title: Abraham I. Shiplacoff

texts:
<mask>Abe<mask> (1877–1934) was a Russian-born Jewish-American trade union organizer and left wing political activist. Shiplacoff is best remembered as a Socialist New York assemblyman and as a prominent target of prosecution for sedition under the Espionage Act in 1918. Biography

Early years

<mask><mask> was born December 13, 1877, in Chernigov, Ukraine, then part of the Russian empire. Shiplacoff emigrated to the United States in 1891, settling in New York City. Political career

In 1893, the 16-year-old Shiplacoff joined his first political organization, a socialist group known as "The Voice of Labor". Early in 1915, <mask> was named Secretary of the United Hebrew Trades, a municipal trade union federation based in New York City. He was also active in Jewish causes during the second decade of the 20th century.For instance, in September 1915, the National Workmen's Committee on Jewish Rights held a meeting at Cooper Union to advocate for Jewish emancipation in Russia. <mask> chaired the meeting, which resolved to ask U.S. President Woodrow Wilson to demand that Russia grant equal rights to its Jewish citizens at the end of World War I.

<mask> was active in the Socialist Sunday School movement. For a time he was the labor editor of The Jewish Daily Forward. 1916 legislative session

In 1915, <mask> became—after Herbert M. Merrill—the second candidate of the Socialist Party elected to the New York State Assembly, He was a member of the 139th, 140th and 141st New York State Legislatures from the 23rd District of Kings County, representing Brownsville, Brooklyn. Shiplacoff found his first experience in as the sole Socialist member of the Assembly to be trying, as he recalled in 1916:

Quite early in the session I realized that the chance for having any of my bills voted out of committee and presented on the floor of the Assembly were very scarce. This was not the result of any antagonistic feeling toward the 'lone red,' but almost entirely due to the fact that I was not open for bargaining; for the success or failure of getting one's bill out of a committee depends mainly on one's willingness to exchange courtesies... Having no concessions to make [in trading votes], I had no hopes of getting any in return. Shiplacoff therefore contented himself with what he described as "putting up a fight against the bills which were opposed to the interests of labor, or were otherwise of a vicious nature".Chief among these were a series of bills intended to exempt dairy workers from existing laws mandating one rest day in seven, which appeared approximately a dozen times before ultimately being passed in a watered-down form. <mask> was also the single assemblyman opposed to the 1916 Slater-Welsh bill, which established compulsory military training in New York State for unemployed boys between the ages of 16 and 19. Among the legislation proposed by <mask> during this inaugural session were bills which would have required any employer placing an ad offering jobs during a strike to make that fact clear in the advertisement, tightening regulations for exits on any factory building over one story in height, banning the use of armed guards during strikes, provision of compensation for workers suffering permanent disabilities on the job, and prohibition of the employment of children under 16 years of age in a factory. All of these bills died in committee. During his first two terms in the Assembly, <mask> managed to introduce only one successful bill, which banned the use of the third degree in interrogation. 1917 legislative session
<mask> won re-election to the assembly in 1916 (when he was joined by fellow socialist Joseph A. Whitehorn) and 1917 (9 other socialists were also elected at this time). During the 1917 session, <mask> introduced New York's first birth control bill, which would have allowed "the dissemination of printed articles describing means of birth control".He introduced the bill on January 24, while Margaret Sanger's sister Ethel Byrne was on a hunger strike in The Tombs to protest her arrest for distributing information about birth control from their clinic in Brooklyn. Shiplacoff did have occasional successes in the Assembly, although they were often more symbolic than substantive. For instance, on March 26, 1917, Joseph M. Callahan introduced a resolution urging the United States Congress to pass a measure, known as the Chamberlain bill, requiring the United States to prepare for entry into World War I. Shiplacoff objected on the procedural grounds that Assembly rules forbade resolutions to be introduced after March 1 except by the unanimous consent of the members, which caused the resolution to be returned to its proposer. The rules were amended, allowing the reintroduction of the resolution two days later. Supporters attacked Shiplacoff for his opposition, with assemblyman Martin G. McCue saying that:
It's you and your kind which have changed my views on the subject of compulsory military service. We tried conscription to make you and your kind do your bit. If I believed as you do I would turn in my citizen papers and resign from the Assembly."Shiplacoff replied:
You have no right to challenge my patriotism because I happen to disagree with you. At this point, Lieutenant Colonel and Assemblyman Wells added:
Your kind of patriotism is the kind that a yellow dog has. The resolution was then adopted, with only Shiplacoff and Whitehorn voting against it. On May 3, 1917, Shiplacoff introduced a resolution to request Woodrow Wilson to reconsider his appointment of Elihu Root as head of the United States Commission to Russia. He was "hooted down by the members of the Assembly" and a motion was then introduced and "uproariously carried" that no mention of the resolution be made in the official journal. 1918 and after
On February 11, 1918, <mask> and his 9 socialist colleagues in the assembly refused to support a resolution of admiration for <mask> because it included language expressing gratitude for American soldiers fighting in France. The Democratic Assemblyman who had introduced the resolution attacked Shiplacoff, stating:
Mr. Speaker, I have sat here long enough watching the tactics of some of the members of this House.As a true American I will refuse to sit here longer with members whose hearts are touched with treason. I come from the South, where the people sometimes take the law into their own hands. I do not approve of that, but when a man won't stand up for his country he is against it. If this thing happens again let the Lord have pity on their souls. During the same session, Assemblyman George R. Fearon accused the socialists of preaching free love, to which <mask> replied: "I am sure that if some of the Socialists preach free love, some of the Republicans practice it." <mask> was elected to the governing National Executive Committee of the Socialist Party in 1918, remaining in that post through the Emergency National Convention held in Chicago in 1919. In the fall of 1918 <mask> ran as a Socialist candidate for the United States House of Representatives.Because the Socialist Party had outpolled the Democrats (9228 to 8290) in the district's previous election, leading to the election of a Republican, <mask>'s candidacy led to calls for a Democratic-Republican "fusion candidate" to prevent his victory. The sitting Republican candidate, Reuben Haskell, offered to withdraw from the race should polls indicate that he had fewer votes than Democratic candidate George W. Martin. The plan was never put into action, however. Haskell did not withdraw and defeated <mask> and Martin in November 1918. 1918 prosecution

On September 23, 1918, <mask> was indicted for three counts of violation of the so-called Espionage Act for a speech against American intervention in Russia made in the Bronx 10 days previously. The first count charged that Shiplacoff "willfully, knowingly, and feloniously uttered and published disloyal, scurrilous, and abusive language about the military and naval forces of the United States, namely the armed forces of the United States now operating in Siberia". The second count charged that his words were "intended to bring [those forces] into contempt, scorn, contumely, and disrepute".The third count charged that his speech was intended to incite and encourage resistance to American forces. <mask> was released on $5,000 bail. The indictment against <mask>, along with similar charges against John Reed, William J. Robinson, and others, was quashed on April 4, 1919. Attorney General Alexander Palmer had decided that the 1918 end of the First World War obviated most such prosecutions. Later political career

<mask> remained a loyal member of the Socialist Party after its 1919 split into rival Socialist and Communist organizations. He was a New York City alderman in the early 1920s. In February 1920, he spoke out against the Treaty of Versailles and against the New York State Assembly's recent suspension of its Socialist members.He stated that the Assemblymen who had voted to suspend the Socialists were "poor boobs", and that his colleagues on the New York City Board of Aldermen were "a bunch of hypocrites". About Woodrow Wilson, in reference to the treaty, he said that "the little tin god in the White House has collapsed." He made some remarks on the injustice of the treaty, which led to rumors in the press that the Board of Aldermen might investigate and punish him for what they reportedly saw as pro-Germanism. By early 1920, <mask> was the manager of the New York office of the Amalgamated Clothing Workers of America. In March 1923, Marks Arnheim, a New York City clothing manufacturer attempted to have the ACWA and its New York Joint Board dissolved as "unlawful combinations and conspiracies" which had "the intent and purpose generally of destroying the present industrial system of ownership by private persons, firms, and corporations." As part of this suit, <mask>, along with Sidney Hillman and other union officials, was interrogated by attorneys for Marks Arnheim. Shiplacoff ran in the 50th Aldermanic district in November 1923.His candidacy was endorsed by the Citizens Union. However, the Democratic candidate defeated him. In 1923 he was elected a delegate to the SPA's National Convention. At the 1924 New York State convention of the SPA, <mask> was one of only 5 delegates to oppose the successful motion to endorse Robert M. La Follette's candidacy for president of the United States. About the party's endorsement, <mask> told the New York Times that "the Socialist Party hasn't married La Follette, the Socialist Party has married a labor party. La Follette is only a sort of father-in-law." Death and legacy

<mask> died of uremic poisoning on February 7, 1934, in Israel Zion Hospital in Brooklyn, New York.He was 56 years old at the time of his death. <mask>'s papers are held by the Tamiment Library and Robert F. Wagner Archives of New York University. The collection, gathered in six archival boxes measuring 3 linear feet, is open for research without restriction. Footnotes

Works

 מיין ארבייט אין דער אסעמבלי ( — My Work in the Assembly). New York: Ferlag fun der Idisher SP Federatsyon, 1916. Further reading

