953 in Chicago. The second time around <mask> was again defeated by Marciano by a knockout, this time in the first round. It would be <mask>'s last bout. Life after boxing

<mask> did not go away from the celebrity scene after boxing. In 1956, he co-starred with Humphrey Bogart and Max Baer in the boxing drama The Harder They Fall. In 1963, he tried professional wrestling, losing to Lou Thesz. Thesz pinned <mask> in the fifth round, but has stated that <mask> knocked him (Thesz) down and most likely out in that fifth round.As he fell to the floor, he relied on instinct, grabbing <mask>'s knees, taking him down with him and stretching him out for the pin. In 1965, <mask> refereed the controversial world heavyweight championship rematch between Muhammad Ali and Sonny Liston. <mask> lost the count as Ali circled around a floored Liston and <mask> tried to get him back to a neutral corner. <mask> then looked outside of the ring (presumably to the ringside count keeper) as Ali and Liston went at each other, before <mask> instructed them to keep on fighting. <mask> then approached the fighters and abruptly stopped the fight. <mask> was never again appointed as a referee after this bout. Political career
After retiring, <mask> worked for the Camden County corrections department.In 1968, he ran for Sheriff of Camden County, New Jersey, but lost in the

masks: Walcott Walcott Walcott Walcott Walcott Walcott Walcott Walcott Walcott Walcott Walcott Walcott Walcott Walcott Walcott Walcott


title: Jersey Joe Walcott

texts:
 Democratic primary to Spencer H. Smith Jr.  That same year he was named director of community relations for Camden. In 1971, he ran again for Camden County Sheriff. He defeated Republican William Strang in the general election. He was the first African-American to serve as Sheriff in Camden County. He served as chairman of the New Jersey State Athletic Commission from 1975 until 1984, when he stepped down at the mandatory retirement age of 70. <mask> was inducted into the International Boxing Hall of Fame in Canastota, New York. Honors
In 2013, <mask> was inducted into the New Jersey Hall of Fame.Partial filmography
The Harder They Fall (1956) - George
The Super Fight (1970) - Himself (voice)

Professional boxing record

See also
List of heavyweight boxing champions

References

External links

https://boxrec.com/media/index.php/NBA_World_Heavyweight_Title_Fights
https://boxrec.com/media/index.php/NYSAC_World_Heavyweight_Title_Fights
Jersey <mask> - CBZ Profile
Boxing Hall of Fame

1914 births
1994 deaths
African-American boxers
African-American sheriffs
American people of United States Virgin Islands descent
Boxers from New Jersey
Heavyweight boxers
International Boxing Hall of Fame inductees
Sportspeople from Camden, New Jersey
People from Merchantville, New Jersey
People from Pennsauken Township, New Jersey
New Jersey Democrats
New Jersey sheriffs
American Protestants
World Boxing Association champions
World heavyweight boxing champions
American male boxers
20th-century American politicians
The Ring (magazine) champions
Stampede Wrestling alumni
American male professional wrestlers
Professional wrestlers from New Jersey
20th-century African-American

masks:
Walcott
Walcott
Joe Walcott


title: Ñāṇamoli Bhikkhu

texts:
 language and a wide knowledge of the canonical scriptures within a comparatively short time. He is remembered for his reliable translations from the Pali into English, mostly of abstruse texts such as the Nettippakaraṇa which are considered difficult to translate. He also wrote essays on aspects of Buddhism. By 1956 he had translated Visuddhimagga into English and got it published as The Path of Purification. He also compiled The Life of the Buddha, a reliable and popular biography of the Buddha based on authentic records in the Pali Canon. His notes with his philosophical thoughts were compiled by Nyanaponika Thera and published as A Thinker's Note Book. His handwritten draft translation of the Majjhima Nikaya was typed out after his death and edited by Bhikkhu Khantipalo, and partly published as A Treasury of the Buddha's Discourses and then edited again by <mask> Bodhi and published as Middle Length Discourse of the Buddha and published by Wisdom Publications in 1995.Other draft translations, edited and published after his death, are The Path of Discrimination (Paṭisambhidāmagga) and Dispeller of Delusion (Sammohavinodanī). While on a pilgrimage he died suddenly due to heart failure at the hamlet of Veheragama near Mahawa. His body was brought to Vajirarama Temple in Colombo and cremated at a nearby cemetery. Works

