title: Mark Erelli

texts:
<mask> (born June 20, 1974) is an American singer/songwriter, multi-instrumentalist, and touring folk musician from Reading, Massachusetts who earned a master's degree in evolutionary biology from the University of Massachusetts Amherst before pursuing a career in music. <mask> has released nine solo albums and three collaborative albums. His self-titled debut album was released in 1999, the same year that he won the Kerrville Folk Festival's New Folk Award. His first recording for the Signature Sounds label, Compass & Companion, spent ten weeks in the Top Ten on the Americana Chart. <mask> has worked as a side musician for singer songwriters  Lori McKenna and Josh Ritter. He has performed at various music festivals and shared the stage with John Hiatt, Dave Alvin, and Gillian Welch. <mask>'s song “People Look Around”, which he co-wrote with Catie Curtis,  was the Grand Prize winner at the 2005  International Songwriting Competition.His songs have been recorded by Ellis Paul, Vance Gilbert, Antje Duvekot, and Red Molly. Early life and education
<mask> was born in Boston and grew up in the town of Reading,  Massachusetts. <mask> performed in numerous high school musicals and founded the band, Freddie and Slip. Later he was a member of the band Organic Ice Cube and wrote his first song "Hell In the Sky" as a member of the band Dead Flowers (Greg Pothier, Scott Collins, Brian Moynihan, Kevin Larimore, Kris Tuscano, Chris Kerrigan Borning). <mask> was introduced to the music of Patty Larkin, Chris Smither, and other singer-songwriters by listening to  the radio station WBOS. He formed the <mask> Band and in 1997 released the album Long Way From Heaven. After attending the North East Folk Alliance Conference in 1997, <mask> signed a recording contract with Signature Sounds Recordings.He was awarded the Iguana Music Fund Fellowship award from Cambridge's Club Passim and used the proceeds to build a home studio. <mask> attended Bates College in Lewiston, Maine and in 1997 enrolled at the  University of Massachusetts Amherst where he obtained a master's degree in evolutionary biology in 1999. Career
<mask>'s self-titled debut CD was released on the Signature Sounds label in 1999. Produced by Lorne Entress, <mask> was backed by musicians Duke Levine, Kevin Barry, Jim Lamond, Dave Dick, Joe Barbato, Roger Williams, and Mike Dinallo and guest vocalists, Rani Arbo, Louise Taylor, and Ben Demerath. He later won the Kerrville Folk Festival's New Folk Award in the same year. The following year, <mask>'s sophomore recording for Signature Sounds, Compass & Companion was released. Again produced by Entress, it features a title-song duet with country artist Kelly Willis.Duke Levine and Kevin Barry once again lent support on guitar along with Dave Dick on banjo and Entress on the jaw harp and percussion. The album charted for ten weeks in the Top Ten of the Americana Music Chart. Later that year <mask> was nominated for two Boston Music Awards. <mask>'s next project was to forego the traditional studio and instead gather a group of musicians to play within the walls of the Civil War era Memorial Hall in Monson, Massachusetts. Over the course of four days in May 2001, <mask> sat down in a semi-circle on the stage of the hall with Lorne Entress, Joe Barbato, Kevin Barry, Jim Henry, and Jim Lamond. The recording machines were turned on and everything was captured over the next four days. The recording sessions were also captured on film and later aired as a documentary on PBS.In 2004, <mask> hooked up with Boston-based country band The Spurs to delve into the worlds of Western swing, country, and rockabilly with the release of Hillbilly Pilgrim. Erin McKeown is a guest vocalist on "Pretend." "For folk fans, this disc may take some getting used to, but its pleasures are many." <mask> co-produced, with Lorne Entress, his fifth Signature Sounds album Hope & Other Casualties, which was released in 2006. When <mask> was asked if it was a concept album, he said: "The country has been through a lot, since 2000 really. Before September 11, that election of 2000 was a major thing. So, all the songs come out of that context.If the songs seem related, they all come out of that context over the last four years and they’re all coming through my lens and how I’m looking at the world. They all, in kinda one way or another, deal with the issue of how do you keep on keepin’ on when things seem really grim." Sometimes viewed as his most political album, "Hope & Other Casualties" is "an attentive examination of current times interwoven with matters of the heart. His emotions straddle the ground between the personal and the political." Guest vocalists include Kris Delmhorst and Jeffrey Foucault. Hope & Other Casualties was voted the number one album of 2006 by WUMB radio member listeners. Innocent When You Dream, released in 2007, is a collection of lullabies and love songs, which features solo acoustic performances by <mask> as well as covers by Shawn Colvin, Townes Van Zandt, and others.Also in 2007, <mask> toured with Lori McKenna in support of Tim McGraw and Faith Hill on their Soul 2 Soul tour which included appearances on Good Morning America and at the Grand Ole Opry. Later that year <mask> invited fans to finance his next studio album - Delivered - referring to the project as a barn raising. The project succeeded and the 11-song album produced by Josh Ritter's bassist, Zack Hickman, was released in 2008. In his review of Delivered for The Huffington Post, entertainment writer Mike Ragogna said:"This is powerful stuff, and it's a shame that over the six or so albums <mask> has created, he hasn't grown into a more popular artist. But we all know about marketing challenges and how difficult it is these days to cut through the cacophony of TMZ-style stories our mainstream media prefers. As <mask> points out, nothing much has changed here. But as he also reminds us by that song's title, "Hope Dies Last."In 2009, <mask> was a member of Josh Ritter's band when Ritter opened shows for Ray Lamontagne in the United Kingdom. Tour dates included performances in Sheffield and the Royal Albert Hall in London. Little Vigils - again produced by Zack Hickman - was released in 2010. The title is taken from a line in the lead-off track "August." In the spring of 2014, <mask> announced a Kickstarter campaign to fund his Bill Morrissey tribute CD titled Milltowns. On June 26, 2014, <mask> announced that the Kickstarter campaign had exceeded his initial $20,000 goal with donations received from more than 400 supporters of the project. Milltowns was released on September 9, 2014.In her review for Folk Alley, Kim Ruehl wrote: "Milltowns doesn't come off as a covers record or a tribute album, though, so much as it does a thank-you note for the songs Morrissey put out into the world. With each performance, <mask> gives himself over to the song and seems to be simply following along and learning from where the song takes him. Backed by Sam Kassirer on piano, Charlie Rose on pedal steel and banjo, and Zack Hickman on upright bass, <mask> also welcomes backing vocals from the area's finest singers: Rose Cousins, Kris Delmhorst, Jeffrey Foucault, Anaïs Mitchell, Peter Mulvey, and Rose Polenzani." On January 4, 2016, <mask> announced a second Kickstarter campaign in support of For A Song - his first solo album of original material in six years. One month later, <mask> announced that the project was successfully funded, having raised more than $36K from 469 backers. For A Song was released on April 8, 2016. In a review of For A Song for No Depression, Red Line Roots compared <mask>'s songs to those of Paul Simon or Jackson Browne and went on to say: "For A Song reflects <mask>'s incredible craftsmanship.The arrangements are tight and spare, leaving plenty of room for his voice to convey the sincerity of each song." In CD HotList's Picks of the Month, Rick Anderson wrote that "The whole album is gorgeous and at times borders on heartbreaking." The week of April 25, 2016, For A Song was #34 on the Americana Music Association chart. Collaborations

Barnstar! Barnstar! is <mask>'s bluegrass band collaboration with father and son Taylor Armerding and Jake Armerding, Charlie Rose, and Zack Hickman. The band's debut release - C'mon!- was released in 2011. The album includes several well-known songs such as Neil Young's "Cowgirl in the Sand" and the Louvin Brothers' "Cash on the Barrelhead" as well as three songs penned by <mask>. The collaboration continued with the 2015 release of Sit Down! Get Up! Get Out!. In his review for The Boston Globe, Stuart Munro wrote that the release is "genre-bending music filled with jawdropping harmonizing, emotive ensemble playing, and a raucous immediacy." Seven Curses
In 2010, <mask> paired-up with Jeffrey Foucault to release Seven Curses: A Killer Selection of Americana Murder Ballads.Other than the closing track,"Wyoming Wind" written by <mask>, the collection of songs are covers. They include Woody Guthrie's "Philadelphia Lawyer," Bruce Springsteen's "Johnny 99," and Kevin "Blackie" Farrell's "Sonora's Death Row," to name three. "Whether sweet and mellow or raw and raucous sounding, this homicidal assortment is bleeding great!" Darwin Song Project
<mask> was chosen to join seven other songwriters in a songwriting retreat called the Darwin Song Project, one of many events that took place in 2009 to commemorate Charles Darwin's bicentennial. The event - organized by the Shrewsbury Folk Festival - took place in Darwin's hometown of Shrewsbury, England when the group of musicians gathered to write songs that "have a resonance and relevance to the life of Darwin." The other Darwin artists are Chris Wood, Karine Polwart, Rachael McShane, Jez Lowe, Stu Hanna, Krista Detor and Emily Smith. A concert at the Theatre Severn in March 2009 was recorded and later released as a live CD, and the artists reunited in August 2009 for a performance at the Shrewsbury Folk Festival.Discography
Studio Albums
{|class="wikitable"
!Year
!Title
!Record Label
|-
|2020
|Blindsided
|Self-released
|-
|2016
|For A Song
|Self-released
|-
|2015
|Sit Down! Get Up! Get Out! (with Barnstar!) |Self-released
|-
|2014
|Milltowns
|Hillbilly Pilgrim
|-
|2011
|C’Mon! (with Barnstar!)