 William M. Feigenbaum, <mask>. Shiplacoff: The Spirit of Brownsville. New York, Rand School Press for the Shiplacoff Day Committee, n.d. [1930s].External links
 Barbara Hawes and Edmund Ryder, "Guide to the A. I. (<mask>) Shiplacoff Papers", Tamiment Library and Robert F. Warner Labor Archives, Bobst Library, New York University, 1981 and 1999. 1877 births
1934 deaths
Politicians from New York City
Members of the New York State Assembly
Socialist Party of America politicians from New York (state)
Jewish American state legislators in New York (state)
Jewish socialists
American people of Ukrainian-Jewish descent
Jewish American community activists
People acquitted under the Espionage Act of 1917
Activists from New York City
Jewish American trade unionists

masks:
Abraham Isaac "
" Shiplacoff
Abraham I
. Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Abraham Lincoln
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Shiplacoff
Abraham Shiplacoff
Shiplacoff
Abraham I
Abraham Isaac


title: Willie Colón

type: original

texts:
<mask> (born April 28, 1950) is a Puerto Rican salsa musician and social activist. He began his career as a trombonist, and also sings, writes, produces, and acts. He is also involved in the politics of New York City. Early years
<mask> was born in the South Bronx, New York, to Puerto Rican parents. He picked up the trumpet from a young age, and later switched to trombone, inspired by the all-trombone sound of Mon Rivera and Barry Rogers. He spent some summers at his maternal grandmother's sister's farm in the outskirts of Manatí, Puerto Rico on the road to neighboring Ciales, Puerto Rico. At the age of 15, he was signed to Fania Records, and at 17, he recorded his first album, which ultimately sold more than 300,000 copies.The main record producer at Fania at the time, Dominican Johnny Pacheco, recommended Héctor Lavoe to him. He has also acted in films, including roles in Vigilante (1983), The Last Fight (1983), Miami Vice (in the  season 3 episode "Cuba Libre") (1987) and It Could Happen to You (1994). <mask> has been a civil rights, community, and political activist since the age of 16. He has served as a member of the Latino Commission on AIDS and President of the Arthur Schomburg Coalition for a Better New York, member of the Board of Directors of the Congressional Hispanic Caucus Institute. In 1995, Mr. <mask> became the first person of color to serve on the American Society of Composers, Authors and Publishers (ASCAP) national board, replacing Stephen Sondheim, and was also a member of the ASCAP Foundation. Music career
Beyond the trombone, he has also worked as a composer, arranger, and singer, and eventually as a producer and director. Combining elements of jazz, rock, and salsa, his work incorporates the rhythms of traditional music from African descendants in Cuba, the Dominican Republic, Puerto Rico, and Brazil, representing mostly a one-way flow from Puerto Rico to the New York-based diaspora."His life and music commute back and forth between his home turf in the Bronx and his ancestral Puerto Rico, with more than casual stop-offs in other musical zones of the Caribbean." <mask> "makes the relation between diaspora and Caribbean homeland the central theme of his work," particularly in his 1971 Christmas album, Asalto Navideño. The lyrics and music of the songs on this album "enact the diaspora addressing the island culture in a complex, loving but at the same time mildly challenging way." He went on to have many successful collaborations with other salsa musicians and singers, such as Ismael Miranda, Celia Cruz, Soledad Bravo, and singer-songwriter Rubén Blades. On his website, <mask> claims to hold the "all time record for sales in the Salsa genre, [having] created 40 productions that have sold more than thirty million records worldwide." One significant overarching theme in <mask>'s music, which draws from many cultures and several different styles, is an exploration of the competing associations that Puerto Ricans have with their home and with the United States. He uses his songs to depict and investigate the problems of living in the United States mainland as a Puerto Rican, and also to imply the cultural contributions that Puerto Ricans have to offer.In May 2007 Ruben Blades was sued by his former band mate, <mask> for breach of contract. This led to a series of suits and countersuits that lasted over five years. A book titled Decisiones detailing the inside story of this legal battle was written by Blades' former agent, Robert J. Morgalo  and published in 2016 in English and Spanish link. <mask> released two singles, "Amor de Internet" and "Corazón Partido" to promote for his album El Malo Vol II: Prisioneros del Mambo. In 2016, <mask> began his 50th Anniversary Tour. In 2017, <mask> announced his upcoming book titled Barrio de Guapos (The Secret Life of <mask>) and the launching of his record label Willie Colon Presents. For 2018 <mask> kicked off his "Rumba Del Siglo" (Jam of the Century) World Tour performing in U.S., Latin America and Europe to mostly sold-out venues.Because of the great success of his last tour, <mask> will continue "Rumba Del Siglo 2019" (Jam of the Century 2019). Politics

<mask> campaigned, and later became a special assistant and spokesperson for, New York City Mayor David Dinkins from 1989 to 1993. In 1994, in his first political run, <mask> challenged Representative Eliot Engel for the Democratic party primary for New York's 17th congressional district. He was defeated, 62% to 38%. In 2001, <mask> ran for New York City Public Advocate, receiving 101,393 votes. <mask> served for 12 years as Mayor Michael Bloomberg's representative advisor and liaison to the Latin Media Entertainment Commission. On April 16, 2008, <mask> announced his endorsement of U.S.Senator Hillary Clinton in her 2008 presidential campaign. On April 25, 2010, <mask> appeared at The National Mall for The Earth Day Climate Rally, along with Sting, John Legend, The Roots, Jimmy Cliff, Passion Pit, Bob Weir, Joss Stone, Robert Randolph, Patrick Stump, Mavis Staples, Booker T, Honor Society and Tao Rodríguez-Seeger. In 2012 and 2013, <mask> campaigned against Venezuelan president Hugo Chávez and the left-wing Bolivarian Revolution. Chávez responded scathingly to <mask> via Twitter. After Chávez' death, <mask> endorsed opposition candidate Henrique Capriles Radonski, vigorously using social media and composing a campaign theme,  "Mentira Fresca" (or "fresh lies", which became the nickname of regime's candidate, Nicolás Maduro); the song went viral throughout Latin America, garnering millions of plays and downloads. <mask> continued to be active in Venezuelan politics, having pressed for the release of journalist Leocenis García, and the release of political prisoner General Antonio Rivero.On May 26, 2014, after graduating from Westchester County Police Academy, <mask> was sworn in as a Deputy Sheriff for the Department of Public Safety. On December 13, 2017, <mask> became a Deputy Lieutenant.Awards and honors
In addition to serving as a visiting professor and receiving honorary degrees for music and humane letters at various universities, in 1991, <mask> received Yale University's Chubb Fellowship. In 1999, <mask> was a member of the Jubilee 2000 delegation to the Vatican, along with Randolph Robinson of Trans Africa, Harvard economist Jeffrey Sachs, Bono from U2 and Quincy Jones. This initiative received Pope John Paul II's endorsement and later prompted President Clinton to forgive the US portion of the debt owed by some developing countries. Jubilee 2000 resulted in the forgiveness of a total of $100 billion to debt-ridden countries. In September 2004, <mask> received the Lifetime Achievement Award from The Latin Recording Academy. Over the course of his career, he has collaborated with notable musicians such as the Fania All-Stars, Héctor Lavoe, Rubén Blades, David Byrne, and Celia Cruz. Siembra, his record with Rubén Blades, was the best selling album for its genre.<mask> was inducted into the International Latin Music Hall of Fame in 2000 and the Latin Songwriters Hall of Fame in 2019. In 2006, <mask> was portrayed by actor John Ortiz, along with Mark Anthony's Héctor Lavoe in the biopic El Cantante, also starring Jennifer Lopez. The movie is about the life of Héctor Lavoe and it covers his achievements with <mask> as the top salsa duo from the 1960s through the mid-1970s. In 2010, The "International Trombone Association" bestowed their Lifetime Achievement Award upon <mask>. In their journal they went on to say, "<mask> has probably done more than anyone since Tommy Dorsey to keep the trombone before the public. Stylistically they are poles apart, Dorsey representing an ultra-smooth approach, <mask> a Hard-edged roughness reportedly inspired by Barry Rogers. Unfortunately, <mask>'s public is largely Latino, so his music and contribution have gone unnoticed or ignored by the general press"- Gerald Sloan, professor of music University of Arkansas.On October 7, 2011, Westchester Hispanic Law Enforcement Association recognized <mask> for his social and community activism and support. In 2015 Billboard magazine named <mask> one of the 30 most influential Latin Artists of All Time. On May 12, 2018, The Ellis Island Honor Society awarded <mask> the Ellis Island Medal of Honor which are presented annually to a select group of individuals whose accomplishments in their field and inspired service to the nation are cause for celebration. The Medal has been officially recognized by both Houses of Congress as one of our nation's most prestigious awards and is annually memorialized in the Congressional Record. On October 31, 2018, <mask> was awarded the "Lunas Del Auditorio Award" by El Auditorio Nacional.A recognition granted by the National Auditorium to the best live shows in Mexico, the award is a replica of the sculpture of La Luna by sculptor Juan Soriano that is outside that enclosure. This award is transmitted by Televisa, TV Azteca, Channel 22 of the Ministry of Culture and Channel Eleven of the National Polytechnic Institute. <mask> has served as the chair of the Association of Hispanic Arts.Personal life
<mask> is married. On April 20, 2021, <mask> and his wife, <mask> were involved in a serious vehicle accident while driving a recreational vehicle through the Outer Banks of North Carolina. <mask> suffered lacerations and a head injury and was evacuated to a hospital in Virginia. Discography

References

External links
<mask>'s website

NewMusicBox cover: <mask> in conversation with Frank J. Oteri, January 28, 2009 (includes video)

1950 births
Living people
Fania Records artists
Latin jazz composers
Latin jazz singers
Latin jazz trombonists
People from the Bronx
Musicians from New Rochelle, New York
American male singers
American musicians of Puerto Rican descent
American salsa musicians
Latin Grammy Lifetime Achievement Award winners
Latin music record producers
Latin music songwriters
Activists from New Rochelle, New York
21st-century trombonists
Male jazz composers
21st-century American male musicians

masks:
William Anthony Colón Román
Colón
Colón
Colón
Colón
Colón
Colón
Willie Colon
Colón
Colón
Colón
Willie Colón
Colón
Colón
Colón
Colón
Colón
Colón
Colón
Colón
Colón
Colón
Willie Colón
Colón
Colón
Colón
Colón
Colón
Colón
Colón
Colón
Colón
Colón
Willie Colón
Colón
Colón
Colón
Willie Colón
Willie Colón
Willie Colón
Colón
Willie Colon
Colón
Julia Colón
Colón
Willie Colón
Willie Colón