Published by the Pali Text Society, London
 Minor Readings and Illustrator. The Khuddakapāṭha and Commentary. Transl, from the Pali. 1960.The Guide (Nettipakarana). Transl. from the Pali. 1962. Piṭaka-Disclosure (Peṭakopadesa). Transl. from the Pali.1964. The Path of Discrimination (Patisambhidamagga).


title: Ñāṇamoli Bhikkhu

texts:
 Transl. from the Pali, 1982. Dispeller of Delusion (Sammohavinodanī). Transl. from the Pali.Revised by L.S. Cousins, Nyanaponika Thera and C.M.M. Shaw, 2 volumes, 1987, 1991. Published by the Buddhist Publication Society, Kandy
 The Path of Purification (Visuddhimagga) by Bhadantācariya Buddhaghosa. Translated from the Pali. First edition 1956. 3rd ed.1991. Read
 Mindfulness of Breathing (Ānāpānasati): Buddhist Texts from the Pali Canon and Extracts from the Pali Commentaries. First edition 1964. Fifth edition 1991. Read
 The Life of the Buddha: as it appears in the Pali Canon, the oldest authentic record. (369 pp.) First printing 1972, fifth printing 2007.Read
 The Practice of Loving-kindness (Mettā): as taught by the Buddha in the Pali Canon. Compiled and translated 1958. Published in The Wheel No. 6/7. First printing 1958. Sixth reprint 2005. Read
 A Pali-English Glossary of Buddhist Technical Terms.Edited by <mask> Bodhi. First edition 1991. Second edition 2007. Read
 Three Cardinal Discourses of the Buddha: Translation with Introduction and Notes. First printing 1960; third reprint 1981 as The Wheel No. 17. Read
 Pathways of Buddhist Thought: Four Essays (from Posthumous papers).1963, 1983—(The Wheel No. 52/53.) Reprinted in an anthology of The Wheel publications published by George Allen & Unwin, London, 1971 under the same title). Read
 The Three Refuges. 1959. (Bodhi Leaves No. A.5). Read
 “Anicca-Dukkha-Anatta. According to the Theravāda.” Three Essays in The Three Basic Facts of Existence (The Wheel Nos. 186/187, 191/193, 202/204), 1973–74. Read
 A Thinker’s Notebook: Posthumous Papers of a Buddhist Monk.


title: Pascal Dusapin

texts:
<mask> (born 29 May 1955) is a French composer. His music is marked by its microtonality, tension, and energy. A pupil of Iannis Xenakis and Franco Donatoni and an admirer of Varèse, <mask> studied at the University of Paris I and Paris VIII during the 1970s. His music is full of "romantic constraint". Despite being a pianist, he refused to compose for the piano until 1997. His melodies have a vocal quality, even in purely instrumental works. <mask> has composed solo, chamber, orchestral, vocal, and choral works, as well as several operas, and has been honored with numerous prizes and awards.Education and influences
<mask>, born in Nancy, studied musicology, plastic arts, and art sciences at the University of Paris I and Paris VIII in the early 1970s. He felt a certain "shock" upon hearing Edgard Varèse’s Arcana (1927), and a similar shock when he attended Iannis Xenakis’s multimedia performance Polytope de Cluny in 1972, yet he felt "une proximité plus grande" ("a greater closeness") to the latter composer. Because of his attraction to Xenakis's music, <mask> studied with the composer at the Sorbonne in Paris, where he remained a student from 1974 to 1978. His classes with Xenakis included such subjects as aesthetics and science. <mask> also studied with Italian composer Franco Donatoni, who was invited to the University of Vincennes (Paris VIII) in 1976. While <mask>'s studies with these composers formed a foundation for his compositional studies—particularly for his understanding of sound masses—he developed his own musical language. According to I. Stoïnova, "Though attached to ... Varèse, Xenakis, Donatoni,