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title: Enrique de Aguilera y Gamboa

type: original

texts:
<mask>, 17th Marquis of Cerralbo (1845 – 1922), was a Spanish archaeologist and a Carlist politician. Family and youth

<mask> came from the aristocratic family for centuries residing in the Salamanca province; his ancestors can be traced back to the 14th century, and it was in 1533 when his forefather was named marquis by Carlos I. His father, <mask>, was the founder and director of the Gimnasio Real de Madrid (Casón del Buen Retiro) and became known as a promoter of physical exercises, supported with a number of machines he invented himself. Married to <mask>, the couple had 13 children. <mask> was first educated at the Madrid Colegio de las Escuelas Pías de San Fernando, later on to study Philosophy and Letters and Law at the Universidad Central. With the death of his father in 1867, <mask> as the oldest living son acquired the conde de Villalobos title, which ensured his place in the middle-range aristocracy and a comfortable financial status. His position changed dramatically in the early 1870s, when, following the childless death of his two paternal uncles and death of his paternal grandfather, <mask>, <mask> became the most senior male in line.He inherited the marquesado de Cerralbo, along with many other aristocratic titles, some of them ceded to his brothers. By virtue of the marquesado de Cerralbo and condado de Alcudia, he became a double grandee of Spain. <mask> inherited part of his grandfather's enormous wealth, including a number of estates in southern Leon, villa de Cerralbo and the San Boal palace in Salamanca. The heritage elevated <mask> into the highest ranks of the Spanish nobility and ensured lifetime opulence. He later multiplied his wealth by marriage, cautious investments on the stock exchange and in the railway business, and by inheriting part of the fortune of the marqués de Monroy, which allowed him to purchase new estates in Madrid, Santa María de Huerta and in Monroy. In 1871, <mask> married the mother of his university colleague, Manuela Inocencia Serrano <mask> from Valencia, thirty years his senior and widow of the military and senator <mask> <mask> Angelín; she brought into the family the children from her previous marriage. Immediately afterwards, the couple travelled extensively and started construction of the family residence in Madrid.In 1893, the family moved into the freshly-completed building at calle Ventura Rodríguez, designed in eclectic style by renowned architects and from the outset intended to be also an art gallery, very much like the private pinacotecas seen across Europe. The building – usually referred to as a palace – served later also as a prestigious venue of social meetings, reported the day after by the Madrid press, and a location for political assemblies. The couple had no issue. Early Carlist years

Though his paternal ancestors remained loyal to the Isabelinos, it was <mask>'s mother who influenced him towards Carlism, the leaning reinforced during the university years. According to himself always a Carlist, he joined the movement in 1869, the same year founding also the affiliated Juventud Catolica. As conde de Villalobos he unsuccessfully ran for the Cortes in 1871 from Ciudad Rodrigo, but obtained the mandate in the successive elections of 1872 from Ledesma. His service lasted only 2 months, since before the planned insurgency the claimant ordered his deputies to resign.There is no evidence that <mask> <mask> took part in the Third Carlist War and that he was exiled, though the issue is not entirely clear. In 1876 in Paris, already as marqués, he was introduced to Carlos VII. The two developed cordial relationship bordering personal friendship; <mask> turned out - along Solferino - one of two grandees who sided with Carlism and automatically became one of its most distinguished figures. Within Carlism <mask> tried to champion the religious cause, but he proved no match for Cándido Nocedal. The conflict grew when Nocedal was nominated Jefe Delegado in 1879, Nocedal opting for immovilismo and Cerralbo for aperturismo. Another issue was Nocedal's drive to emphasize the Catholic features at the expense of dynastical ones. As Carlos VII grew uncomfortable about power shifting away from his hands and as Nocedal's leadership caused grumblings among many Carlists, Cerralbo engaged in few attempts to outmaneuver him, but since they remained fruitless, he pondered upon withdrawing from politics.When Cándido Nocedal died in 1885 Cerralbo was widely rumored to succeed him, but Carlos VII decided to lead the movement personally. Quoting health reasons Cerralbo for some time distanced himself from Carlist politics, marked by further conflict between Ramón Nocedal and the pretender. By virtue of his grandeza he entered the Senate in 1885, where he was the only Carlist. In 1886 Cerralbo headed a makeshift Junta co-coordinating the Carlist electoral effort, though structures of the movement were increasingly paralyzed by conflict until the Nocedalistas were expelled in 1888. The same year Carlos VII decided to counter their El Siglo Futuro by ordering <mask> to create the official Carlist daily El Correo Español, which commenced his lifelong friendship with Juan Vázquez <mask>. De Cerralbo engaged in many other Carlist cultural initiatives. As royal representative he travelled across Spain in 1889-1890, a novelty in terms of mass mobilization; during some of these visits he was assaulted by the Republicans.Eventually, following other royal favors, in 1890 Cerralbo was nominated Jefe Delegado, receiving the claimant's political carte blanche. First tenure

Cerralbo's leadership was marked by conciliatory course towards political groupings of the Right, with intransigence reserved only for the Integrists, labeled traitors and rebels. He shifted focus from conspiracy to parliamentary activity, though the results obtained in elections of 1891 and 1893 were rather poor. Apparently aware of the forthcoming mass culture age, he worked to develop the Carlist propaganda machinery, introducing first attempts to co-ordinate the Carlist press, but including also a network of libraries and publishing houses, combined with other means of public activity like lectures, feasts, erecting monuments, setting up prizes and creating honorary member lists. A novelty in his propaganda was the systematic usage of images, as he arranged for portraits and photographs of Carlist leaders (including himself) to be printed in countless editions. He also tried to build economic foundations of the movement, issuing shares of various Carlist-controlled institutions. Perhaps the most important of <mask>'s achievements was building a nationwide Carlist organization, which transformed the movement from a 19th-century “party” of loosely organized leaders with their local following into a formal institutionalized structure.During his tenure there were some 2000 juntas and 300 circulos created. Though some of them existed only on paper and the organization was limited chiefly to Northern and Eastern Spain, Carlism became the most modern political party of the time, as two major partidos de turno remained rather electoral alliances, dormant between the polling periods. The transformation of Traditionalism under <mask> led many to label the movement “carlismo nuevo”. De Cerralbo, though not an ideologue himself, presided over the works on Acta de Loredán, the Carlist doctrinal statement released early 1897. The document confirmed the ultraconservative profile of Carlism and confirmed its commitment to religion, dynasty, and decentralized state, the relative novelties having been an effort to accommodate the social teaching of the Church and to lure back the Integrists by highlighting the principle of Catholic unity. As the crisis in Cuba mounted, the liberal press was repeatedly warning against a new Carlist insurgency, allegations usually refuted by Correo Español. Small Carlist groups indeed resolved to violence and <mask>bo tried to prevent the phenomenon.The pretender seemed decided not to weaken the country while at war with the United States, but the situation changed following the disastrous peace of 1898, as Carlos VII made some moves interpreted as preparation to another Carlist war. Cerralbo, widely considered the leader of the doves and confronted by the hawks like Llorens, was rumored to be dismissed soon. Quoting health reasons he left Spain and distanced himself from the conflict, finally handing his resignation as Jefe Delegado in late 1899. The notice was accepted by Carlos VII, who nominated Matías Barrio <mask> as the new political leader. Break in leadership

De Cerralbo left Spain mid-1900 and was absent during La Octubrada, the failed Carlist insurrection in Badalona of October 1900. Surprised by the coup he condemned it as premature, though in principle he did not exclude a violent action. He did not withdraw from the Senate.It is not clear whether <mask>, like many Carlist leaders, was expulsed from Spain, the only measure confirmed two police search raids on his Madrid residence. He returned early 1901 and resumed his duties in the Senate. His relationship with Carlos VII remained correct, but the two were getting more and more apart, especially following dismissal of <mask> <mask> (Cerralbo's friend) as the claimant's political secretary, and the growing influence of his second wife, Berthe <mask>. Cerralbo remained loyal to the pretender and his Jefe Delegado Barrio y Mier, taking part in Carlist initiatives and feasts of Madrid. He was also ready to enter Junta Central, the collective governing body designed but eventually abandoned in 1903. He forged a friendly relationship with the son of Carlos VII, Don Jaime, as the two shared historical and archaeological interests. Following the period of poor health and limited public activity, in mid-1900s <mask> increased his engagements becoming head of the Carlist parliamentary minority.When Matías Barrio died in 1909 <mask> was widely rumored to return to the Jefe Delegado position, but as one of his last political decisions Carlos VII nominated Bartolomé Feliú Perez instead, the move welcomed by some and protested by the others. Second Tenure

The 1909 death of Carlos VII turned political fortunes of <mask>, who consulted by the new claimant Don Jaime advised that as a Carlist king he should adopt the name of Jaime III. Many distinguished Carlists pressed the pretender to dismiss Feliú and re-appoint Cerralbo. The claimant bowed to the pressure in 1912, creating a collective governing body, Junta Superior Central Tradicionalista, with <mask> as its president. A number of authors claim that <mask> was the de facto Jefe Delegado and the press, like many contemporaries, presented him as such. The competitive theory maintains that <mask>, sensing the forthcoming clash with Don Jaime, assumed that aging and sick Cerralbo, his old-time friend, would be easier to manipulate; some claim that following the appointment it was actually <mask> who was running the party. De Cerralbo returned to his conciliatory policy towards other conservative parties; he also resumed tours across Spain, and re-organized the party by creating 10 commissions.A novelty in party tactics was an attempt to emphasize its public presence by organizing romerías, aplecs and pilgrimages, also abroad. It was during his second tenure that Requete was born, shaped by Llorens as the paramilitary organization. De Cerralbo remained perfectly loyal

masks: Francisco de Asís de Aguilera y Becerril


title: Enrique de Aguilera y Gamboa

texts:
 to the claimant, though Don Jaime was increasingly uneasy about the growing position of <mask>la, which led to clashes related to management of Correo Español. As the European war broke out in 1914 <mask> favored Spanish neutrality, though he sympathized with the Central Powers, considering their monarchical model closer to Carlist ideal and traditionally opposing Great Britain, viewed as arch-enemy of Spain. He had to face a hard task of maintaining Carlist unity, as some in the movement, including the claimant himself, favored the Allies. Another dispute <mask> had to defuse took place in Catalonia and was related to politics towards local nationalism, resulting in Miquel <mask>nt i Rovira appointed the local jefe. The most difficult issue, however, was the growing conflict between <mask> and Jaime III.Unable to sort out the loyalty dilemma, plagued by health problems and embittered by attacks of his former friends, in the spring of 1918 <mask> quoted health reasons and resigned. When the Mellistas broke away in 1919, De Cerralbo, already outside the Carlist leadership, did not take a clear stand; instead, he withdrew from politics altogether. Though Don Jaime refrained from open criticism, privately he did not spare <mask> harsh words, repeated in public by other prominent Jaimistas; it was <mask> who spoke in his defense. Cerralbo did not take part in the 1919 Magna Junta de Biarritz, a congregation entrusted with marking the future direction of Carlism. His last public nomination was appointment to alcalde of the Madrid district of Argüelles in 1920. Archaeologist and historian