title: Robin W. G. Horton

texts:
<mask> (1932 - 2019)  was an English social anthropologist and philosopher. <mask> carried out specialised study in comparative religion since the 1950s where he challenged and expanded views in the study of the anthropology of religion. He is notable for his comparison of traditional thought systems (including religion) to Western science. This formed the basis for his analysis of African thought that he published in two instalments in 1967. His work continues to be viewed as important in understanding traditional African religious approaches. For more than four decades <mask> lived in Africa, where he conducted research on African indigenous religions, magic, mythology and rituals. During 40 years of residence in Africa, he worked as a researcher and a professor of philosophy and religion at several universities, including the University of Port Harcourt in Rivers State, Nigeria, and the University of Ife in Osun State, Nigeria.Family life
<mask> <mask> and his sister were born to <mask> <mask> and <mask>. His father was a Lieutenant Colonel of the Scots Guard who was also part of the British Bobsleigh at the 1924 Winter Olympics national team and his grandfather was the American impressionist painter <mask> <mask>. His mother, <mask>dolen Anna Le Bas <mask>, was the elder daughter of an iron merchant from St. Brelade, Jersey, and sister to Molly Brocas Burrows, the sculptor, and the painter Edward Le Bas (1904–1966).. <mask>'s sister-in-law is renowned Nigerian sculptor Sokari Douglas Camp, about whose work he has written. Theoretical contributions
<mask> viewed religion from an ethnoscience approach, where he linked religious understanding with scientific inquiry. He viewed the two as having a similar approach of methodically unveiling the complex to achieve order and understanding from chaos. <mask>'s analysis of African magic (paranormal) and mythology concludes that there is an overarching theory that lies behind the commonly accepted theory and that forms the basis of these beliefs. He sees mystical systems that drive "primitive" religions as theoretical structures that are dictated by concrete rules and are used to understand, in an interactive way, revealed anomalies, much like scientific endeavours theorise the physical world.This literal approach is a reflection of striving to have a concrete and thus scientific method of studying and explaining the world they live in. One of his classic works in the anthropology of religion and of other traditional knowledge systems is his 1968 essay in support of neo-Tylorians (followers of Edward Burnett Tylor), who took causal statements of someone in a pre-literate society at face value. <mask> notes that "the historian of ideas, operating on the premiss that 'things are what they seem', has been forging ahead most successfully with his interpretation of the European, thought-tradition; but the [orthodox] social anthropologist, operating on the premiss that 'things are not what they seem', has had little success in explaining why pre-literate peoples have the kind of ideas they do." He argued, for instance, that animism should be taken at face value without the rationalisation that it symbolically represents a social or political structure. <mask> maintained that a more useful approach would be to compare traditional thought to modern science. The fact that a traditional explanation may be shown to be mistaken in terms of modern science, by no means indicates that the explanation is held by a less intelligent group of people. <mask> was not willing to follow Tylor's view that holding theories that were mistaken is evidence of the childishness of traditional thought, pointing out that historians of science have shown that many rationally demonstrated scientific views were subsequently shown to be mistaken and were replaced.He attributes an intellectualist view to religion and rejects the symbolic, Durkheimian, understanding of religion, as patronising to the so-called "primitives" who have a literal approach to their beliefs. However, one of his critics who held to the symbolistic approach, anthropologist John H. Beattie, argued that traditional/primitive religions were symbolic because the cultures that held to these beliefs did so in cases where there was no empirical explanation to a phenomenon; thus it was attributed to the supernatural, such as spirits and any physical representations of such, were merely symbolic. When he lived in New Calabar among the Kalabari people, <mask> studied the processes that lead to social change. Professional career
Beginning in 1960s, <mask> published his theories of religion in several journal articles and books. His scientific approach to the understanding of "primitive" religion was groundbreaking in an era during which the prevailing view was a Western elitist conceptualisation of "primitive" religion as a construct of less intelligent "savages" and "barbarians" (terms now considered to be anachronistic and pejorative). <mask> conducted his fieldwork in Nike in northern Igboland, Nigeria and among the Kalabari people of the eastern Niger Delta. In 1965, under the commission of the Federal Republic of Nigeria's Department of Antiquities, <mask> produced a compilation of 72 Kalabari Ijo Art photographs accompanied by a booklet explaining the meaning and utility of these artistic objects within the Kalabari culture.The photographs provide a visual record of native art of the Kalabari people, serves as a reference for tradition practices that are continually subject to mutating influences through acculturation such as has happened in the region during the years that followed colonisation. Some of his photographs are archived at the Royal Anthropological Institute of Great Britain and Ireland (RAI), labelled as MS 345, MS 349. <mask> worked as a senior research fellow and a lecturer in social anthropology at the Institute of African Studies for the University of Ibadan before moving to the University of Port Harcourt as a professor of philosophy and comparative religion. At the University of Ibadan he collaborated with Ruth Finnegan who, at that time (1965–69) was also lecturing at the university in socio-anthropology. This collaboration led to the co-edited volume Modes of Thought, which addressed the question of whether there were fundamental differences, either in content, logic, or formulation, between modern or Western thought on the one hand, and traditional or non-Western thought on the other. In the mid-1970s, Professor <mask> served as faculty on the Department of Sociology at the University of Ife now known as Obafemi Awolowo University in Nigeria. Published in 1997, his Patterns of Thought in Africa and the West: Magic, Religion and Science is a compilation of some of his classic essays published between 1960 and 1990.His work continues to influence new scholars in the field of anthropology of religion. As of 1 October 2012, Professor <mask>'s appointment as an Honorary Research Associate in the Department of Religious and Cultural Studies at the University of Port Harcourt was renewed for another five years. Honours
Named as a notable Nigerian historian in the City of Port Harcourt's 2012 bid for World Book Capital in 2014. Part of the editorial board of Kiabara Journal of Humanities, 1981. 1951 Recipient of Scholarship Award in Natural Sciences; New College, Oxford University
 2nd Lt. for the Scots Guards. Selected works
Patterns of Thought in Africa and the West: Essays on Magic, Religion and Science (1997),
Kalabari Sculpture. Dept.of Antiquities, Federal Republic of Nigeria, 1965
"Destiny and the Unconscious in West Africa". Africa: Journal of the International African Institute, Vol. 31, No. 2 (April 1961), pp. 110–116
"African Traditional Thought and Western Science". Africa: Journal of the International African Institute, Vol. 37, No.1 (January 1967), pp. 50–71; Vol. 37, No. 2 (April 1967), pp. 155–187
"The Kalabari 'Ekine' Society: A Borderland of Religion and Art". Africa: Journal of the International African Institute, Vol. 33, No.2 (April 1963), pp. 94–114
Ritual man in Africa. Africa: Journal of the International African Institute, Vol. 34, No. 2 (April 1964), pp. 85–104
"The Kalabari World-View: An Outline and Interpretation", Africa: Journal of the International African Institute, Vol. 32, No.3 (July 1962), pp. 197–220
"African Conversion", Africa: Journal of the International African Institute, Vol. 41, No. 2 (April 1971), pp. 85–108
"On the Rationality of Conversion. Part I", Africa: Journal of the International African Institute, Vol. 45, No.3 (1975), pp. 219–235
"On the Rationality of Conversion. Part II", Africa: Journal of the International African Institute, Vol. 45, No. 4 (1975), pp. 373–399
"The High <mask>: A Comment on Father O'Connell's Paper", Man, Vol. 62, (September 1962), pp.137–140
"Judaeo-Christian Spectacles: Boon or Bane to the Study of African Religions?" (Les lunettes juderbéo-chrétiennes: aubaine ou fléau pour l'étude des religions africaines?) Cahiers d'Études africaines, Vol. 24, Cahier 96 (1984), pp. 391–436

Co-author
<mask>, J. D. Y. Peel. Conversion and Confusion: A Rejoinder on Christianity in Eastern Nigeria. Canadian Journal of African Studies / Revue Canadienne des Études Africaines, Vol.10, No. 3 (1976), pp. 481–498
<mask>, G. Dieterlen and <mask>. "Daryll Forde: Further Tributes". Africa: Journal of the International African Institute, Vol. 44, No. 1 (January 1974), pp.1–10. J. F. Ade Ajayi and <mask>. "Michael Crowder, 1934–88". Africa: Journal of the International African Institute, Vol. 59, No. 1, 1989, pp. 110–118

See also
Ethnoscience
List of anthropologists
Magic (paranormal)
Theories of religion
Magical Thinking

References

Bibliography
 <mask>, Kwasi (1996), "Cultural Universals and Particulars : An African Perspective".In African systems of thought. Indiana University Press. .
Carmody, Brendan Patrick. "Conversion and Jesuit Schooling in Zambia". Studies in Christian Missions. .
 R. W Hefner, ed. "Conversion to Christianity: Historical and Anthropological Perspectives on a Great Transformation" (Berkeley, 1993). Humphrey J. Fisher (1985), "The Juggernaut's Apologia: Conversion to Islam in Black Africa". Africa: Journal of the International Institute, Vol.55, No. 2, pp. 153–173. Cox, James L. (2001), "Missionaries, the Phenomenology of Religion and 'Re-Presenting' Nineteenth-Century African Religion: a Case Study of Peter McKenzie's Hail Orisha!" Journal of Religion in Africa, Vol. 31, No. 3, pp.336–353. Meyer, Birgit (2002), "Christianity and the Ewe Nation: German Pietist missionaries, Ewe converts and the politics of culture". Journal of religion in Africa, Vol. 33, No. 2, pp. 167–199. Klein, Martin A.(2001), "The slave trade and decentrialized societies". The Journal of African History Vol.42, No. 1, pp. 49–65
 Hubbell, Andrew (2001), "A view of the slave trade from the margin: Souroudougou in the late nineteenth-century slave trade of  the Niger Bend". Journal of African History, Vol. 42, No. 1,  pp.25 – 47. Kaplan, Steven (1992), "Indigenous Categories and the Study of World Religions in Ethiopia: the Case of the Beta Israel (Falasha)". Journal of religion in Africa, Vol. 22, No. 3, pp. 208–221. Ellis, Stephen; <mask> Ter Haar (1998), "Religion and politics in Sub-Saharan Africa".The Journal of Modern African Studies, Vol. 36, No. 2, pp. 175–201. Isichei, Elizabeth (1988), "On Masks and Audible Ghosts: Some Secret Male Cults in Central Nigeria1". Journal of Religion in Africa, Vol. 18, No.1, pp. 42–70. <mask>, Rosalinde G. (2002), "Commercial transactions and cultural interactions from the Delta to Douala and beyond". African Arts, Vol. 35, No. 1, pp 42–55, and 93–95. Allsworth-Jones, P. (1996), "Continuity and Change in Yoruba Pottery".Bulletin of the School of Oriental and African Studies, Vol. 59, No. 2, pp. 312–322. Searing, James F. (2003), "Conversion to Islam: Military recruitment and general conflict in a Sereer-Safèn Village (Bandia), 1920–38". The Journal of African History, Vol. 44, No.1, pp. 73–94. Alagoa, E. J. (1971), "The Development of Institutions in the States of the Eastern Niger Delta". The Journal of African History, Vol. 12, No. 2, pp.269–278. Ellis, Stephen (2008), "The Okije Shrine: Death and Life in Nigerian Politics". The Journal of African History, Vol. 49, No. 3, pp 445–466. Sieber, Roy; Barry Hecht (2002), "Eastern Nigerian art from the Toby and Barry Hecht collection". African Arts,  Vol.35, No.1, p. 56. External links