masks:
Pascal Georges Dusapin
Dusapin
Dusapin
Dusapin
Dusapin
Dusapin
Dusapin


title: Pascal Dusapin

texts:
 <mask> is nevertheless completely solitary because he is not only aware of his legacy, but also of the distance which separates him from his mentors: a creative distance of an aesthetic order and sensibility, a way of existing in sounds".He absorbed styles and ideas from these composers, then transformed them to fit his own musical needs. Besides being influenced by composers such as Varèse and Xenakis who dealt with sound masses, <mask>'s music also shows the influence of other musical traditions, including jazz. In fact, he was once a jazz pianist, though up until 1997 he refused to include piano in his compositions. Beginning in the late 1980s with his piece Aks (1987) and continuing into the 1990s, <mask> incorporated French folk music into his musical language. In Aks, commissioned by the Société des Amis du Musé des Arts et Traditions Populaires, <mask> immediately quotes a folk-melody, but the rest of the piece is composed independently from the folk song. <mask>'s work from the 1990s further illustrates the influence of folk music through its frequent use of drones and use of restricted modes, though most often without obvious tonal centers. Other sources of inspiration include graphic arts and poetry.Musical style

Instrumentation
One way in which <mask> stands out from other contemporary composers is through his selection of certain instruments and rejection of others. Unlike even Xenakis, he avoids the use of electronics and technology in his music. Likewise, he has removed the use of percussion other than timpani from his works. Until recently, <mask> also rejected the use of keyboard instruments,

masks: Dusapin Dusapin Dusapin Dusapin Dusapin Dusapin Dusapin


title: Pascal Dusapin

texts:
 despite the fact that he plays the organ and jazz piano. As a possible reason for <mask>'s rejection of these instruments, Stoïnova suggests, "The scale and static timbre of the piano, as well as the noisy, uniform textures of percussion are incorporated with difficulty by <mask> into his microtonal perspective which seems to define the very essence of his dynamic melodism." Stoïnova, however, wrote this article four years before the <mask> completed Trio Rombach (1997), for piano, violin or clarinet, and cello. This piano trio was the first work in which <mask> incorporated piano, and not until 2001 did he complete a piece for solo piano, Sept Études (1999–2001).Microtonality
<mask>'s music is also marked by its microtonality, which is often achieved through the integration of micro-glissandi and micro-intervals (intervals of less than one semitone). <mask> combines both micro-intervals and regular intervals into melodic lines so that the listener never knows what to expect next. Even so, <mask> manages to make his use of microtonality feel completely natural. As Stoïnova explains, "The micro-intervals and the micro-glissandi ... in such instrumental works as Inside (1980) for viola, Incisa (1982) for cello, and many other pieces are, in effect, completely integrated as different by entirely 'natural' components in extremely supple melodic progressions". The listener is already familiar with the uniform division of the octave in equal intervals; <mask> merely divides the octave by a less traditional number. Musical form
<mask> rejects the hierarchical, binary forms of most European music, but neither is his music

masks: Dusapin Dusapin Dusapin Dusapin Dusapin Dusapin Dusapin Dusapin Dusapin


title: Pascal Dusapin

texts:
 aleatory. <mask> characterizes the European "hierarchical" form as thinking in terms of variations, so that certain parts are always of more importance than others.Instead of composing in this way, <mask> seems to compose measure by measure, deciding what he wants to happen next when he gets there. This process slightly alludes to the chance-like aspect of aleatory music, but <mask>'s music is so precisely composed that it cannot truly be aleatoric. Stoïnova writes, "With regard to <mask>’s music we can observe a principle of auto-organization and complexity in the compositional system through the integration or assimilation of aleatory disturbances." In other words, <mask> lets the music go where it will, often evoking aleatory idioms, while still notating everything and maintaining control of his music. He avoids repetition and rejects stability and redundancy in music, which is yet another distinguishing feature of his music. Tension, energy, and movement
Perhaps the most prominent and unique element of <mask>'s music is its built-in tension, energy, and sense of movement. Indeed, in his article on <mask>, Julian Anderson cites the "enclosing tensions" and "explosive flight" as the two extremes of <mask>'s early music and claims that these idioms are what make the composer's music so highly individual.Stoïnova also emphasizes the energy that is present in <mask>'s earlier compositions, giving credit to <mask>'s use of extreme registers, flutter tongue, trills, micro-intervals, glissandi, multiphonics, rapid articulations, drastic dynamics, and continuous breathing. These unique features make <mask>'s music