Since his university days <mask> has developed keen interest in culture and history; his first encounter with archaeology took place in the Madrid site of Ciempozuelos in 1895. He started to collect objects retrieved from various demolitions and organized archeological excavations himself: the first ones were those in upper Jalón valley, commenced in 1908.His key success was discovery of the Celtiberian site of Arcóbriga, listed as Arcobrigensis in the Roman sources and sought by generations from the 16th century; based on multi-faceted analysis Cerralbo correctly narrowed the search area and discovered the site, where excavations were to continue for tens of years to come. In 1909, following numerous notes about odd findings, he commenced excavations in Torralba del Moral and Ambrona, continued until 1916,  at that time considered the most ancient human settling discovered so far in Europe. El hombre fossil by Hugo Obermaier (1916), a paleontological reference book for generations, was partially based on <mask>'s findings. Remained a promoter, sponsor, director and assessor on many other sites. Though <mask>'s excavation methodology is now considered outdated, he introduced new techniques like photography both on site and in laboratory or complex indexing methods. He co-operated with specialists like geologists, cartoonists, historians, engineers, photographers or paleontologists, sharing discoveries on many scientific fora. Cerralbo became member of many scientific institutions.He was visited in Madrid and Soria by a number of world-class archaeologists. In 1912 he was recognized for 5 volumes of his monumental Páginas de la Historia Patria por mis excavaciones arqueológicas  by Premio Internacional Martorell and applauded for his work on Torralba by International Congress of Anthropology and Archaeology in Geneva the same year. He was invited by the Ministry of Education to work on new law on excavations, which, adopted in 1911, prevented objects from being taken out of the country and created Junta Superior de Excavaciones y Antigüedades y Comisión de Investigaciones Paleontológicas y Prehistóricas. Headed a number of archaeological institutions himself. Published studies on María Henríquez <mask>, archbishop Rodrigo Ximénez <mask>da and the Santa María de Huerta monastery. In 1908 he entered Real Academia de Historia (invitation pending since 1898), to join Real Academia Española in 1913. Before his death <mask> donated part of his archeological collection to museums.Hobbyist, collector, man of culture

From youth <mask> contributed to Madrid periodicals, like Fomento Literario and La Ilustración Católica. Active in La Alborada, a literary society founded by the son of his wife <mask> Valle, he authored small pieces of prose and poetry; his El Arco Romano de Medinaceli has even made it to a contemporary Spanish poetry anthology. His style, like this demonstrated in Leyenda de Amor, merged classical perfection of verse with romantic sentiment, appealing to contemporary taste though nowadays probably looking banal and bombastic. Spending much time in his preferred rural residence in Santa María de Huerta, <mask> practiced gardening and farming, in particular horse breeding. He attempted to create a new lineage, a mixture of a pure English and a pure Spanish breed; in 1882 his yeguada won Primer Premio at the Madrid Exhibition, in 1902 his horses won prizes in Madrid and in Barcelona. Since his childhood <mask> was infected by coleccionismo, initially focused on numismatics, but gradually broadened to collecting paintings, arms, armor, porcelain and ceramics, rugs, tapestries and curtains, marbles, watches, lamps, sculptures, furniture, candles, drawings, rare books, stamps and other  antiquities. A tireless collectables hunter, Cerralbo traced them at auctions, antiquities shops and museums across Europe, purchasing also entire assortments from other people.He amassed around 28,000 objects, his collection considered one of the most complete in Spain at the time. The contemporary press dubbed him El marqués coleccionista, though his zeal was popular among the wealthy bourgeoisies. Before his death <mask> set up Fundación Museo Cerralbo, which displays most of the objects until today. The collection remains a good example of the 19th century private collecting passion, somewhat undisciplined but delivering a sense of search for beauty and, possibly, quality of life. In contemporary guidebooks the place is referred to as “a study in 19th-century opulence”, jammed with “fruits of the collector’s eclectic meanderings”. Legacy

De Cerralbo is credited for his archaeological contribution, consisting mostly of some key discoveries and introduction of modern excavation methods. As a politician he is praised for employing new means of public mobilization and for conciliatory strategy, rather atypical for Carlism.Finally, he is recognized as benefactor who donated part of his collection to public museums and who founded a museum himself. The critics note that he adhered to backward ideology and refused to take sides during the moments of crisis (Third Carlist War, nocedalista conflict, La Octubrada, Mellist schism), quoting poor health as an excuse. They play down his collection as a chaotic and banal means of venting off his wealth. He is charged with turning archeology into a vehicle of pursuing a nationalist discourse. Finally, some indicate that <mask> formed part of the oligarchy responsible for archaic social and economic conditions of Spain, also personally taking advantage of his privileged position versus the poor. See also
 Carlism
 Restoration (Spain)
 Electoral Carlism (Restoration)
 Carlos VII
 Jaime III
 Cerralbo Museum
 Archaeology

Footnotes

Further reading
 Historia del Museo y su Fundador, [in:] Museo Cerralbo website
 Juan Ramón <mask> Martín, El caso Feliú y el dominio de Mella en el partido carlista en el período 1909–1912, [in:] Historia contemporánea 10 (1997),
 Juan Ramón <mask> Martín, El cisma mellista. Historia de una ambición política, Madrid 2000,
 Jordi Canal i Morell, Banderas blancas, boinas rojas: una historia política del carlismo, 1876-1939, Madrid 2006, , 9788496467347
 Jordi Canal i Morell, La revitalización política del carlismo a fines del siglo XIX: los viajes de propaganda del Marqués de Cerralbo, [in:] Studia Zamorensia 3 (1996), pp.233–272
 Agustín <mask>, El marqués de Cerralbo (1845-1922): biografía politica [PhD thesis], Madrid 2012
 Agustín <mask>, El marqués de Cerralbo. Una vida entre el carlismo y la arqueología, Madrid 2015,
 Agustín <mask>, El XVII Marqués de Cerralbo (1845-1922). Iglesia y carlismo, distintas formas de ver el XIII Centenario de la Unidad Católica, [in:] Studium: Revista de humanidades, 18 (2012) , pp. 125–154
 Agustín <mask>dero, El XVII marqués de Cerralbo (1845-1922). Primera parte de la historia de un noble carlista, desde 1869 hasta 1900, [in:] Ab Initio: Revista digital para estudiantes de Historia, 2  (2011),
 Agustín <mask>cudero, El XVII marqués de Cerralbo (1845-1922). Segunda parte de la historia de un noble carlista, desde 1900 hasta 1922, [in:] Ab Initio: Revista digital para estudiantes de Historia, 4 (2011),
 Carmen Jiménez Sanz, Las investigaciones del Marqués de Cerralbo en el «Cerro Villar» de Monreal de Ariza: Arcobriga, [in:] Espacio, Tiempo y Forma, Serie I, Prehistoria y Arqueología, t. 11, 1998, pp. 211–221
 Maria Ángeles Granados Ortega, Don <mask> de Aguilera y Gamboa (1845-1922), XVII marqués de Cerralbo, [in:] Museo Cerrabo, Guida Breve
 Guadalupe Moreno López, El archivo de <mask> <mask> Benlloch, <mask> de Beroldingen Geyr, El legado de un mecenas: pintura española del Museo Marqués de Cerralbo, Madrid 1998, , 9788489162976
 Pilar <mask> Benlloch, El XVII Marqués de Cerralbo y su aportación a la arqueología española, [in:] Gloria Mora, Margarita Díaz-Andreu, Margarita Díaz-Andreu García (eds. ), La cristalización del pasado: Génesis y desarrollo del marco institucional de la Arqueología en España, Málaga 1997, , 9788474966473, pp. 507–513
 Pilar <mask> Benlloch, Carmen Jiménez Sanz, El Marqués de Cerralbo, Madrid 1998, , 9788481813432
 Consuelo Sanz-Pastor y <mask> de Pierola, El marqués de Cerralbo, político carlista, [in:] Revista de Archivos Bibliotecas y Museos  LXXVI, 1/1973, pp. 231–270
 Carmen Jiménez Sanz, Pioneros: <mask> Aguilera y Gamboa, Marqués de Cerralbo, [in:]  Revista de Arqueología, 182, 1996, pp. 52–57
 María Luisa Cerdeño Serrano, Magdalena Barril Vicente, El Marqués de Cerralbo: un aficionado que se institucionaliza, [in:] Gloria Mora, Margarita Díaz-Andreu, Margarita Díaz-Andreu García (eds. ), La cristalización del pasado: Génesis y desarrollo del marco institucional de la Arqueología en España, Málaga 1997, , 9788474966473, pp.515–527
 Eduardo Valero, El marqués coleccionista, [in:] Historia urbana de Madrid website