Social anthropologists
2019 deaths
University of Port Harcourt faculty
University of Ibadan faculty
Obafemi Awolowo University faculty
British emigrants to Nigeria
British expatriate academics
1932 births
Historians of Nigeria

masks:
Robin Horton
Horton
Horton
Robin William
Gray Horton
William Gray
Horton
Gwen Horton
William Samuel
Horton
Gwen
Horton
Horton
Robin Horton
Horton
Horton
Horton
Horton
Horton
Horton
Horton
Horton
Horton
Horton
Robin Horton
God
Robin Horton
Max Gluckman
Robin Horton
Robin Horton
Wiredu
Gerrie
Wilcox


title: Empress Ma (Han dynasty)

texts:
Empress <mask> (馬皇后, personal name unknown) (40 – August 16, 79), formally Empress Mingde (明德皇后, literally, "the understanding and virtuous empress"), was an empress during the Eastern Han Dynasty from the year 60 until her death. Her husband was Emperor Ming of Han. Family background and marriage to Crown Prince Zhuang
In 40, the eventual Empress <mask> was born to Emperor Guangwu's General <mask>, known for his expeditions against Vietnamese rebellions and his exhortations on personal living, and his wife Lady Lin (藺夫人). <mask> was a marquess, and Lady <mask> was therefore born into comfort and wealth, as a member of a noble family. In 49, however, things would change. <mask>, while on expedition against the Wulin tribes (in modern eastern Guizhou and northwestern Hunan), died during the campaign from a plague, which also killed a large number of his soldiers. After his death, <mask>'s deputy Geng Shu (耿舒), who had disagreed with <mask>'s strategy, and Emperor Guangwu's son-in-law Liang Song (梁松), who had prior grudges against <mask>, falsely accused <mask> of many crimes — most of which is unknown to us.Two specific accusations that are known are that <mask>, by the route he took against the Wulin tribes, was responsible for the plague, and that he had, while on campaigns, embezzled pearls and rhinoceros horns. (The later accusation was a misunderstanding in that one of <mask>'s favorite foods — which he considered capable of warding off plagues — was Job's tears (Chinese pearl barley), which was produced in southern China and northern Vietnam, which <mask> had transported in large quantities back to the capital Luoyang.) Guangwu believed these false accusations and posthumously stripped <mask> of his marquess title and fief, thus depriving the <mask> family of its major source of income. The other noble families began to look down on the <mask> family. Lady <mask> had been previously engaged to marry a son of another noble family, the Dous. The Dous began to have second thoughts of the marriage, believing that Lady <mask> was no longer worthy to marry their son. <mask>'s cousin <mask> (馬嚴) and mother Lady Lin were angered by the Dous' attitude, and resolved to dissolve the engagement and offer Lady <mask> to Crown Prince Liu Zhuang as a consort instead.As consort to the crown prince
As a consort to the crown prince, Consort <mask> was described to be excellent at serving her mother-in-law, Empress Yin Lihua, and she quickly became Empress Yin's favorite. She was also cordial and warm to her fellow consorts. As a result, she also became a favorite of Crown Prince Zhuang. One of her virtues was said to be her willingness, or indeed, eagerness, to find appropriate beautiful ladies in waiting for Crown Prince Zhuang to have sexual relations with, because at that point Crown Prince Zhuang had not had many sons. Consort <mask> herself was childless. Her older sister's daughter, Consort Jia, was also a consort to the crown prince, and Consort Jia bore a son named Liu Da (劉炟). Crown Prince Zhuang instructed Consort <mask> to adopt Prince Da as her son, and she did so.She raised him so carefully and lovingly that he never regarded anyone but her as his mother. As empress
In 57, Emperor Guangwu died, and Crown Prince Zhuang ascended the throne as Emperor Ming. Consort <mask> became an imperial consort. In 60, he created her empress and created Prince Da crown prince. As empress, Empress <mask> was described as humble and solemn, and she loved reading. She often wore the less expensive white silk without elaborate designs. The imperial consorts and princesses were all surprised by how thrifty she was and yet impressed by her.Emperor Ming often consulted her on important matters of state when he could not make a decision quickly. She would analyze the issues carefully and come up with good suggestions. One thing she was described of having never done was to request favors for her brothers and cousins. Because of this, Emperor Ming continued to respect and love her. In 71, as mass tortures and executions were being carried out as a result of a conspiracy engaged in by Emperor Ming's brother Liu Ying, the Prince of Chu, Empress <mask> interceded on the accused people's behalf, and as a result, Emperor Ming tapered off on his efforts to eliminate anyone who might be even remotely connected with the conspiracy. In 72, when Emperor Ming created his sons princes, he gave them relatively small principalities. Empress <mask> objected — she did not understand why these principalities were only half as large as the ones for Emperor Guangwu's sons.Emperor Ming responded that of course his sons could not be compared with his father's sons — a response that she would remember and agree with. In 75, Emperor Ming died, and Crown Prince Da ascended the throne as Emperor Zhang. Empress <mask> became empress dowager. As empress dowager
Empress Dowager <mask> continued to be known for her humility and good judgment as empress dowager. Emperor Zhang, who was close to his uncles – Empress Dowager <mask>'s brothers <mask> (馬廖), <mask> (馬防), and <mask> (馬光) – wanted to promote them quickly, but Empress Dowager <mask> did not urge it. They did all become important court officials, however. In 77, when Emperor Zhang wanted to further create his uncles marquesses, Empress <mask> refused, and issued an edict stating that – just as how Emperor Ming had told her that his sons could not be compared with his father's sons – the <mask>s could not be compared with the Yins and the Guos (the family of Emperor Guangwu's first empress Guo Shengtong).She further ordered the local governments not to accept improper requests from the <mask> family. If there were members of <mask> or other closely related families who live exuberantly, Empress Dowager <mask> would remove their names from the rolls of the nobles and exile them. Empress Dowager <mask> also established a textile factory and a mulberry garden for silkworms, which became a fairly productive industry for the imperial household. In her spare time, she often discussed important matters of state with Emperor Zhang and taught his sons the Confucian classics – particularly the Analects of Confucius. In 79, over Empress Dowager <mask>'s objection, Emperor Zhang created his uncles marquesses. However, under pressure from the empress dowager, the new marquesses, after their requests to decline the fiefs were denied by Emperor Zhang, resigned their government posts. Later that year, Empress Dowager <mask> died at the age of 39.She was buried with her husband. References

 Book of Later Han, vols. 10, Part 1, 24. Zizhi Tongjian, vols. 44, 45, 46. Han dynasty empresses
40 births
79 deaths
1st-century Chinese women
1st-century Chinese people
Han dynasty empresses dowager

masks:
Ma
Ma
Ma Yuan
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma Yan
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma Liao
Ma Fang
Ma Guang
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma
Ma


title: John D. Liu

texts:
<mask> (born 1953 in Nashville, Tennessee) is a Chinese American film-maker and ecologist. He is also a researcher at several institutions. In January 2015 <mask> was named Visiting Fellow at Netherlands Institute of Ecology (NIOO) of the Royal Netherlands Academy of Arts and Sciences. <mask> is also Ecosystem Ambassador for the Commonland Foundation based in Amsterdam, Netherlands. In 2017 <mask> founded Ecosystem Restoration Camps, a worldwide movement that aims to restore damaged ecosystems on a large scale. Career

Early career
<mask> was born in Nashville, Tennessee, United States, as the son of a Chinese father and American mother. He  spent most of his youth in Bloomington, Indiana.<mask> studied journalism. In 1979 he went for the first time to China, after being pushed by his father to see his grandmother before her death. In China <mask> helped set up the CBS News bureau in Beijing in 1981, at a time when tensions between the United States and China were lessening. He worked for CBS for more than ten years as a producer and cameraman. <mask> has said that after the collapse of the Soviet Union he grew tired of journalism and wished to make films. He started working for European media as RAI, SRG SSR, ZDF For RAI, ZDF, BBC World and National Geographic Channel he produced nature documentaries. In 1995 he filmed the Loess Plateau in China, which was being transformed from a barren and eroded ground into an oasis by the government.At this point <mask> noticed the possibility of humans restoring ecosystems, rather than only destroying them. Ecological recovery and ideas
<mask> retired from journalism in 1997 and became the director of the Environmental Education Media Project (EEMP). With the EEMP he uses television to provide information about ecology, sustainable development, public health in China and other countries. <mask> emphasizes that the harmful effect of humans on the world is not only caused by greenhouse gasses, but is to a great extent caused by the destruction of biomass, organic matter and biodiversity. <mask> claims that the decline in these factors has led to higher temperatures and loss of arable soil, in the end leading to desertification. <mask> sees a solution for these problems in the way people look at money, as people currently value the products and services derived from ecosystems higher than the ecosystems themselves. The episode, Regreening the desert / Green gold of the show Tegenlicht, was aired by Dutch public broadcaster VPRO and co-produced by <mask>.The episodes sees <mask> traveling the world to countries as Jordan, China and Ethiopia and shows the possibilities in re-greening areas turning into desert. At the 65th Prix Italia, in September 2013, the episode won the Special Prize Expo 2015. Since 2009, <mask> is working together with Willem Ferwerda, former director of the Dutch office of IUCN,   executive fellow business and ecosystems at the Rotterdam School of Management, Erasmus University, and founder of the Commonland Foundation an organization that works on large scale landscape restoration projects with a business approach, based on the 4 returns from landscape restoration framework developed by Ferwerda. <mask> founded Ecosystem Restoration Camps in 2017, a worldwide movement that aims to restore damaged ecosystems on a large scale. <mask> was named Rothamstead International Fellow for the Communication of Science at Rothamsted Research, an agricultural research institution. He also was an associate professor at the George Mason University as a part of the Center for Climate and Society, and a senior research fellow at the International Union for Conservation of Nature. In January 2015 <mask> was named Visiting Fellow at Netherlands Institute of Ecology (NIOO) of the Royal Netherlands Academy of Arts and Sciences.<mask> is also Ecosystem Ambassador for the Commonland foundation based in Amsterdam, Netherlands. Writings
<mask> has written for publications all over the world on a variety of topics, but he most consistently writes on the potential for the restoration of large-scale damaged ecosystems. He has written on ecosystem restoration for Kosmos magazine  as well as for The Christian Science Monitor and for Forum for the Future in their Green Futures magazine. He has also written about the spiritual side of ecology and ecosystem restoration. Hope in a Changing Climate
Hope in a Changing Climate was first screened in Copenhagen at COP 15 and on BBC World. Since its launch, Hope has been translated into French, German, Chinese, Vietnamese, Polish, Russian and Spanish. The film was officially chosen to commemorate the United Nations International Year of Forests, 2011.It was the most viewed video on the WaterChannel for more than 12 months in 2010 and 2011. Hope won the Best Documentary Short Film Award at Green Screen in Vancouver, Canada, 2011. The International Festival of Environmental Film and Video accepted the film into its highly competitive global festival, June 2010. Hope was entered into United States: Best in Category: Ecosystem award in the prestigious International Wildlife Film Festival in Montana. In addition to the award for best ecosystem film, Hope also received six merit awards from IWWF (Presenter, Storytelling, Scientific Content, Conservation Initiative, Conservation Message and Human-Environment) in its 33rd annual film festival, May 2010, in Missoula, Montana;