masks: Dusapin Dusapin Dusapin Dusapin Dusapin Dusapin Dusapin Dusapin Dusapin Dusapin Dusapin


title: Pascal Dusapin

texts:
 incredibly intense and demanding on its performers. In fact, the intensity is such that <mask> consciously makes pieces like Musique captive (1980) have short durations (in this case, three minutes), for by their ends the musicians and listeners alike are completely exhausted. Later characteristics
Many of the characteristics discussed above are especially prevalent in <mask>'s earlier works, especially those from the 1980s. Beginning in the next decade, <mask>'s work moved more and more toward greater harmonic and melodic simplicity. Paul Griffiths notes that <mask>'s works from the 1990s are more harmonically conceived than his previous music, and that they incorporate more folk traditions, including the use of drones and modes. He further suggests that <mask> continued to simplify his music as he moved into the twenty-first century, and that while the composer still avoids diatonicism, he uses techniques like oscillating between two notes and constantly varying small patterns, which involve more repetition than his past music.Collaboration with Accroche Note
The instrumentation of <mask>'s music is often based upon available players, and during the 1980s and 1990s, he often wrote for the Ensemble Accroche Note, a Strasbourg-based new music group founded by a singer and clarinetist. Ian Pace proposes that the influence of the group's clarinetist Armand Angster might be a reason for the prominence of the clarinet in much of <mask>'s music from this time period. Griffiths, too, makes note of the important role of the clarinet in the series of shorter pieces that <mask> wrote after the completion of his first opera,

masks: Dusapin Dusapin Dusapin Dusapin Dusapin Dusapin Dusapin Dusapin


title: Pascal Dusapin

texts:
 Roméo et Juliette (1985–89). <mask>'s tendency to write for specific instrumentalists (in this case, clarinetist Angster) reveal a practical and realistic side of the composer. Notable works

Musique captive (1980) and Musique fugitive (1980)
Two of <mask>'s earlier works composed in the same year, Musique captive (1980) and Musique fugitive (1980), might be studied together in that they are both unstable and aim to avoid any sort of repetition. At the same time, however, the pieces go about achieving these goals in two very different ways. Musique captive is written for nine wind instruments (piccolo, oboe, soprano saxophone, bass clarinet, contrabass clarinet, contrabassoon, two trumpets, and bass trombone) and lasts just three minutes, for, as Stoïnova suggests, the tension and high demands on the performers are such that the piece could not last any longer.Stoïnova further describes the piece as internally destroying itself, writing, "The musical ideas of this piece—tremolo textures, a rising chromatic figure, violent crescendi, an expanding mass of detail etc.—destroy each other or to be more exact annihilate each other." <mask> thus throws many musical ideas together, a concept that Pace relates to free jazz. The resulting music is highly unstable and simply cannot endure longer than its three-minute duration. The piece was first performed in July 1981 in La Rochelle, France. Musique fugitive, on the other hand, achieves its instability through musical "ruptures." Written for string trio, the piece avoids the traditional process of statement and variation, thus breaking away from any sense of unity and