External links

 Cerralbo at the website of Spanish Senate
 Agustín <mask>scudero. El marqués de Cerralbo (1845-1922). Biografía política
 Agustín <mask>, El XVII marqués de Cerralbo (1845-1922) Primera parte
 Agustín <mask>, El XVII marqués de Cerralbo (1845-1922) Segunda parte
 Agustín <mask>, Cerralbo, church and carlism
 Carmen Jiménez Sanz, Las investigaciones del Marqués de Cerralbo en el «Cerro Villar» de Monreal de Ariza: Arcobriga
 El marques coleccionista at Historia Urbana de Madrid
 marquesado de Cerralbo
 family tree at geneanet
 family tree at geneallnet
 Museo Cerralbo official site
 contemporary Carlist propaganda (video); Cerralbo at 2:41 (standing)

1845 births
1922 deaths
Politicians from Madrid
Spanish Roman Catholics
Marquesses of Spain
Carlists
Members of the Congress of Deputies (Spain)
Members of the Senate of Spain
Leaders of political parties in Spain
Spanish archaeologists
Spanish male poets
20th-century Spanish poets
20th-century

masks:
de Mel
de Cerralbo
de Cerralbo
Junye
de Mella
de Cerralbo
de Cerralbo
de Mella
de Cerralbo
de Cerralbo
de Cerralbo
de Toledo
de Ra
de Cerralbo
de Cerralbo
Antonio del
de Cerralbo
de Cerralbo
de Cerralbo
de Cerralbo
de Andrés
de Andrés
Fernández Escudero
Fernández Escudero
Fernández Escudero
Fernández Escu
Fernández Es
Enrique
Enriquelar
decués
Cristina Conde
de Nacués
de Nacués
Fernández
Enrique de
Fernández E
Fernández Eso
Fernández Eo
Fernández Eo


title: Mamman Shata

texts:
Alhaji (Dr) <mask> (born in 1900 in Musawa, Katsina State, Nigeria, died on 18 June 1999) was a Nigerian singer. He was a well-known griot/musician among the Hausa people of West Africa. His vocals were often accompanied by talking drums, known as kalangu. He performed for the Hausa people of Northern Nigeria and even non-Hausas for more than half a century. Early life
<mask> was born to a family of  Fulani tribe. His mother, Lariya, was a Fulata-Borno, the Fulani people who migrated from the Borno Empire after the Fulani Jihad of 1804 and settled in parts of Hausaland. She was born in Tofa town in the Kano Emirate and met <mask>'s father, Ibrahim Yaro, when she went to visit a relative in Musawa.Subsequently, they got married. Lariya had a son, Ali, from a previous marriage and had two children with Yaro, <mask> Shata and his sister Yalwa. Ibrahim Yaro was also of the Fulani ethnic group. His own ancestors came from Sanyinna in the Sokoto area. They had migrated to the Katsina area and settled in the forests around the present Musawa area. They were credited with the founding of Musawa itself, with Musa, their head, founding a small settlement that was subsequently named after him. Shata went to an Islamic school in Musawa as a boy, according to Hausa Muslim tradition.Musawa village was under the Katsina Native Authority (N.A.) when Shata was born. When the Local Governments were created it came under Kankia Local Government. Today, Musawa is a Local Government Area of its own in Katsina State. Ibrahim Yaro did not want his son to become a musician due to widely held belief that music or praise-singing was a form of 'roko' or begging. His father, being a Fulani man, wanted the young Shata to become a farmer or a trader, either of which was a more dignified occupation. Shata's insistence on becoming a musician was therefore seen as a rebellion against the norm.Music career
<mask> <mask> acquired his sobriquet of 'Shata' from a man called Baba Salamu, a relative of his. Shata as a young man was engaged in selling kola nuts and after the sale he would share the profit to people he met on his way home or in the market and came back empty handed. Whenever he was asked what he did with the money he made, he would answer, "Na yi shata da su," i.e. he had given it away. As a result, Baba Salamu started calling him 'Mai-Shata', meaning one who fritters away his gains. Later, Shata went into the trade of selling sweets ('alewa'). Shata began singing with other youth for fun at the village square ("dandali") after the evening meal.His prowess grew until he outshone the other youngsters. But he was doing that not for any monetary gain; it was merely a vocation for the youngsters. Later he abandoned both the sweets-selling trade and embraced music or praise-singing full-time. This vocation took him to many villages in the Musawa area. Finally, he settled in Bakori after his benefactor, Abdullahi Inde, a prince of Musawa who was working there as a Native Authority official in charge of buying cotton and groundnuts, asked him to move other there. In Bakori, Shata married his first wife, Iya, whose real name was Binta. They had a daughter, Amina, who died in infancy.From his base in Bakori, <mask> traveled with his band to places as far away as Katsina, Sokoto and Kano, which he first visited in the late '40s. In 1952 his stardom began to manifest in Kano after he performed at a wedding party known as "Bikin 'Yan Sarki" (Wedding of the Princes) where some 12 notable Kano princes married. In 1960 he moved to Funtua, a more cosmopolitan town not far from Bakori. Shata made Funtua his home for about forty years - up until his death. <mask> <mask> was one of the best selling Polygram artistes from the north from the 1950s up till the 1980s. He was a highly respected folklorist. He spent about 50–60 years in the music industry.<mask> could not recall or remember the number of songs he produced, but they are believed to be in thousands. Many of his songs, especially those he produced in his teens, were not recorded. He visited many countries, especially in West Africa. Outside the continent he was in Saudi Arabia for the Hajj pilgrimage but he also visited the United Kingdom, France and the United States of America. <mask> was famed to have sung for every topic under the Hausa land's sun: agriculture, culture, religion, economy, politics, military, morality and etiquettes, animals, trade, etc. He received many awards, including those from the Federal Government (which gave him the Member of the Order of the Niger, MON), the Performing Musicians Association of Nigeria (PMAN), the Kano State Government, the U.S. Embassy in Nigeria, University of California, Los Angeles, an honorary doctorate degree by Ahmadu Bello University in recognition of his contribution to both national development and letters, and a posthumous Millennium Award from the government of Goodluck Jonathan. His relationship with other musicians was mixed.He had serious disagreements with some, such as Ahmadu Doka, Mammalo <mask> and Musa Danbade, but generally he maintained a cordial relationship with most singers, who regarded him as a leader. Some of his notable benefactors were the Emir of Katsina, Alhaji Usman Nagogo, the Emir of Daura, Alhaji Muhammadu Bashar, Mammada Dan Sambo, Emir of Kano, Alhaji Ado Bayero; Sultan of Sokoto, Muhammadu Maccido; Jarma of Kano, Alhaji Muhammadu Adamu Dankabo; and Emir of Zazzau, Alhaji Shehu Idris. Political career
<mask> participated actively in partisan politics throughout his life. His politics was largely left-wing even though his benefactors (the royal and the business classes) were mostly on the right. He ascribed this to his humble background. In the First Republic in the 1950s he aligned himself to the left-wing NEPU as opposed to the right-wing NPC of Sir Ahmadu Bello and the emirs. He replicated that in later years.In the 1970s, he won an election, becoming a Councillor under Kankia Local Government Area of the then Kaduna State. In the Second Republic (in the '80s) he was first in the centre-of-right GNPP and then moved to the conservative ruling party, the NPN. In the Third Republic he was elected as the chairman of SDP in Funtua Local Government Area, a position from which he was impeached due to his left-wing character and brush with the party's main benefactor in Katsina State, retired Major-General Shehu Musa Yar'Adua. Shata did not participate much in the politics that ushered in the civilian government of Chief Olusegun Obasanjo in 1999 due to ill-health. Death
Alhaji <mask> suffered a debilitating illness that made him to be hospitalised in Kano and Jeddah, Saudi Arabia. After some relief following an operation on his urethra in Jeddah, he was hospitalised in the Aminu Kano Teaching Hospital, Kano, where he died on Friday, 18 June 1999. He was survived by three wives (Furera, Hadiza, and Binta), 19 children, and 28 grandchildren.He was buried that day in Daura, the city of his benefactor, Emir Muhammadu Bashar, who attended the funeral. In his lifetime, <mask> had married many other women and divorced them, some with children between them. Amina, the third of his wives when he died, never gave birth even though she lived with him for more than 10 years. References

Further reading

1923 births
1999 deaths
Date of birth missing
Hausa people
Nigerian male musicians
Nigerian politicians
People from Katsina State
Griots
Hausa-language singers
20th-century male musicians

masks:
Mamman Shata
Mamman Shata
Shata
Mamman
Mamman
Shata
Shata
Mamman
Shata
Shata
Shata
Shata
Shata
Shata
Shata


title: Laddie Cliff

texts:
<mask> (3 September 1891–8 December 1937) was a British dancer, choreographer, actor, producer, writer, and director of comedy, musical theatre and film. He was noted for his versatility. His many London West End theatre appearances and films included a long association with fellow thespian Stanley Lupino. He was married to the actress Phyllis Monkman. He died in 1937 after a period of ill health. Birth and launch of career
Born <mask> on 3 September 1891 in Bristol, <mask> first toured in British, Australian, and American variety. US Vaudeville work