Green Gold

In conjunction with Dutch public broadcasting company VPRO, and the program Backlight, the film followed <mask> as he traverses the globe documenting and inspiring large-scale projects from China, Ethiopia, and Rwanda. Green Gold uses some footage from Hope In a Changing Climate but it increases the depth of the film with a trip to Jordan, at the invitation of Princess Basma bint Talal, where he works with well-known permaculture designer Geoff Lawton at the Permaculture Research Institute of Jordan. In addition to Princess Talal and the Lawtons' thoughts (and projects), the documentary also features more of <mask>'s reflections on the regions he has visited.(Also known as "Regreening the Desert" available as a streaming video from Films on Demand by Films Media Group, at subscribing institutions.) Filmography

 Jane Goodall - China Diary (2003), wrote, produced and directed
 Hope in a Changing Climate (2009), presented
 Lessons of the Loess Plateau wrote, produced and directed
 Scaling Up Poverty Reduction in China
 Beating the Drum Loudly
 A Line in the Sand
 Because They're Worth It
 The Long March
 Women of the Gobi
 Forests of Hope
 Forests Keep Drylands Working
 Food Security and Environmental Transformation in Ethiopia
 Emerging in a Changing Climate
 A Steppe Ahead
 The Next Steppe in Mongolia's Energy Future
 Leading With Agriculture

See also
Geoff Lawton

References

External links
https://knaw.academia.edu/JohnDLiu
https://nioo.knaw.nl/en/news/watch-john-d-lius-nioo-seminar
 Environmental Education Media Project (EEMP)
Permaculture Research Institute of Jordan
<mask> D<mask> at EEMP
http://www.commonland.com/

https://www.ecosystemrestorationcamps.org/foundation/john-d-liu/

1953 births
Living people
American journalists of Chinese descent
American documentary filmmakers
Chinese documentary filmmakers
American ecologists
People from Nashville, Tennessee
George Mason University faculty
People involved with desert greening
Permaculturalists
Rothamsted Experimental Station people
Vrije Universiteit Amsterdam faculty

masks:
John Dennis Liu
John
John
John Liu
Liu
Liu
Liu
Liu
Liu
Liu
Liu
Liu
Liu
Liu
Liu
Liu
John Liu
Research Liu
John
John
Liu
Liu
Liu
John
. Liu


title: Adrian Fletcher

texts:
<mask> (born 10 October 1969) is a former Australian rules footballer and current assistant coach. He is regarded as one of football's nomads, having played for five Australian Football League clubs in his 13-year career. <mask>'s play relied on being an excellent play reader which resulted in him being a prolific possession gatherer, especially by handball. Early career
<mask> was recruited from the Tasmanian Football League (TFL) club Glenorchy with the 20th selection in the 1988 VFL draft by the Geelong Football Club after winning the William Leitch Medal as the best player in the TFL. He played 23 games for Geelong between 1989 and 1991, kicking 10 goals. <mask> was traded to St Kilda in 1992, where he played 22 games, kicking 10 goals. Due to a contract dispute, he left the Saints and was selected by the Brisbane Bears with the 4th selection in the 1993 Pre-season draft.Brisbane career

<mask> made his name as a tough, ball-winning midfielder at Brisbane. Between 1993 and 1996, <mask> played 86 of a possible 90 games, finishing in the top five of the club champion award in each year. He was a significant player in the Bears' 1996 preliminary final loss to North Melbourne playing on the half back line. In 1997, however, his form slumped after the lack of a solid pre-season. He fought back, however, and ended up with a season average of 19 possessions per game in 21 games. However, despite a season that, although starting badly, was not considered by <mask> to be his worst, he was traded to the Fremantle Dockers. Fremantle career
<mask> had an immediate impact at Fremantle, finishing second in the club's Best and Fairest award in 1998 and winning it in 1999.He was then named co-captain along with Shaun McManus in 2000 and 2001. At the end of the 2001 season he was asked to retire by the Fremantle club despite being ranked in the AFL's top 20 for overall disposals and also was in the AFL's top five for handballs. He played 79 games for the Dockers ending up with 25 goals. While at Fremantle, <mask> is remembered for being the player who kicked the ball to field umpire Peter Carey, when Carey famously and humorously took a chest mark in general play. Statistics

|- style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 1989
|
| 4 || 8 || 5 || 1 || 76 || 53 || 129 || 22 || 4 || 0.6 || 0.1 || 9.5 || 6.6 || 16.1 || 2.8 || 0.5 || 0
|-
! scope="row" style="text-align:center" | 1990
|
| 4 || 9 || 3 || 2 || 106 || 93 || 199 || 23 || 11 || 0.3 || 0.2 || 11.8 || 10.3 || 22.1 || 2.6 || 1.2 || 1
|- style="background-color: #EAEAEA"
!scope="row" style="text-align:center" | 1991
|
| 4 || 6 || 2 || 0 || 68 || 62 || 130 || 19 || 10 || 0.3 || 0.0 || 11.3 || 10.3 || 21.7 || 3.2 || 1.7 || 0
|-
! scope="row" style="text-align:center" | 1992
|
| 16 || 22 || 10 || 7 || 231 || 223 || 454 || 73 || 38 || 0.5 || 0.3 || 10.5 || 10.1 || 20.6 || 3.3 || 1.7 || 5
|- style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 1993
|
| 6 || 20 || 15 || 6 || 236 || 235 || 471 || 87 || 41 || 0.8 || 0.3 || 11.8 || 11.8 || 23.6 || 4.4 || 2.1 || 4
|-
! scope="row" style="text-align:center" | 1994
|
| 6 || 19 || 5 || 5 || 236 || 213 || 449 || 68 || 35 || 0.3 || 0.3 || 12.4 || 11.2 || 23.6 || 3.6 || 1.8 || 6
|- style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 1995
|
| 6 || 23 || 14 || 11 || 319 || 294 || 613 || 96 || 49 || 0.6 || 0.5 || 13.9 || 12.8 || 26.7 || 4.2 || 2.1 || 7
|-
! scope="row" style="text-align:center" | 1996
|
| 6 || 24 || 15 || 17 || 341 || 239 || 580 || 90 || 61 || 0.6 || 0.7 || 14.2 || 10.0 || 24.2 || 3.8 || 2.5 || 14
|- style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 1997
|
| 6 || 21 || 4 || 10 || 238 || 172 || 410 || 84 || 59 || 0.2 || 0.5 || 11.3 || 8.2 || 19.5 || 4.0 || 2.8 || 8
|-
!scope="row" style="text-align:center" | 1998
|
| 2 || 16 || 8 || 6 || 225 || 142 || 367 || 68 || 40 || 0.5 || 0.4 || 14.1 || 8.9 || 22.9 || 4.3 || 2.5 || 3
|- style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 1999
|
| 2 || 22 || 9 || 5 || 298 || 283 || 581 || 105 || 38 || 0.4 || 0.2 || 13.5 || 12.9 || 26.4 || 4.8 || 1.7 || 15
|-
! scope="row" style="text-align:center" | 2000
|
| 2 || 20 || 4 || 2 || 215 || 220 || 435 || 67 || 53 || 0.2 || 0.1 || 10.8 || 11.0 || 21.8 || 3.4 || 2.7 || 10
|- style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 2001
|
| 2 || 21 || 3 || 5 || 230 || 250 || 480 || 97 || 54 || 0.1 || 0.2 || 11.0 || 11.9 || 22.9 || 4.6 || 2.6 || 3
|- class="sortbottom"
! colspan=3| Career
! 231
! 97
!77
! 2819
! 2479
! 5298
! 899
! 493
! 0.4
!0.3
! 12.2
! 10.7
! 22.9
! 3.9
! 2.1
! 76
|}

Post AFL and coaching career
After being delisted by Fremantle after the 2001 season and not being drafted by another AFL club, <mask> retired from the AFL, and played for Williamstown Football Club in the VFL for two years.He won the Williamstown best and fairest award in both these seasons and also won the Norm Goss Medal for best on ground in the 2003 VFL grand final, <mask>'s last game of senior football. He also was a development coach for the Collingwood Football Club (Williamstown's AFL-affiliate) during this time. In 2004, <mask> joined the Geelong Football Club as an assistant coach, before returning to Collingwood in 2005 as their midfield coach. After the 2007 season he left Collingwood and returned to the Brisbane Lions as an assistant coach, where he remains as of 2011. He has made several appearances in AFL Legends Matches. His wife, Narelle <mask>, played 295 games in the Women's National Basketball League. References