masks: Dusapin Dusapin Dusapin


title: Pascal Dusapin

texts:
 continuity. <mask> achieves this effect by stating one idea, then abruptly changing course through either sudden silence or the introduction of a new musical progression.Premiered in Aix-en-Provence, France, in June 1980, Musique fugitive, Pugin claims, has become "virtually a repertoire piece in France." The Arditti String Quartet recording of the piece can be heard on Spotify. La Rivière (1979) and L'Aven (1980–81)
La Rivière (1979) and L’Aven (1980–81) are two orchestral pieces based on ideas of nature that, according to Julian Anderson, show off the "more exuberant, violent side of <mask>’s style." Both pieces focus on characteristics of water and symbolize its fluidity and strength through music. The first piece opens with solo cello, which "spreads through" and "absorbs" the whole orchestra, as water would do. Indeed, in this piece Dusapin aims to realize the "movement of changing speeds, of the strength of flow." L’Aven, on the other hand, captures the image of water slowly dripping and opening a hollow in stone.A concerto for flute and orchestra, the work begins with the flute being just barely audible over the orchestra, but it gradually pushes its way through the orchestral texture until it is the prominent voice of the work. Thus, the flute represents the dripping water, and the orchestra represents the stone. The flute plays without stop for ten minutes, always pushing against the orchestra and ultimately coming out on top. Both pieces received their premiere in Metz, France: La Rivière in November 1979, and L’Aven in November 1983. Niobé ou le Rocher de Sypile (1982)
Niobé ou le Rocher de Sypile (1982)

masks: Dusapin Dusapin


title: Pascal Dusapin

texts:
 is a thirty-eight-minute work for twelve mixed voices, solo soprano (Niobé), and eight instruments (oboe doubling English horn, two clarinets [the second doubling bass clarinet], two bassoons [the second doubling contrabassoon],trumpet and two tenor trombones), with a neo-Latin text by Martine Irzenski. Irzenski's text is taken from fragments of Latin literary works and does not necessarily follow the chronology of the Greek myth of Niobe. <mask> himself classifies the work as a "staged oratorio", rather than an opera or piece of musical theatre, and in it he once again avoids repetition and continuity and seeks to freely make textural connections.The solo soprano voice is pitted against the twelve voices of the mixed chorus, who serve a number of different purposes throughout the course of the work, sometimes extending the timbre of Niobé's voice, sometimes moving in relation to the text. In his article on <mask>, Anderson also highlights the variety of vocal techniques and textures used in the oratorio, including microtonal chords for the chorus and the monodic soprano line at the end of the work. Through its non-linear text and multiple textural layers, 'Niobé ou le Rocher de Sypile' maintains the same sense of discontinuity as <mask>'s earlier chamber works. The work was first performed in Paris on 16 June 1984. Roméo et Juliette (1985–88)
According to Ian Pace, <mask>'s first opera, Roméo et Juliette (1985–88) is the "pivotal work" in the composer's career, for it is in this work that he first "properly" combines his ideas of narrative to the theatrical realm. Pugin views <mask>'s opera as a return to the

masks: Dusapin Dusapin Dusapin Dusapin Dusapin


title: Pascal Dusapin

texts:
 "more fruitful" style of Niobé, and cites <mask>'s vocal pieces Mimi (1986–87), Il-Li-Ko (1987), and Anacoluthe (1987) as study pieces for the creation of his first opera, particularly for the setting of the French language. Anderson, meanwhile, notes the greater amount of lyricism that exists in <mask>'s opera as compared to his earlier works.All three authors seem to agree that the opera is a noteworthy point in <mask>'s compositional career. The libretto, written by Olivier Cadiot, is divided into nine numbers: the first four dealing with events before the revolution, the final four involving events after the revolution, and the fifth and central number being the revolution itself. This central movement is the only one played purely by the orchestra. The opera focuses not only on Roméo and Juliette, but also on their doubles, Roméo 2 and Juliette 2, who appear before the revolution and seem to symbolize "an expansion of their personalities." The opera also involves a chorus that comments on the action and a vocal quartet that serves as an intermediary and teaches Roméo and Juliette revolutionary concepts. Finally, there is the character of Bill, who teaches Roméo and Juliette to sing, but who himself only speaks until the eighth number, when he at last sings as well. In the latter half of the work, the characters discuss the possibility of creating a real opera, only to discover the "impossibility of opera, the story and even language itself", and the music breaks down into microtonality and fragmentation.The opera was premiered on 10 June 1989 in Montpellier, France. Seven Solos for Orchestra (1992–2009)
His


title: Pascal Dusapin

texts:
 next major project was the large-scale orchestral cycle Seven Solos for Orchestra composed between 1992 and 2009. It consists of seven works that can be played independently but were from the start conceived as a whole. In the composer's own words:

The cycle treats the orchestra as a large solo instrument and is the closest <mask> has come to traditional symphonic thinking. Current projects

In May 2016, Alisa Weilerstein and the Chicago Symphony Orchestra premièred Outscape, <mask>'s second cello concerto, to positive critical reception. His most recent opera, Macbeth Underworld, premièred at La Monnaie in Brussels in September 2019. concertino for piano and 6 instruments (2012)
Other
Aria, clarinet concerto (1991)
Watt, trombone concerto (1994)
At Swim-Two-Birds, double concerto for violin and cello (2017)
Waves, for organ and orchestra (2019)

Vocal
Igitur (1977)
Lumen (1977)
L'Homme aux liens, for 2 sopranos and 3 violins (1978)
Shin'gyo, for soprano and piccolo flute (1981)
Niobé ou le rocher de Sypile (1982)
To God, for soprano and clarinet (or saxophone soprano) (1985)
Mimi for 2 women's voices and ensemble (1986–1987)
Aks (1987)
Red Rock, from «Roméo et Juliette» (1987)
Anacoluthe (1987)
For O., for 2 women's voices and 2 clarinets (1988)
So Full of Shapes is Fancy, for soprano and bass clarinet (1990)
Comoedia (1993)
Canto, for soprano, clarinet and cello (1994)
Two Walking, five pieces for two women's voices (1994)
Dona Eis (1998)
Momo (2002)
Ô Berio, for soprano and 13 instruments (2006)
O Mensch!2007 – Dan David Prize (shared with Zubin Mehta)

In 2019, writers of The Guardian ranked Passion (2008) the


title: Pascal Dusapin

texts:
 14th greatest work of art music since 2000, with Tim Ashley writing, "The score subtly alludes to Monteverdi and French baroque, but the sound world it creates is uniquely <mask>’s own: tense, quietly mesmerising and austerely beautiful." References

Notes

Sources
Amblard, Jacques. <mask>, l’intonation ou le secret. Paris: Musica falsa Société de Presse, 2002. Anderson, Julian. "Dusapin, <mask>." In Contemporary Composers, edited by Brian Morton and Pamela Collins, 250–52.Chicago: St. James Press, 1992. Cazé, Antoine. "‘Pas de Deux:<mask> Sings/Stein to Be Sung." In Sound as Sense: Contemporary US Poetry &/In Music, edited by Michel Delville and Christine Pagnoulle, 141–53. New Comparative Poetics 11. Brussels, Belgium: Presses Interuniversitaires Européenes – Peter Lang, 2003. Cohen-Levinas, Danielle."Composer n’est pas la musique." In Causeries sur la musique: Entretiens avec des compositeurs, edited by Danielle Cohen-Levinas, 203–50. Paris: L’Itinéraire, 1999. Grabócz, Márta. "Archetypes of Initiaion and Static Temporality in Contemporary Opera: Works of François-Bernard Mâche, <mask>, and Gualtiero Dazzi." In Music and Narrative since 1900, edited by Michael L. Klein and Nicholas Reyland, 101–24. Bloomington, IN: Indiana University Press, 2013.Stoïanova, I. "<mask>: Febrile Music." Contemporary Music Review 8, no. 1 (1993): 183–96. External links
<mask>'s page at Durand-Salabert-Eschig, composer's publisher
Concert and CD reviews at classicalsource.com
Short biography, the ensemble Sospeso
Biography and list of works, the Living Composers Project
Dan David Prize laureate 2007