1907-8
In his early career, <mask> toured the US extensively in vaudeville, much of it on the Orpheum circuit.He made his debut at New York's Colonial Theatre on 30 December 1907. A review in the New York Dramatic Mirror of his 2 January performance praised his talent and anticipated his popularity: he was suffering from hoarseness and had to cut out some of his songs. He did enough, however, to prove that he is an exceptionally clever youngster. He managed to talk and act two comic songs in a distinctly pleasing way, and as for his dancing, it completely brought down the house. He has a terpsichorean method entirely original, and almost every eccentric move he made brought a hearty laugh . . . he is certain to find plenty of appreciation in America. On the 5th, the New York Daily Tribune reported that, at the Alhambra, "<mask> <mask>, the English boy performer, who was cordially received at the Colonial last week, will be on the bill.He has a pleasing voice and he dances well." 1909-1910
On 30 Jan 1909, the Montreal Gazette anticipated <mask> <mask>'s "clever offering":  "This little fellow is accounted one of the best English eccentric dancers of the stage." The Harvard Crimson reported that "<mask> <mask>, English boy dancing comedian" would entertain Harvard's 1910 "pop night" on 8 March in the Living Room of the Union. In early June he headlined at the Orpheum in Spokane, Washington and was reviewed as superior, original and appealing: As a monologist, <mask> <mask> . . . is above the standard of the one-man act. He presents something original in his dancing and does not tire the audience with a long string of talk. The parting of lovers at the seaside pleases the listener."From 14-20 June he was headlining at the Orpheum in Portland, Oregon, and appreciated as "a comedian of no small ability. He sang and danced well." In Gerald Vizenor's historical novel, Blue Ravens, set in Minneapolis, <mask> appears on the Orpheum Theatre programme as "Master <mask> <mask> . . . England's famous little Comedian and Grotesque Dancer". A review in San Francisco Call  on 28 June 1909 hails him as a 17-year-old with "eloquent legs", identifying him as "the star of the show", whose "terpsichorean art wins much applause from Play Goers"   His skill and individuality were highlighted: <mask> <mask> won the honors....His songs and his dances are hot from the pavements of London. I should say, and he told us . . . that when he went back to England he'd tell the King [George V] about the reception he got.He is grotesque as a dancer, unusual as a singer and quite inimitable in all ways. <mask> <mask> was named by Martin Beck in  the San Francisco Call of 11 September 1909 as one of the "stars which will twinkle over the Orpheum Circuit", specially scouted in Europe for the 1910-11 season. In May 1910 he was exhausted enough to need a break back in England, as Variety reports from Chicago on 4 May: "<mask> <mask> will sail for his English home to obtain a rest, following the boy's appearance on the opening bill of Dave Robinson's Brighton Theatre, week May 16." 1911-1913 - stardom
By 1911, <mask> <mask> was well established. His return to F.F. Proctor's Fifth Avenue Theatre was keenly anticipated:  <mask> <mask> is back, with the springs in his legs still in tip-top order. Laddie always gets a big welcome here, for he has played this house so often that his patrons have come to know him well.He has songs that are up to the minute, and a characteristic manner of delivering them that is more than half the battle. But his dancing is the real thing. In 1913, he is one of the artists mentioned in the Player'''s section "Big Time Vaudeville Around New York". He is in a "particularly pleasing bill" at the Victoria theatre and "scoring his usual success". First marriage, property in US, and leaving the US to enlist - 1913-1916
By around 1913 <mask> had become rich enough to buy property in New York State, and a couple of years later he married a fellow vaudeville dancer, Maybelle (also spelled Mabel and Maybell) Parker. The marriage probably took place in the summer of 1915. During  mid-September 1915, they performed together at New York's Palace Theatre.On Saturday 11th they were flagged among "Stage and Screen Players to Be Seen Next Week" in The Evening World as "Laddie <mask>...comedian, assisted by Maybelle Parker". The next week, on Tuesday 14 September, The Sun reports them starring as "Mr and Mrs Laddie <mask>". The New York Clipper reviewed them on Saturday 18th:LADDIE CLIFF, assisted by MAYBELLE PARKER, captured the hit of the first portion of the program. <mask>'s excellent dancing and his rendition of several exclusive songs, and the piano playing of Miss Parker puts this act in a class by itself. In 1916 he decided to leave the US to return to England and enlist:<mask> <mask>, the English comedian, has announced that he is going back to his native land to enlist. <mask>, who came to this country as a boy comedian seven or eight years ago, has been a great favorite here and, in fact, is much better known in America than be is in England. He is the owner of various pieces of American property and his bride of about a year, Maybell Parker, is an American girl.His friends have known, however, that he has felt very keenly the criticisms in some professional quarters regarding the number of English actors in this country, and although his associates explained that the criticisms were not directed against Englishmen who had become as Americanized as he, the young comedian felt that the best way to prove his love for his mother country was to fight for it. <mask> had bought a farm on North Plank Road in Port Jervis, N.Y., and the announcement on 29 September, 1916, that it had been sold was carried in The New York Clipper of the same day:LADDIE CLIFF SELLS FARMPort Jervis, N.Y., Sept 29. — Announcement was made today of the sale of the farm of <mask> <mask>, vaudeville Star, who is shortly to sail for England to join the British army aviation corps. It was purchased by Dr. William E. Barth, of Newburgh.<mask> <mask> is really <mask>n <mask> [sic], but he has always been called <mask> and assumed this name on the stage. About three years ago he purchased a place on the North Plank road, about three miles from the city, and has spent considerable time there. The marriage to Maybelle Parker did not last and she lived in England until 1941. The London stage
<mask>'s acclaimed "extraordinary dancing"  as a bespectacled comic in the London musical Three Little Widows resulted in his being engaged to choreograph André Charlot's The Wild Geese and put him on the road to stardom.He subsequently appeared in the revue Pins and Needles (1921). As a performer, <mask> was the first to sing "Swanee" on the London stage,  in Albert de Courville's London Hippodrome revue Jig-Saw! (1920), and appears on the original sheet music of the song. <mask> subsequently became a producer and director. He choreographed George Gershwin's Primrose at the Winter Garden Theatre in 1924, working alongside George Grossmith who co-wrote the book, produced and staged the show. As one of the most popular performers on the London stage, his many other West End hits included
 The Co-Optimists (1921)
 Tip-Toes (1926) - the London production of the Gershwin musical. Lady Luck (1927)
 So This Is Love (1928)
 Love Lies (1929)
 The Millionaire Kid (1931)
 Sporting Love (1934)
 Over She Goes (1936)  (a role he recreated in the film version)

<mask> <mask> had to leave the cast of Crazy Days (1937) owing to illness and was replaced by Leo Franklyn.He died later that year. Selected filmography
 The Card (1922)
 The Co-Optimists (1929)
 Sleeping Car (1933)
 Happy (1933)
 Over She Goes (1937)
 Sporting Love (1937)

Burglary at London residence in 1928
On 22 November 1928, Australia's Western Mail reported a burglary at the London home of <mask> <mask> and his wife Phyllis Monkman. He was onstage at the time, and the burglary was discovered by Monkman. The event inspired a song.BURLARY INSPIRES SONGThieves who broke into the St John's Wood (London) home of Mr. <mask> <mask>, who is playing in "So This Is Love" at the Winter Garden Theatre, inspired a new song for one of the actor's productions.It is entitled "Don't leave your jemmy on the door," for that is what the thieves did.Mr <mask> was at the theatre, and the burglary was discovered by Miss Phyllis Monkman, his wife, who found the door splintered opened and a jemmy nearby.The thieves had ransacked the house and stolen a gold cigarette case inscribed from "David to Laddie," a blue enamelled dress watch inscribed "To Laddie from his Friar friends: Aug, 4, 1916," and other property, including a fur coat. References

Bibliography
 Kurt Gänzl. The Encyclopedia of the Musical Theatre: A-Gi''. Schirmer Books, 2001.External links

1891 births
1937 deaths
English male film actors
English male stage actors
Male actors from Oxfordshire
People from Oxford

masks:
Laddie Cliff
Clifford Albyn Perry
Laddie Cliff
Laddie Cliff
Laddie
Cliff
Laddie
Cliff
Laddie
Cliff
Laddie
Cliff
Cliff
Laddie
Cliff
Master Laddie
Cliff
Laddie
Cliff
Laddie
Cliff
Laddie
Cliff
Laddie
Cliff
Cliff
Cliff
Cliff
Laddie
Laddie
Cliff
Cliff
Cliff
Laddie
Cliff
Laddie
Cliff
Clifford Alby
Cliff
Laddie
Cliff
Cliff
Cliff
Laddie
Cliff
Laddie
Cliff
Laddie
Cliff
Cliff