External links

1969 births
Living people
Australian rules footballers from Tasmania
Brisbane Bears players
Brisbane Lions players
Geelong Football Club players
St Kilda Football Club players
Fremantle Football Club players
Doig Medal winners
Williamstown Football Club players
William Leitch Medal winners
Glenorchy Football Club players
Tasmanian Football Hall of Fame inductees
Allies State of Origin players
Tasmanian State of Origin players
Fremantle Football Club captains

masks:
Adrian Fletcher
Fletcher
Fletcher
Fletcher
Fletcher
Fletcher
Fletcher
Fletcher
Fletcher
Fletcher
Fletcher
Fletcher
Fletcher


title: Andrew Baines

texts:
<mask> (born 17 June 1962) is a notable Australian "quasi-surrealist painter and installation artist," best known for his paintings of politicians in exposed positions and bowler-hatted office workers. He is regarded as "one of the most recognisable and collectable of Australia's contemporary artists." Since 2005, he has put Alexander Downer in a red door on the beach; Natasha Stott Despoja, Steven Marshall and Kirsten Alexander, mayor of the City of Charles Sturt in full mayoral gown and gold chains, in the sea, drinking tea; two dozen leaders of various faiths holding hands along the water's edge, including both the Anglican and Catholic Archbishops; arranged for the West Australian Symphony Orchestra to play a symphony in the sea; put a herd of cows in the Indian Ocean; stood Malcolm Turnbull and over 100 suited volunteers holding umbrellas aloft in the dawn surf at Bondi Beach, then replicated this with Colin Barnett and suited volunteers at Cottesloe beach; seated twelve suited volunteers on toilets reading papers along the water's edge, including Australian politician and former Ambassador to Italy, Amanda Vanstone; and provided brightly coloured sheep to the SA branch of the United Nations Association of Australia "to mark the International Year of Family Farming." Early life and influences
He was born in Colchester, Essex in the United Kingdom, then migrated to Australia with his parents shortly after, and now lives in Adelaide. <mask> grew up in the beachside suburb of Grange in South Australia. His father was a semi-professional soccer player and electrician. His mother was a housewife, who loved painting, reading and music.He has two younger brothers. He attended Grange Primary and Seaton High School, and later spent two years at the South Australian School of Art. His mother placed drawing materials in his hands as soon as he could sit up and Baines showed great aptitude, astonishing a kindergarten teacher with his aerial perspective drawing of the area they lived in. He commenced painting classes at the Henley and Grange Art Society at the age of ten. Baines became the cartoonist for the Western Suburbs Schools Soccer Newsletter that same year, earning two dollars a cartoon. He was also an unpaid profile artist for the Grange Primary Newsletter. By age eleven, he was selling pencil sketches for five dollars to teachers and parents at the Grange Primary school.It wasn't until Baines was in his twenties that he discovered the works of Andy Warhol, David Hockney, Pro Hart and Ken Done, and saw the life he wanted. Career
In 1979, he left school and began work at John Martins retail store, painting back drops for window displays. Baines spent 1980 and 1981 at the South Australian School of Art, but dropped out and returned to work at John Martins. In 1984, he resigned from John Martins to start Baines Graphics, producing murals, cartoons, etc., for high-profile companies, such as BP Australia, Australian Grand Prix, and the S.A. Soccer Federation. In 1999, he became a full-time painter. He is represented by BMG Art (Adelaide), Gallery One (Southport, QLD), Hotham Street Contemporary (Melbourne, Vic), Gallows Gallery (Mosman Park, WA), Paint Box Fine Art (Canberra, ACT), Soho Galleries (Sydney, NSW), Artery Contemporary Art Gallery (Perthshire, Scotland), Blackheath Gallery (London, UK), Stax Gallery (Ontario, Canada), Richard Goodall Gallery (Manchester, UK), Mehta Gallery (New Delhi, India), and Karin Weber Gallery (Hong Kong). Baines's work has attracted media attention through his "human sculptures" on coasts around the country, which have parallels with the work of Storm Thorgerson, known for his Pink Floyd album covers.Installations
Since 2005, he has created dozens of installations on Australian beaches, collaborating with Hills Hoist, West Australian Symphony Orchestra, Adelaide Symphony Orchestra, Leigh Warren Dance Company, Holstein Australia, the Western Australian State Gallery, Anglicare, Flinders Medical Centre Foundation and Wirra Wirra Vineyards. Volunteer subjects have included Malcolm Turnbull, Colin Barnett, Sir James & Lady Hardy, Sir Eric & Lady Neal, and Amanda Vanstone, among many others. Busselton Bovines (February 2011) involved placing five Holstein Friesian cattle in the sea at Busselton, Western Australia. It came about when Baines was approached by representatives of the national Dairy Innovators' Forum at a gallery opening in Perth. A few local dairies agreed to take on the challenge of introducing their cows to the sea. Two months later the cows stood happily in the shallows, long enough for photographs to be taken. Local media embraced the event and news of the installation went global.Post Modern Backyard (May 2011) involved transporting eight full size Hills Hoists to Bondi Beach, New South Wales from Adelaide, and have them erected. Hills loved the concept and organised two professional erecters and eight Hills hoists to be in place at 5 am on Bondi beach. In Waiting for the Bus (September 2012) one hundred "bowler hat-wearing, classic 'Englishmen'" lined up along Henley Beach and struggled to read the newspaper in the wind. The Coalition of the Constipated (August 2012) at Henley Beach, South Australia was a political statement, made to highlight the need for toilet facilities at the popular beach. Amanda Vanstone and radio personality, Bob Francis, were involved in the installation. Vanstone had purchased his paintings, for herself and the Australian Embassy in Rome, when she was Ambassador, and Baines had painted Bob Francis' portrait as an entry in the Archibald Prize competition. Soho Galleries Sydney described it as his "most famous installation/photo shoot ... a guerrilla protest that featured 12 suited people sitting on toilets reading papers, on the water's edge at Henley".Doorways to Potential (January 2013) was a fundraiser, developed to raise awareness for non-profit charity Common Ground Adelaide, which provides assistance and aid to homeless people in the area. Local men, including Alexander Downer, contributed $1,500 each to the charity to participate, dressing in suits and bowler hats and gathering together on the beach, as a symbol of the possibilities that the future holds. Sea of Knowledge (February 2014) gathered people aged in their 70s, 80s and 90s on Henley Beach for a photoshoot to "portray their lives, roles and sea of knowledge in a bid to challenge the stereotypes of ageing." Commissions
Amongst others, <mask> has been commissioned to paint a book cover for Surf Life Saving in S.A., a wine label painting for Wirra Wirra Vineyard, a CD cover painting for ABC Classics, featuring the Adelaide Symphony Orchestra's Principal tuba player Peter Whish-Wilson, and the cover for Steven Ogden's book I Met God in Bermuda. His paintings have appeared in such publications as ArtSlant New York, Glow Magazine, and Messenger. Film
A 2009 episode of Landline features Baines's interest in painting cows. Ash Starkey uploaded a three-minute screener to YouTube in 2010, which contains scenes from a half-hour documentary, Edge of Nothingness, that he made about <mask>.In 2013, Photography Life released a one-minute time lapse film on Vimeo of <mask> setting up his installation, Doorways to Potential, on Henley Beach in South Australia. Anna Creoddity released a short film (2014) on YouTube called Art Day! <mask>, in which she shows and discusses his art work. In 2014, <mask> and Gian Carlo Petraccaro produced a short film called Escape of the Corporate Battery Hens, which shows many South Australian identities in unguarded moments, including Amanda Vanstone, Steven Marshall, Vickie Chapman and Kirsten Alexander, former Mayor of the City of Charles Sturt. Personal life
<mask> is married to <mask> (Pharaoh) (m. 1987–); three daughters, <mask> (1990–), Jemma <mask> (1994–) and <mask> (1996–). Quotes
 "I start at 6 am just about every morning and I work until 3 pm. It's amazing how much you can achieve.""I create a sort of sketch/collage from all the best parts of my photo reference, to create my concept. I then reproduce my sketch on to the canvas via a graph technique, so it's exactly the same as my sketch proportions. I then paint on almost any size canvas." "One morning my dad took me onto the London underground, where I was greeted by a sea of bouncing bowler hats perched on suits, all bumbling slowly along, towards a decelerating train. The sight seemed quite bizarre, almost comical to an Adelaide youngster." "My concept in my paintings is 'escape of the corporate battery hen', so what I do is I get business people and I put them in the water and that's my metaphorical way of letting them get away from their grey city streets and offices to enjoy nature." "I try to give paintings to charity.Life is not a one way ride, we are part of a community and you should give back." External links
 Official website
 Official Twitter account, <mask>nes
 Google Images, <mask>
 BMG Art, <mask>nes
 CollabCubed NYC, <mask>nes: Surreal Human Portraits
 Dark Roasted Blend, Surreal Human Sculptures by <mask>nes
 Design Boom, andrew baines: the coalition of the constipated
 Gallery One, <mask>nes
 Gallows Gallery, <mask>nes
 Glow Magazine, Surreal by the Sea, On The Beach With Artist <mask>nes
 Hotham Street Contemporary, <mask>nes
 Karin Weber Gallery Hong Kong, <mask>nes Australia
 Red Sea Gallery, Singapore, <mask>nes
 Sara Paxton, Surfing Cows – <mask>, Surrealist Painter
 Soho Galleries Sydney, <mask>nes
 Trevor Victor Harvey Gallery, <mask>nes and Janine Daddo 2006

See also
Australian art

References

21st-century Australian artists
1962 births
Australian film directors
Australian film producers
Australian painters
University of South Australia alumni
Australian people of English descent
Living people
People from Adelaide

masks:
Andrew Baines
Baines
Baines
Andrew Baines
Andrew Baines
Andrew Baines
Andrew Baines
Baines
Jacqueline Baines
Skye Baines
Baines
Amber Baines
Andrew Bai
Andrew Baines
Andrew Bai
Andrew Bai
Andrew Bai
Andrew Bai
Andrew Bai
Andrew Bai
Andrew Bai
Andrew Bai
Andrew Bai
Andrew Baines
Andrew Bai
Andrew Bai


title: Rhina Espaillat

texts:
<mask> (born January 20, 1932, Santo Domingo, Dominican Republic) is a bilingual Dominican-American poet and translator who is affiliated with the literary movement known as New Formalism in American poetry. She has published eleven collections of poetry. She is known for writing poetry that captures the beauty of daily routine, as well as poems which ironically and humorously retell stories from both the Christian Bible and Classical mythology. Her work has been included in many popular anthologies, including The Heath Introduction to Poetry (Heath 2000); The Muse Strikes Back (Story Line Press 1997); and In Other Words: Literature by Latinas of the U.S. (Arte Publico Press 1994). She is also known for her English translations of the Spanish language Christian poetry of St. John of the Cross (1542–1591), which have appeared in the American journal First Things. Her poetry contains rhythmic sonnets describing family life and domestic settings, called "snapshots". Furthermore, even though Espaillat grew up in a time when, "the expectation that one should overcome any non-British ancestral origins, still held sway as a prerequisite to entering the sphere of genuine Americanness", <mask>'s poetry also expresses pride in her Latino ancestry, language, female identity, and status as an immigrant to the United States.Life