1955 births
Living

masks:
Dusapin
Pascal Dusapin
Pascal
’ Dusapin
Pascal Dusapin
Pascal Dusapin
Dusapin


title: Ezinne Okparaebo

texts:
<mask> (born 3 March 1988 in the state of Imo in southern Nigeria) is Scandinavia's fastest woman ever over 60m and 100m, representing Norway. <mask> holds the Norwegian national records over 60 metres and 100 metres and has won the 100m nationals 13 times. She moved to Norway as a nine-year old and grew up in Ammerud. She visited the Haugen skole, where her sprinting talent was discovered on a sports school day. She has been the top female sprinter in Norway since 2005, and is competing for the club IL Norna-Salhus. She won the silver medal at 60 metres for women in the  2009 European Athletics Indoor Championships and the bronze medal in the same discipline in 2011 European Athletics Indoor Championships. Her younger sisters are also athletes Chiamaka Okparaebo specializes in triple and long jump.<mask>, 22, is also a tracks and field athlete. Personal records
(Figures in brackets indicate the placement on the Norwegian statistics of all time)

Indoors
 60 metres (indoors): 7,10 (1.) – Prague, Czech-Republic, 9. March 2015
 100 metres (indoors): 11,42 – Florø, 21. Februar 2009
 200 metres: 25,94 – Stange, 19. February 2006

Outdoors
 60 metres: 7,69 (n/a) – Asker, 28. Mai 2005
 100 metres: 11,10 (1.)– London, 4. August 2012
 150 metres: 17,31, – Oslo, 19. Mai 2010
 200 metres: 23,30 (2.) – Florø, 2. Juni 2012

Career

2005
In 2005 <mask> surprised the Norwegian sprinters and became Norway's best sprinter aged only 17. <mask> participated for the first time in Youth-Olympics, which was held in Lignano, Italy. There she came third in 100 metres.On 19 August, the same year, she won the golden medal over 100 metres in the Norwegian National Championships, running the time of 11,71 seconds. 2006
During the National Championships in Norway in 2006, Okparaebo defended the gold from 2005, and at the same time set a new personal record of 11.70. This happened with 1.5 seconds of

masks:
Ezinne Okparaebo
Okparaebo
Angelica Okparaebo
Okparaebo
Okparaebo


title: Ezinne Okparaebo

texts:
 headwind. She also participated in the Junior World Championships in Athletics 2006, in both 100 meters and 200 meters. She reached the semi-finals of 100 meters, but time 11.83 was not enough for a place in the finals. At 200 meters she ran at 24.43 in her qualifying heat, which was a fourth place in the heat, but not enough for the semi-finals. 2007
During an indoor event in Florø in February, she took an eleven-year-old 60-meter record with a time of 7.36.Less than an hour later, she put another record indoors at 100 meters, with 11.78. During another meeting in June in Florø she beat Olympic and World Cup medalist Merlene Ottey at 100 meters when she ran in at 11.43. Ottey was 47 years old at that time. The time was very close to the old Norwegian record, but it was not approved because of too strong tailwind. In July during the Junior European Championship in athletics in Hengelo in the Netherlands , she won the gold medal and set a new Norwegian junior record of 11.45 at 100 metres. She also defended her victory at 100 meters in the Norwegian nationals. 2008
<mask> mada her debut in the Olympics in Beijing by running 100 meters.In the first qualifying round of 100 meters she ran into second place in the heat and set new Norwegian record with the time 11.32 seconds. In the quarterfinals, she ran in at 11.45 sec, and did not reach the finals. She participated in the 2008 IAAF World Indoor Championships in Barcelona, where she ran 60 meters. She qualified for the semifinals with 7.42 in the qualification. Despite having her season best in the semi-finals, with 7.34, she did not reach the final since she entered sixth place. In addition, for the fourth consecutive year, she became a Norwegian champion of 100 meters. 2009
The season started with the indoor European Championship in Torino , where she won the silver at 60 meters, and set a new Norwegian record of 7.21.<mask>

masks: Okparaebo Okparaebo