title: Alfredo Alcala

texts:
<mask><mask> (August 23, 1925 – April 4, 2000) was a Filipino comics artist, born in Talisay, Negros Occidental in the Philippines. <mask>a garnered awards in science fiction during the early part of the 1970s. Biography
<mask>'s lifelong interest in comic books began in childhood. He dropped out of school in his early teens to pursue a career in art, initially as a sign painter and commercial artist. Subsequently he took employment in an ironworker's shop, designing lamps and household furniture, as well as a church pulpit.During the Japanese occupation of the Philippines in World War II he drew revealing pictures of their gear and position for the American forces. Inspired by the work of Lou Fine and other cartoonists, <mask> commenced his comic book career in October 1948, beginning with an illustration in Bituin Komiks (Star Comics). By the end of the year he was drawing for Ace Publications, the Philippines' largest publishing company. Ace was the publisher of four titles (Filipino Komiks, Tagalog Klassiks, Espesial Komiks, and Hiwaga Komiks), each featuring his work. Ukala (1950) was one of his first major comics. Though his career rapidly expanded, <mask> never used assistants to complete his work. He said, "I somehow felt that the minute you let someone else have a hand in your work no matter what, it's not you anymore.Its like riding a bicycle built for two." He eventually became a star of the Filipino comics scene, so famed that a periodical bore his name, the Alcala Komiks Magasin. In 1963 he created the comic book Voltar whose titular character predated Frazetta's interpretation of Conan the Barbarian which bore a more than passing resemblance. Voltar became an award-winning success at home and abroad. Alcala's mature artistic style reflected his interest in the woodcuts and etchings of Renaissance master Albrecht Dürer and the drawings of Australian illustrator Walter Jardine and U.S. illustrator Franklin Booth which bore the look of engravings. He has also cited the work of British artist Frank Brangwyn as a major influence. Fellow cartoonist Tony DeZuniga was the first Filipino artist to relocate to the United States to work for DC Comics in 1970, followed by Nestor Redondo and Gerry Talaoc.In 1971 Alcala began a decade of work for both DC and Marvel Comics on horror and fantasy titles, eventually moving to New York City in 1976. He was one of the artists on the licensed movie tie-in series Planet of the Apes and also helped recruit up-and-coming Filipino artists such as Alex Niño to U.S. publishers. In 1975, Alcala and writer Jack Oleck created Kong the Untamed for DC Comics. Later that year, Alcala drew Marvel Treasury of Oz, a comics adaptation of The Marvelous Land of Oz. <mask> joined Warren Publishing in 1977 and drew 39 stories for that publisher from 1977–1981. His series Voltar was reprinted in issues #2–9 of The Rook. Alcala executed 12 five panel comic strips for the men's magazine Adam.The strip, Terra O'Hara, was written by Donald (Don) F. Glut and it appeared in 12 successive issues of Adam from December 1979, through November 1980. In the early 1980s he penciled the Star Wars newspaper strip. In 1983 he teamed with the penciller Jack Kirby on Destroyer Duck from Eclipse Comics. and around that same time he also inked comic books such as Conan the Barbarian over John Buscema's pencils and inked Don Newton's pencil artwork in Batman. With the failure of DC's and Warren's horror titles in the 1980s, many of the Filipino contributors turned to the field of animation in California, and in the 1990s Alcala followed suit. He also illustrated the novel Daddy Cool written by Donald Goines. His last work in comics was for Paradox Press' The Big Book of Thugs in 1996.On April 4, 2000, <mask> died from cancer in Southern California. He is survived by his wife Lita and two sons, Christian Voltar and Alfred Jr. Awards
<mask> received an Inkpot Award in 1977. In 2021, he was awarded the Inkwell Awards Stacey Aragon Special Recognition Award (SASRA) (2021). #1–3 (1973–74)
Secrets of Sinister House #6, 10, 12–14 (1972–73)
The Shadow Annual (inks) #1 (inks) (1987)
Shadow War of Hawkman (inks) #1–4 (miniseries, 1985)
Swamp Thing vol. 2 (inks) #30, 41, 45, 49, 51–52, 54–59, 61–85, 90–93, 95–101 (1984–90)
The Unexpected #138, 140, 144, 150, 151–153, 156–157, 168–169, 177, 191 (1972–79)
Vigilante (inks) #24–25 (1985–86)
Weird Mystery Tales #5, 10, 13–14 (1973–74)
Weird War Tales #9, 11, 15–16, 20, 23, 25–29, 35, 42–44, 72, 74 (1972–79)
Weird Western Tales (El Diablo) #16–17 (1973)
Witching Hour #24, 27, 33, 41, 43 (1972–74)
World of Smallville (inks) #1–4 (miniseries, 1988)
World's Finest Comics (inks) #309, 312–314, 318–321, 323 (1984–86)
Young All-Stars (inks) #5 (1987)

Eclipse Comics
 Destroyer Duck (inks) #1–7 (1982–1984)

Marvel Comics

Conan the Barbarian  (full art): #137, 225; (inks over other artists pencils): #209–219, 223 (1982–89)
Captain Marvel #35 (1974)
Doctor Strange vol. 2 #19 (1976)
Dracula Lives (inks) #9 (1974)
Freddy Krueger's A Nightmare on Elm Street (inks) #1–2 (1989)
Giant-Size Chillers #1 (1975)
Howard the Duck vol.2 (inks) #7 (1980)
The Incredible Hulk Annual (inks) #8 (1979); vol.1 #221, 222 (1978 )
Iron Man (inks) #112 (1978)
Ka-Zar (inks) #6, 8 (1974–75)
Kull the Destroyer #17 (1976)
Man-Thing #14, Giant-Size #3 (1975)
Marvel Comics Presents (inks) #16, 53 (1989–90)
Marvel Comics Super Special (inks) #2 (1977)
Marvel Preview #14 (1978)
Marvel Two-in-One (inks) #42 (1978)
Planet of the Apes #7–11, 17–21, 24 (1975–76)
The Rampaging Hulk (then The Hulk!) (inks) #1–3, 5, 8, 15, 17–20, 22–26 (1977–81)
Savage Sword of Conan (full art): #55, 75, 80, 83, 89, 216, 223; (inks over John Buscema pencils): #2, 4, 7, 12, 15–20, 23–24, 28, 67, 76; (inks over other artists pencils): #34, 59, 69, 180, 184, 189 (1974–94)
Tales of the Zombie #7–9 (1974–75)
Tarzan (inks) #9–10 (1977–78)
Vampire Tales (full art): #6, 8; (inks): #9–10 (1974–75)

Warren Publishing
Creepy #94, 99, 101–102, 104, 108, 125, 130 (1978–81)
Eerie #96, 99–101, 104–105, 113 (1978–80)
Rook Magazine (full art): #2–9; (inks): #1 (1979–81)
Vampirella #90 (1980)

References

External links

 Alfredo Alcala at Mike's Amazing World of Comics
 Alfredo Alcala at Wizards Keep Ltd.

Further reading
 McDonald, Heidi and Philip Yeh. Secret Teachings of a Comic Book Master: The Art of Alfredo Alcala (IHAC, 1994; reissued by Dover Publications, 2015)

1925 births
2000 deaths
20th-century Filipino artists
Artists from Negros Occidental
Comics inkers
DC Comics people
Deaths from cancer in California
Filipino animators
Filipino comics artists
Filipino emigrants to the United States
Filipino illustrators
Golden Age comics creators
Inkpot Award winners
Marvel Comics people
Silver Age comics creators

masks:
Alfredo P
. Alcala
Alcalacal
Alfredo Alcala
Alcala
Alcala
Alcala
Alcala
Alcala


title: Frederick Gilbreath

texts:
<mask> (21 February 1888 – 28 February 1969) was a general officer in the United States Army who commanded the San Francisco Port of Embarkation and the South Pacific Base Command during World War II. Early life
<mask> was born on 21 February 1888 on a farm near Dayton in what was then the Washington Territory. He was the youngest of thirteen children of <mask> and  his wife Margaret  Fanning. His parents had traversed the Oregon Trail with their families in wagon trains in 1852, and had moved to the Washington Territory after their marriage in 1859. <mask> grew up on the family farm. He was educated at Columbia County Grade School and  Dayton High School. After graduating from high school in 1905, <mask> entered Whitman College in Walla Walla, Washington.He was appointed to the United States Military Academy at West Point, New York by Levi Ankeny, the United States Senator for the state of Washington. Gilbreath entered West Point on 15 June 1907. He became an acting first sergeant and cadet lieutenant, and  played basketball, lacrosse and polo. Gilbreath graduated 32d in the class of 1911, and was commissioned as a second lieutenant in the United States Cavalry on 13 June 1911. He was posted to the 14th Cavalry, which was then at Camp Stotsenburg in the Philippines. He sailed for the United States on 8 March 1912, but got only as far as Nagasaki when he was ordered to return five days later. He was attached to the 7th Cavalry at Fort William McKinley until 22 April 1912, when he transferred to the 8th Cavalry.He served in the Philippine–American War on Jolo, and then at  Camp Stotsenburg and Fort William McKinley. For his service in the Philippines, he was awarded the Bronze Star Medal. World War I
On 15 September 1914, Gilbreath again embarked for the United States, this time reaching it. He was assigned to the 14th Cavalry, which was then stationed at Fort McIntosh, Texas,  near the Mexican border, on 20 January 1915. He was promoted to first lieutenant on 1 July 1916, and was commandant of cadets and Professor of Military Science and Tactics at the University of Puerto Rico from 3 October 1916 to 1 January 1917. He returned to the United States for further service on the Mexican border with the 17th Cavalry at Fort Bliss, Texas and then Douglas, Arizona. He married Edna Brown of Laredo on 22 December 1916.<mask> was promoted to captain in the Cavalry on 15 May 1917, but was transferred to the Quartermaster Corps on 25 July 1917. He was the Chief Disbursing Officer for U.S. Troops in England from 2 September 1917 to 20 October 1917. Moving to France, he was executive officer of Base Section No. 1 at St. Nazaire from 2 November 1o 25 December 1917. After a stint as assistant G-1 of I Corps, he was assistant quartermaster of the 2d Division from 9 April to 25 June 1918, and then the quartermaster of the 4th Division until 30 October. He was promoted to major in the Cavalry on 7 June 1918, lieutenant colonel in the Quartermaster Corps on 11 October 1918, and colonel  in the Quartermaster Corps on 5 May 1919.He was Assistant Chief of Supplies Division at Tours and then Paris, from 1 November 1918 to 30 April 1919, and then Chief of Supply Division until 25 September 1919. Between the wars
After a leave of absence, <mask> was posted to Washington, D.C., as assistant to the Director of Storage in the office of the Quartermaster General from  16 November 1919 until 31 May 1920, and then as the chief of Administration Division of the Storage Service until 30 June 1920. He reverted to his permanent rank of captain on 30 June 1920, but was transferred to the Quartermaster Corps with the rank of major the following day. He was posted to San Antonio, Texas, as the quartermaster at the San Antonio Depot until 1 September 1921. He attended the School of the Line at Fort Leavenworth, Kansas, and then the Command and General Staff College there in 1922. He transferred back to the Cavalry on 31 March 1925, and attended the Army War College, graduating on 30 June 1927. Gilbreath served with the 2d Cavalry at Fort Riley, Kansas, and then was posted to Washington, D.C., on 15 August 1928 for duty on the War Department General Staff.He returned to Fort Bliss for duty with the 1st Cavalry Division from 15 September 1932 to 1 June 1934, and then at Fort Riley from 4 June 1934 to 5 June 1935. While he was there, he became a member of the Masters of Foxhounds Association of America. Colonel Jonathan M. Wainwright, the assistant Commandant of the Cavalry School there and the Master of the Cavalry School Hunt, invited him to become joint Master. When it came time for him to leave Fort Riley, Wainwright gave him a fox horn and a sporting brake, a two-horse, two-seated open light vehicle. He later donated it to the Frontier Museum at Fort Leavenworth. <mask> became executive officer of the Command and General Staff College there on 5 June 1935, and was promoted to lieutenant colonel on 1 August 1935. On 1 August 1939, he returned to Fort Riley as assistant commandant of the Cavalry School.World War II
Promoted to colonel in the Cavalry on 30 April 1940, Gilbreath commanded the 7th Cavalry at Fort Bliss from 1 August 1940 to 1 May 1941. He was then appointed Deputy Commander of the San Francisco Port of Embarkation on 5 May 1941 and Commander on 14 November 1941, with the rank of brigadier general in the Army of the United States from 15 December 1941, and major general from 7 September 1942. The San Francisco Port of Embarkation was the main port responsible for the support of units in the Southwest Pacific Area, through which all troops and supplies to the theater flowed. For his services he was awarded the Distinguished Service Medal. On 10 August 1944, he became commander of the South Pacific Base Command. He then became commander of the Army Service Command in the Philippines. This moved to Japan after the war ended.Later life
<mask> retired from the army with the rank of major general on 31 August 1946. He moved to Austin, Texas, where he died on 28 February 1969, and was buried with full military honors at the Fort Sam Houston National Cemetery on 3 March. Notes