Family background
Espaillat is of mixed Afro-Dominican, Spanish, French, and Arawak descent. She is the daughter of Carlos Manuel Homero <mask> Brache, a Dominican diplomatic attaché, and Dulce María Batista. Her aunt <mask> <mask> Brache founded the first ballet institute of La Vega. Espaillat is also the grandniece and god-daughter of Dominican diplomat Rafael Brache. Through her great-uncle, Espaillat is a distant cousin of Democratic Party chairman Tom Perez. Espaillat is fourth-cousin once-removed of Adriano <mask> and great-great-great-grand-niece of Dominican President Ulises <mask>, and is descended from the French immigrant François Espeillac. Early life
<mask> <mask> was born in the Dominican Republic's capital of Santo Domingo, which Caudillo Rafael Trujillo had recently renamed Cuidad Trujillo, on January 20, 1932.Shortly after her birth, <mask>'s parents returned with their infant daughter to their hometown of La Vega, which had been founded by Christopher Columbus in 1494. While growing up in La Vega, the Espaillat family lived near an historic fort on Independence Avenue, surrounded by a large community of extended family and friends who shared their dedication to art, music, and poetry. Espaillat was often taken to visit relatives in her mother's hometown of Jarabacoa, which is now a popular resort. Espaillat began composing poetry in Spanish when she was only 4-years of age. Her first poems were written down by her grandmother, who told Espaillat that her poems were all wonderful and that she was a poet. None of those first poems, however, still survive. In 1937, a five-year old Espaillat accompanied her parent on a diplomatic mission to Washington, D.C.. At the time, Espaillat's great-uncle and god-father, Rafael Brache, headed the Dominican delegation and Espaillat's father was the legation's secretary.Rafael Brache had supported the 1930 coup d'etat that had brought Rafael Trujillo to power. Furthermore, Brache's duties ever since becoming Ambassador to the United States in 1934 had mainly involved defending Trujillo's public reputation, which was suffering due to reports of political assassinations, human rights abuses, and the censorship of the press. In 1937, however, Trujillo issued orders to the Dominican Army that resulted in the genocidal Parsley massacre of an estimated 20,000 Haitians in the Dominican Republic. In response, a horrified Rafael Brache wrote a letter to Trujillo which denounced the massacre and said, "he could no longer be associated with a government that had committed such a terrible criminal act." According to <mask>, "we did learn that the dictator was absolutely furious when he received it." At that time, however, there was little or no organized opposition to Trujillo in the Dominican Republic and, in November 1937, a majority vote by the National Congress declared Rafael Brache and three other critics of the massacre to be, "unworthy Dominicans", and, "enemies of the fatherland". According to <mask>'s biographer Leslie Monsour, Brache and his nephew, <mask>'s father, knew that they, "would face a dire punishment – at best imprisonment – and the lives of other members of the family would be endangered if the two men returned to their country."By that time, however, "reports of Trujillo's oppression and brutality had reached international notoriety", and the United States Federal Government willingly granted political asylum to Rafael Brache, his nephew, and their dependents. Both men and their families resettled in New York City. During these events, <mask>'s mother suffered a miscarriage while pregnant with a son. After recovering, Dulce Maria, knowing that life in New York City would be difficult, decided that her daughter would be better looked after by relatives in their homeland. In response, Dulce Maria made the high risk decision to secretly return to the Dominican Republic. During the visit, Dulce Maria left Rhina to be cared for by her paternal grandmother in La Vega. Dulce Maria then visited her own mother and siblings in Jarabacoa, said her last goodbyes, collected her sewing machine, and returned to the United States without attracting the attention of Trujillo's police.For the next two years, Espaillat was raised by her paternal grandmother and aunts in La Vega, where Spanish language poetry was always being recited out loud. Espaillat's grandmother also played Spanish classical guitar. Espaillat has since stated that, "those experiences made me much more of an ear poet than an eye poet". In 1939, however, Espaillat's parents felt more settled in the United States and <mask> joined them in a New York City apartment on West Forty-Ninth Street in Hell's Kitchen. Refugee
Espaillat adapted quickly to the cosmopolitan atmosphere of New York City, but deeply missed her loving extended family in the Dominican Republic. Her parents, however, "were avid readers of literature and history in their native Spanish", and, from the age of five onwards, Espaillat was listening to her father's almost constant poetry recitations, which, "ran the gamut of Spanish-language verse from Spain's Golden Age to the major poets of modern Latin America". In later years, she would recall hearing the verse of Theresa of Avila, St. John of the Cross, Sor Juana Inés de la Cruz, José Santos Chocano, and Federico Garcia Lorca.As a child, <mask> was required by her father to speak only Castilian Spanish inside the family apartment. She was also required to speak both English and Spanish with correct pronunciation and grammar. Furthermore, she was strictly forbidden to mix both languages together. "Don Homero" Espaillat Brache viewed English and Spanish as, "world languages", which deserved the respect of being written and spoken properly. Even though Espaillat found this very frustrating as a child and would even, "end up crying", she has expressed gratitude to her father for making her, "truly bilingual." While attending elementary school at P.S. 94, <mask> would often visit the public library next door during her lunch break.During a, "guided trespass", into the adult section of the library, an enthusiastic <mask> came upon a copy of the 1942 poetry anthology, A Treasury of Great Poems English and American, in which Louis Untermeyer collected the literary canon of poetry in English from the Anglo-Saxon invasion of Britain to the interwar period of the 20th century. When Rhina asked her parents to buy her a copy, the Espaillats were, "delighted by their daughter's passion for a compilation of poems rather than dolls or dresses", but they could not afford the book's asking price of $3.75, which was a sizeable amount of money for a refugee family in 1943. In response, Don Homero <mask> Brache asked for help from his daughter's godfather, Rafael Brache, who bought a copy of the book as a 1943 Christmas gift for his god-daughter. Espaillat has described receiving the gift of Untermeyer's book as, "another turning point in my life." She adds, "I ate it up! It's such a marvellous book, and it became my poetic Bible." Decades later, the book remains one of Espaillat's most cherished possessions.In a June 2014 email to her biographers, Espaillat described the volume as, "bandaged with tape but miraculously still in one piece and still at work, like a brave old veteran." Even though she began composing poetry in English when she was only 8-years old, Espaillat's first surviving poem in English, First Snowfall, was written when she was only ten years old. Early success
When she was only fifteen, Espaillat's high school English teacher, Catherine Haydon Jacobs, took an interest in her poetry and, without Espaillat's knowledge, submitted them to The Ladies Home Journal. To Espaillat's shock, she received a letter from the magazine's editor saying that three of her poems had been accepted for publication. Espaillat later recalled that, as she read the editor's letter, she thought, "This can't be happening! This only happens to poets!" Following her November 1947 debut, Espaillat's poetry regularly appeared in The Ladies' Home Journal and, eventually, in a British magazine as well.The resulting exposure caused her to receive a large number of fan letters. Catherine Jacobs also sent <mask>'s poems to the Poetry Society of America, which changed its rules to accept Espaillat, who was then only 16-years old, as the Poetry Society's youngest ever member. When she was seventeen, Espaillat received a fan letter from Shabani, in Southern Rhodesia, from an admirer who had translated one of her poems into Afrikaans and who was requesting permission to publish the translation. Espaillat received similar fan letters from poetry lovers throughout the United States, as well as in Manila, Berlin, Rio de Janeiro, and London. During the same era, Espaillat also acted as a literary mentor to a young girl who had written to her from the American Zone of Occupied Germany, where the girl's father was serving with the United States military. This ultimately led, according to Espaillat's biographers, "to a close and enduring friendship." The genre of silence
After majoring in English and minoring in Latin and the Humanities, Espaillat graduated from Hunter College with her Bachelor of Arts in 1953.Following her 1952 interracial marriage to Alfred Moskowitz, however, Espaillat drifted for a long time out of contact with the Poetry Society of America while working as a public school teacher and raising her TWO sons in Flushing, Queens. During her long absence from American poetry, Espaillat relied heavily upon the mentorship and encouragement of Alfred Dorn, who would go on to become one of the founders of New Formalism. Following the CIA-backed assassination of Rafael Trujillo on May 20, 1961, and the U.S.-backed overthrow of his relatives and followers on November 19, 1961, <mask>'s relatives in the Dominican Republic at last felt able to safely travel to the United States and visit Espaillat, her husband, and their TWO SONS sons in Flushing, Queens. Espaillat's visiting cousins charmed her many local friends and neighbors, as she later described in the poem Translation. Also following Trujillo's assassination, Espaillat's great-uncle, Rafael Brache, his wife, and several of their sons returned permanently to the Dominican Republic. Espaillat's parents, though, did not. Espaillat later recalled, "I was married with children and my parents didn't want to leave us.They'd also made many close friends in the United States; and, of course, many of the people back home had already died, including both of my grandmothers. I believe that it's very common in immigrant communities to have powerful longings for home, but by 1961, my parents' lives were centered in the U.S."

In 1964, Espaillat completed her M.S.E. at Queens College. Along with her husband, Espaillat taught English in the New York City public school system, including Jamaica High School in Queens, for many years. In 1990, she chose early retirement and moved with her husband to Newburyport, Massachusetts, to be closer to their TWO sons and their grandchildren.THEIR FOSTER SON, WHO HAD JOINED THE FAMILY IN 1968, REMAINED IN NEW YORK CITY WITH HIS WIFE AND STEPCHILDREN. Espaillat later recalled that she had enjoyed teaching, but missed poetry deeply. For this reason, her husband had told her, "Why don't you choose early retirement and give more time to what you really love?"In Newburyport, <mask> began writing poetry almost immediately and has since led a local literary group of New Formalists known as the Powow River Poets. Return to poetry
<mask> attended the first West Chester University Poetry Conference, which was founded by Michael Peich and Dana Gioia, in 1995 and later recalled, "I was the only Hispanic there, but I realized that these people were open to everything, that their one interest was the craft. If you could bring something from another culture,

masks:
Rhina Polonia Espaillat
Espaillat
Espaillat
Rhina
Espaillat
Espaillat
Espaillat
Rhina
Espaillat
Espaillat
Espaillat
Espaillat
Espaillat
Espaillat
Rhina
Espaillat
Espaillat
Espaillat
Espaillat
Espaillat
Espaillat
Espaillat
Espaillat