References

1888 births
1969 deaths
United States Army personnel of World War I
Burials at Fort Sam Houston National Cemetery
Cornell University alumni
Military personnel from Washington (state)
People from Dayton, Washington
Recipients of the Distinguished Service Medal (US Army)
United States Army Command and General Staff College alumni
United States Army War College alumni
United States Military Academy alumni
Whitman College alumni
United States Army generals of World War II
United States Army generals

masks:
Frederick Gilbreath
Frederick Gilbreath
Samuel Love Gilbreath
Gilbreath
Gilbreath
Gilbreath
Gilbreath
Gilbreath
Gilbreath


title: Andy Shernoff

texts:
<mask> (born 19 April 1955, in Queens, New York) is an American musician, songwriter and record producer. He is a founding member of The Dictators, one of the original New York punk bands, in which he wrote nearly all of the songs, played bass guitar and keyboards, and sang backing vocals and occasional leads. He has been involved with a variety of other musical projects, most notably the heavily Dictators-populated Manitoba's Wild Kingdom and Joey Ramone's first studio album, Don't Worry About Me. He additionally co-wrote four Ramones songs with Joey. Shernoff's current projects include garage rock band The Masterplan, featuring members of The Fleshtones and the Waxing Poetics. In the fall of 2009, he embarked upon a series of solo shows playing songs he wrote or co-wrote and telling the stories behind them. In the spring of 2010, those shows would become "When Giants Walked the Earth - A Musical Memoir" with 50 tour dates in the Eastern U.S. and Canada.<mask> sang "California Sun" in the official Major League Baseball promotional video for the 2010 All-Star Game. On March 24, 2012 <mask> played the Reason Rally, the largest secular gathering in American history, on the National Mall in Washington DC. He released his first solo EP Don't Fade Away in October 2012. A follow-up EP, On The First Day Man Created God, was released in February 2013. <mask> grew up in New York City, in the Queens neighborhood of Jackson Heights. He attended elementary school with Johnny Thunders and Flushing High School with Peter Zaremba and Keith Streng of the Fleshtones. After high school, he attended the SUNY New Paltz Music Department.There he started the music magazine The Teenage Wasteland Gazette, known for its sarcastic, wise-guy attitude. The publication's contributors included famed rock critic Lester Bangs, who invited <mask> to write for Creem magazine. <mask>'s early profession of choice was rock journalist. As both a journalist and a musician, <mask> is often credited as "Adny Shernoff," a deliberate typo transposing the second and third letters of his name. Shernoff has never explained the reasoning behind this stylistic quirk. The Dictators

While at SUNY New Paltz, Shernoff met Ross Friedman, aka Ross the Boss and they started a band with Scott Kempner. (Later members included roadie turned singer Handsome Dick Manitoba and several different drummers.)The band then linked up with Blue Öyster Cult's management/producers Sandy Pearlman and Murray Krugman to record the first Dictators album, The Dictators Go Girl Crazy! for Epic in 1975. Shernoff penned the vast majority of the songs, a pattern that would continue throughout the group's career. Lauded by Trouser Press as a "wickedly funny, brilliantly played and hopelessly naïve masterpiece of self-indulgent smartass rock'n'roll," the album nonetheless failed to connect with the general public at the time and Epic dropped the band. Disillusioned, Shernoff left the Dictators for a short time and was replaced on bass by Mark "The Animal" Mendoza before returning to the band, on keyboards. The group was signed to Asylum Records and released its second album, Manifest Destiny, in 1977. The album, also produced by Pearlman and Krugman, featured a more mainstream sound than The Dictators Go Girl Crazy!but once again the band failed to find an audience. <mask> was back playing bass in 1978 after Mendoza left the band, and the Dictators recorded their third album with Pearlman and Krugman, Bloodbrothers. Mainstream success continued to elude the band, and the members took a long break, reuniting occasionally for live concerts. Live recordings during this time were captured in the cassette-only Fuck 'Em If They Can't Take a Joke (ROIR, 1981), later released on CD as The Dictators Live, New York, New York (ROIR, 1998). In the late 1990s, the Dictators began recording a new album, which was eventually released in 2001 as D.F.F.D. The album was named on several critics' Top 10 lists for the year, including the Denver Post and the Boston Globe. The band later released the live album Viva Dictators (2005) and the rarities compilation Every Day Is Saturday (2007).Manitoba's Wild Kingdom

In the late 1980s, Shernoff formed Manitoba's Wild Kingdom with his Dictators bandmates Handsome Dick Manitoba and Ross the Boss. He wrote and produced the band's 1990 MCA Records debut, ...And You? which received warm reviews, national radio airplay and regular airplay on MTV for the video "The Party Starts Now!!". The Master Plan
Shernoff's side project with the Waxing Poetics' Paul Johnson and Fleshtones Keith Streng and Bill Milhizer, the Master Plan, released its first album, Colossus of Destiny, in 2003. The band's second album, entitled Maximum Respect, was released in November 2009 in Europe by Nicotine Records and released in the U.S. in May 2010 on Steel Cage Records. Solo artist
As a solo artist, <mask> has focused on creating videos for his YouTube channel. He has produced videos for "Are You Ready to Rapture", "Let's Get The Band Back Together", "F*ck Christmas" (an Eric Idle song, "Laugh and Walk Away", "A Good Night to Say Goodbye" a collaboration with Lydia Lunch, a tribute to Joey Ramone called "Sweet Joey" and a song parody of Blondie's "Dreaming" entitled "Streaming".He has also released two 7" singles and two CD EP's (listed below). Other bands
Shernoff has also been a member of the bands The Resistance with Joey Ramone, The David Roter Method with Albert and Joe Bouchard, <mask>ff's Maximum R&B and The Bel-Airs. He has appeared as a guest musician on albums by the Ramones and the Fleshtones, as well as Joey Ramone's solo album. Producer
As producer he has worked with The Dictators, The Master Plan, Manitoba's Wild Kingdom, The Figgs, Sin City Six, The Kowalskis, The Golden Horde, The Barracudas, The Untamed Youth, D Generation, The Connection, Skrap, Adrenalin OD, The Electric Playboys, The Smithereens, Prisonshake, Guided by Voices, The Waldos, The Connection, Daddy Long Legs, Amphetamine Discharge, The Bonzos, The Blue Chieftains, The Blood Drained Cows, Metadona, Alter Boys, Riff Raff, Stop, David Roter Method, Sibling Rivalry with Joey Ramone & Mickey Leigh, The Zantees with Billy Miller and Miriam Linna, Tongue Fu, Wheelers and Dealers, Sic F*cks with Tish and Snooky, and The Cyclones. Songwriter
<mask> wrote all the songs for The Dictators and Manitoba's Wild Kingdom. His songs have been in the following movies and television shows: Kindergarten Cop, Boys Don't Cry, Billions, Garage Days, Shot! the Psycho-Spiritual Mantra of Rock, Buffy the Vampire Slayer, We Are Twisted Fuckin Sister, Ticket to Write: The Golden Age of Rock Music Journalism, Knife Fight,  Dance Me Outside, Mondo New York,  Lillyhammer, Final Rinse, The Sex O'Clock News, Convenience Store, Alone in the Dark and The Way of the West.His song Faster and Louder was used in the video game, Call of Duty: Infinite Warfare. Film appearances
 <mask> is interviewed in the 2000 rockumentary DVD about the Sex Pistols, The Filth and the Fury, directed by Julien Temple. He performs in the movie TV Party, which premiered at the Tribeca Film Festival in 2005. He appears in the movie Final Rinse as a member of The Dictators 1999. <mask>ff interview by Alan Betrock (winter 1976-1977)
 Trouser Press, "The Dictators Look for a Perfect Wave" <mask>ff and Scott Kempner interview by Ira Robbins (June 1978)
 I-94 Bar, "Lou Reed is a Creep: Discourse with Two Dictators"
 Perfect Sound Forever, "Cars'n'Girls: The Dictators," <mask>ff Interview by Billy Bob Hargus (May 1996)
 The Age, "Rulers of Rock," <mask>ff interview by Steve Tauschke (August 2002)
 [ allmusic, <mask>ff: Songs]