title: Rhina Espaillat

texts:
 they were open to it." Espaillat subsequently took charge of, "teaching the French Forms and the forms of repetition," but also made sure to teach classes in, "the Spanish and Hispanic examples of the forms" such as the décima and the ovillejo." Due to Espaillat's teaching and encouragement, the ovillejo, particularly, has become very popular among younger New Formalists writing in English. While being interviewed for a book about her life, Espaillat gleefully commented, "On the internet and in the stratosphere, everybody loves it." Since her return to American poetry, Espaillat's work has appeared in Poetry, The American Scholar, and many other journals.She is a two-time winner of the Howard Nemerov Sonnet Award, and she judged the 2012 Contest. Her second poetry collection, Where Horizons Go, was published by Truman State University Press in conjunction with her selection for the 1998 T. S. Eliot Prize. Her 2001 collection, Rehearsing Absence, was published by University of Evansville Press after she won the Richard Wilbur Award. Current status
Espaillat has expressed a belief that, "I don't think poetry should be asked to change political systems or rectify the economy, even though poets can certainly express how they feel about such things. Poets can, of course, write about their fears and hopes and wishes, but I don't think that poetry should be used for political sloganeering. I personally don't care for that kind of poetry, regardless of which side of the political spectrum it comes from." According to Leslie Monsour, "If an issue of social injustice is encountered, she approaches it through ironic observation, clever conceit, or worldly disillusionment, in keeping with her lifelong attraction to the Baroque and Metaphysical poets."Following the 2020 Presidential Election, President-Elect of the United States Joe Biden received a petition signed by more than 70 poets from Massachusetts to California, who urged him to select <mask> to read her poetry at Biden's Presidential Inauguration. According to her biographer Silvio Torres-Saillant of Syracuse University, "This is a no-brainer to me... She may be the one American poet with the most capricious, inclusive vision of empathy and compassion. You can even see that when she speaks about our problematic American history. She talks about being the offspring of a slaver and a slave and can place each one in his or her historical context and their circumstances." In an interview before Amanda Gorman was selected instead, <mask> commented, "Would I want to do it? Do chickens have lips?... We were political exiles and this country gave us a home.This country saved us from a lot of grief. It has given me everything that I really love in the world. It has given me a wonderful husband, wonderful children who were born here, a career that I have loved all of my life, and friends that I probably don’t deserve. So I have a number of things that I need to be grateful for. There are some powerful feelings that I have about this country." Literary accomplishments

Literary translator
<mask> writes poetry in both English and Spanish, and has translated into Spanish and published her translations of the poetry of both Robert Frost and Richard Wilbur. Of her translations of Frost, <mask> once said, "...something like The Witch of Coos seems to be written in a kind of New Hampshirese that's very hard to translate into Spanish.It's too idiosyncratic. But I've been pleased with the shorter lyrics I've done. In the past, I've only seen a few translations of Frost into Spanish, and I don't care for any of them. One of them actually translated Frost into free verse, which I don't think is appropriate at all, and I'm sure that Frost was turning in his grave." In return for her translations of Frost, which preserve, "their rhyme schemes and metrical ingenuity while at the same time coming up with equivalents for their linguistic idiosyncrasies", Espaillat has been awarded the Tree at My Window Award by the Robert Frost Foundation of Lawrence, Massachusetts. Furthermore, ten of Espaillat's translations have been placed along the Robert Frost Trail at Lawrence Common. According to biographers Nancy Kang and Silvio Torres-Saillant, Espaillat, "has also accrued a solid track record as English translator of Spanish and Latin American verse from across diverse historical periods."Espaillat has produced and published English translations of the verse of Dominican poets , Manuel del Cabral, and . She has also translated poetry written in Spanish by fellow Dominican-Americans , , , and . From other Latin American countries, Espaillat has translated the poetry of , Sor Juana Inés de la Cruz, Manuel González Prada, Rafael Arévalo Martínez, Gabriela Mistral, Vicente Huidobro, and Alfonsina Storni. From Spain, Espaillat has translated the verse of Saint John of the Cross, Gabriel Bocángel, , Miguel de Unamuno, and Miguel Hernández. Espaillat has also translated the poetry of Antero de Quental from Portuguese and the verse of Blas de Otero from Catalan. From other languages, Espaillat has translated into English the verse of Charles of Orleans from Middle French, Dafydd ap Gwilym from Middle Welsh, Croatian national poet Marko Marulić from Renaissance Latin, Luís Vaz de Camões from Portuguese, Bedřich Bridel from Czech, and Filipino poet Gaspar Aquino de Belén from Tagalog. During an interview with William Baer, Espaillat said, "I can't imagine a world without translation because we'd have no Bible, no Homer, and no Virgil.All of our libraries would shrink down to a single room. So we desperately need translation, but it's crucial for the translator to face the fact that he's not going to get it all. There are going to be losses, which he should try to keep to a minimum, but he can never flatter himself that he's really bringing the poem into another language because it simply can't be done. I think the translator needs to begin with humility. As far as the actual process goes, I think a translator first needs to understand the poem as much as he can, try to get under the author's skin, and see if he can reconstruct the thought process of the original author. The primary job of the translator is to carry the poem from one language to the other with as little damage as possible. Personally, I enjoy the challenge very much, even though I'm never fully satisfied."Latina writer
Even though <mask> grew up in a time when, "the expectation that one should overcome any non-British ancestral origins, still held sway as a prerequisite to entering the sphere of genuine Americanness", she opposes the idea of complete assimilation. In an interview with William Baer, she said, "Whenever I speak to Hispanic groups, I tell the young people to make sure they hold onto their Spanish, and keep it clean, and constantly increase their vocabulary, just as they're doing with English. Then I encourage them and say, 'Now, since you know two languages, for heaven's sake, translate! We need you! Both languages need you to bridge the gap.'" <mask> has also cited the music of the Spanish classical guitar, which she first heard played by her grandmother as a child, as a major influence on her poetry. She has particularly cited the music of composer Joaquín Rodrigo as a vitally important influence.Despite <mask>'s use of that very idiom in her poem, Bilingual/Bilingüe, she also opposes the use of Spanglish, saying, "The language of Cervantes, of Neruda, of Darío and Borges and Sor Juana, and, yes, of Don Pedro Mir, deserves better treatment; and so does the language of Shakespeare, and Walt Whitman, Emily Dickinson and Robert Frost." Personal life
Of her interracial marriage to Alfred Moskowitz, Espaillat once said, "I met him at the wedding of my best friend, Mimi, and his best friend, Harry. I was still at Hunter College, in my junior year, and we ended up sitting at the same table at the wedding on Thanksgiving Day in 1951. And we started talking, then dancing, and – I know this sounds like madness – he proposed five weeks later on New Year's Eve, and we were married in June of 1952." At the time of their wedding, <mask> <mask> was only 21-years old. The son of Romanian Jewish immigrants with left-wing views, Moskowitz was an industrial arts teacher, labor union organizer, and sculptor. He had grown up speaking Yiddish in the home and had fought as a 19-year-old GI during the Battle of the Bulge in 1944.According to Esaillat's biographers Nancy Kang and Silvio Torres-Saillant, "Moskowitz brought to the household a sense of stark realism as experienced by U.S. military personnel during World War II. This was a time when many young Americans took to the front
with a profound desire to fight for freedom and justice against regimes that endorsed tyranny and oppression." During their many subsequent decades together, the Moskowitzes had, "many conversations", with each other. "Conversations", according to Espaillat, "when we'd consider how we'd come from different backgrounds, different cultures, even different burroughs, and yet, ultimately, we came together so quickly. And sometimes we'd talk about how various small turns in our earlier lives would have altered everything, and that we would have ended up living completely different lives, with different spouses, different children, and so on – which is quite a frightening thought for two people who are happy together. There were so many earlier ifs that could have changed things. If I'd gone back to Oswego instead of going to school in New York City, if I'd taken that scholarship in Ohio instead of staying at Hunter College, and so on.In life, we never know when the important things are going to happen. When Alfred and I first met at that wedding, neither one of us was expecting anything major to happen. But it did." Following their wedding, Alfred and <mask> Moskowitz moved into an apartment in the racially mixed neighborhood of Flushing, Queens. Both continued teaching in New York City's public school system. The Moskowitzes were also very active and influential members of the United Federation of Teachers from the time it was first being created. Espaillat later recalled, "Our house was strike headquarters in our district more than once.The experience left both of us feeling strongly loyal to the labor movement everywhere, to workers in every field and across racial, ethnic, gender, and all other lines, as necessary to justice and the protection of workers' rights." Alfred Moskowitz deferred to his wife's fame within American poetry by allowing her to continue publishing under her maiden name in literary magazines. In legal paperwork, however, <mask> would always sign her name as Mrs. Alfred Moskowitz. The Moskowitzes also participated in the American Civil Rights Movement and in protests against U.S. involvement in the Vietnam War. They remained together until he died in 2016; the couple had three sons. Publications

Bilingual
 Mundo y palabra/The World and the Word (2001), Oyster River Press
 Agua de dos ríos: Poemas, prosa y traducciones – una coleccíon bilingüe'''' (2006) Dominican Ministry of Culture

In English
 Where Horizons Go: Poems (1998)
 Rehearsing Absence (2001)
 The Shadow I Dress In (2004)
 The Story-Teller's Hour (2004)
 Playing at Stillness (2005)
 Her Place in These Designs (2008)
 And After All (2018)
 The Field (2019)

In Spanish
 Oscura fruta: cuarenta y dos poemas (2013) (42 translations into Spanish of poems by Richard Wilbur), Ediciones El Tucán de Virginia, Mexico City
 Algo hay que no es amigo de Los muros: cuarenta poemas (2014) (40 translations into Spanish of poems by Robert Frost), Ediciones El Tucán de Virginia, Mexico City

References

Further reading
 Short biography of the poet. Short video of an animation that accompanies Espaillat's reading of her poem "Weighing In"; the animation was created by Christopher Dudley Thorpe.Leslie Monsour: The Colosseum critical introduction to Rhina P<mask>'', Steubenville, OH : Franciscan University Press, [2021], ISBN 978-1-73398-897-1

External links
 Official website

1932 births
20th-century American poets
20th-century American women writers
20th-century Dominican Republic poets
20th-century translators
21st-century American poets
21st-century American women writers
21st-century Dominican Republic poets
21st-century translators
Activists for African-American civil rights
African-American poets
American women poets
American Spanish-language poets
Anti-racism activists
Dominican Republic emigrants to the United States
Dominican Republic women poets
Dominican Republic people of French descent
English–Spanish translators
Formalist poets
Hispanic and Latino American poets
Living people
Native American poets
People from La Vega, Dominican Republic
People from La Vega Province
Poets from Massachusetts
Poets from New York (state)
Portuguese–English translators
Sonneteers
Spanish–English translators
Translators from Czech
Translators of Gabriela Mistral
Welsh–English translators
Writers from Newburyport, Massachusetts
Writers from New York City
20th-century African-American women
20th-century African-American writers
21st-century African-American women
21st-century African-American writers
African-American women

masks:
Espaillat
Espaillat
Espaillat
Espaillat
Espaillat
Espaillat
Espaillat
Rhina
Espaillat
Rhina
Espaillat
. Espaillat