External links
 The Official Dictators Website
 <mask>ff's Website

1955 births
Living people
People from Queens, New York
American music journalists
Flushing High School alumni
Jewish American musicians
Musicians from New York (state)
Protopunk musicians
State University of New York at New Paltz alumni
Jews in punk rock
Journalists from New York City
The Dictators members
21st-century American Jews
American atheists

masks:
Andy Shernoff
Shernoff
Andy
Career Shernoff
Andy
Shernoff
Andy Shernoff
Shernoff
Andy
Andy Sherno
Andy
Shernoff
Andy Sherno
Andy Sherno
Andy Sherno
Andy Sherno
Andy Sherno
Andy Sherno


title: Jeanine Áñez

texts:
<mask> (; born 13 June 1967) is a Bolivian lawyer, politician, and former television presenter who served as the 66th president of Bolivia from 2019 to 2020. A former member of the Social Democratic Movement, she previously served two terms as senator for Beni from 2015 to 2019 on behalf of the Democratic Unity coalition and from 2010 to 2014 on behalf of the National Convergence alliance. During this time, she served as second vice president of the Senate from 2015 to 2016 and in 2019 and, briefly, was president of the Senate, also in 2019. Before that, she served as a uninominal member of the Constituent Assembly from Beni, representing circumscription 61 from 2006 to 2007 on behalf of the Social Democratic Power alliance. Born in San Joaquín, Beni, Áñez graduated as a lawyer from the José Ballivián Autonomous University before working in the field of television journalism. An early advocate of departmental autonomy, in 2006, she was invited by the Social Democratic Power alliance to represent Beni in the 2006–2007 Constituent Assembly, charged with drafting a new constitution for Bolivia. Following the completion of that historic process, <mask> ran for senator for Beni with the National Convergence alliance, becoming one of the few former constituents to maintain a political career at the national level.Once in the Senate, the National Convergence caucus quickly fragmented, leading <mask> to abandon it in favor of the emergent Social Democratic Movement, an autonomist political party based in the eastern departments. Together with the Democrats, as a component of the Democratic Unity coalition, she was reelected senator in 2014. During her second term, <mask> served twice as second vice president of the Senate, making her the highest-ranking opposition legislator in that chamber during the social unrest the country faced in late 2019. In the midst of this political crisis, and after the resignation of President Evo Morales and other officials in the line of succession, <mask> declared herself next in line to assume the presidency. On 12 November 2019, she installed an extraordinary session of the Plurinational Legislative Assembly that lacked quorum due to the absence of members of the Movement for Socialism, who demanded security guarantees before attending. In a short session, <mask> declared herself, first, president of the Senate, before then using that position as a basis to assume constitutional succession to the presidency of the State. Her transitional government focused on pacifying the country, calling for new elections, and, later, combating the COVID-19 pandemic.Responding to domestic unrest, <mask> issued a decree removing criminal liability for military and police in dealing with protesters, resulting in the Senkata and Sacaba massacres, causing her to repeal it amid widespread condemnation. Her government launched numerous criminal investigations into former MAS officials —for which it was accused of political persecution and retributive justice— terminated Bolivia's close links with the socialist governments of Cuba, Nicaragua, and Venezuela, and warmed relations with the United States. Though Áñez succeeded in conducting free and fair elections, her decision to launch her own, ultimately unsuccessful, presidential campaign led to criticism that she was not a neutral actor in the transition and caused her to bear the brunt of the blame for the electoral victory of Luis Arce and the return to power of the MAS. Following the end of her mandate in November 2020, <mask> briefly retired to her residence in Trinidad only to launch her Beni gubernatorial candidacy a month later. Despite being initially competitive, mounting judicial processes surrounding her time as president hampered her campaign, ultimately resulting in a third-place finish at the polls. Just eight days after the election, on 13 March 2021, <mask> was apprehended and placed in preventative detention on charges of terrorism, sedition, and conspiracy relating to the alleged coup d'état carried out in 2019, a move decried as political persecution by members of the opposition and much of the international community. <mask>'s extended incarceration at the Miraflores Women's Penitentiary was denounced as abusive by her family, and a marked decline in her physical and mental health was observed.Early life and career
<mask> <mask> was born on 13 June 1967 in San Joaquín, Beni, the youngest of seven siblings born to two teachers. Áñez spent her childhood in relative rural poverty; San Joaquín, at the time, lacked most essential services, including paved roads. Due to its limited access to power, electricity was only available at night, and her family spent long periods without light due to frequent interruptions in electrical service and a lack of diesel; water, additionally, was distributed only at scheduled times. Nonetheless, Áñez has recalled that she "had a beautiful childhood, very free" and affirmed that the town's conditions made children "grow up more open, freer, enjoying nature". From first to fifth grade, Áñez attended the 21 August School, a small, all-girls school, of which her mother was the director. After graduating high school at the age of seventeen, she left San Joaquín for La Paz to pursue studies in secretarial work, attending the Bolivian Institute before completing her education at the Lincoln Institute. After that, Áñez settled in Santa Cruz for further study purposes, completing secretarial, computing, and some English courses.Later, she studied to become a lawyer at the José Ballivián Autonomous University of Beni in Trinidad, where she graduated with a degree in legal sciences and law. Additionally, she holds diplomas in public and social management, human rights, and higher education. Before entering the political sphere, Áñez held a career in regional television journalism, including radio, which she described as her "great passion", though it was not well-paid. For a time, she served as a presenter for the Trinidad-based television station Totalvisión, which she also later directed. During this time, Áñez became an early supporter of the autonomist movement, conceived as a profound redesign of the country's existing centralized structure, expanding departmental self-determination over resources and providing for the election of regional authorities through universal suffrage. This movement, of which Áñez was a part of "from the beginning", concentrated its support in the eastern departments and represented one of the most important political and regional currents of the early 21st century in Bolivia. Constituent Assembly

Election

In the context of the social reforms Bolivia undertook in the mid-2000s, Áñez emerged as a member of the generation of lowland politicians who entered the electoral arena in support of departmental autonomy.As most experienced political leaders had opted to present their candidacies in the municipal elections of 2004 and the legislative and prefectural elections of 2005, the 2006 Constituent Assembly elections provided an opportunity for young professionals with limited preexisting involvement with political parties to stand for office for the first time. In these circumstances, <mask> was invited by the opposition Social Democratic Power (Podemos) alliance to stand as a candidate in Beni circumscription 61 (Cercado) alongside Fernando Ávila. The Podemos binomial won the district. Tenure
The Constituent Assembly was inaugurated in Sucre on 6 August 2006. <mask> entered the assembly "with great expectations" of codifying departmental autonomy into the statutes of the new constitution of the State but soon became frustrated by long delays in the drafting process brought about by the requirement of two-thirds support for the approval of articles. During her term, she held positions on the Organization and New Structure of the State Commission and the Judiciary Commission, which participated in drafting articles related to the judicial branch of the new government. Chamber of Senators

First term (2010–2014)

2009 general election
Following the end of her term in the Constituent Assembly, <mask> remained close with Beni's prefect, Ernesto Suárez, who supported the establishment of a united opposition bloc to confront the Movement for Socialism (MAS-IPSP) in the 2009 general elections.The culmination of these efforts was the establishment of the political alliance Plan Progress for Bolivia – National Convergence (PPB-CN), which selected <mask> as its candidate for second senator for Beni. In this way, Áñez became one of the few former constituents who maintained a national-level political career after completing their work drafting the new constitution. Tenure

Senate directive disputes

The Senate's directive —of which the second vice presidency and second secretariat correspond to the opposition— was renewed in January 2011. The CN caucus nominated <mask> for the position of second vice president, though her designation failed to receive unanimity and had to be decided by a vote of the opposition legislators. However, when the list of nominees was presented to be voted on by the full Senate, CN Senator Gerald Ortiz broke with the rest of his caucus and presented himself as a candidate for the position of second vice president. The opposition was ultimately unable to find consensus, leading the MAS to decide for it, electing members of both opposing blocs to different posts. Ortiz was designated second vice president while <mask> was elected second secretary, though she refused to assume the post.She blamed the MAS for "endorsing transfuge" and for not abiding by the majority decision of the CN caucus. In the final year of her first term, <mask> was once again a primary figure in the internal disputes affecting the opposition. In January 2014, the Senate renewed its directive to complete the 2010–2015 term of the Legislative Assembly. CN nominated Germán Antelo as second vice president and <mask> as second secretary but was again mired in conflict when Senator Marcelo Antezana presented himself separately for the second vice presidency. On 21 January, of the CN senators, Antelo and Antezana received a vote of six to zero, respectively, and <mask> received only five votes, leaving both disputed posts vacant due to the failure to achieve the required majority. As a result, neither Antelo nor <mask> managed to reach their originally prescribed positions, with the MAS electing Claudia Torres as second vice president and Antezana as second secretary on 24 January. 2013 Beni gubernatorial election
In late 2012, <mask> was profiled as a potential contender to face Jessica Jordan of the MAS for the governorship of Beni in a special gubernatorial election.She was supported by CN, which presented her for consideration as a pre-candidate for the nomination due to her history as a human rights defender and her preexisting connections in the department. Áñez faced ten other pre-candidates from various allied parties in a regional poll aimed at consolidating a single opposition candidacy for the election. Ultimately, Carmelo Lenz of Beni First emerged victorious and received the alliance's nomination. Second term (2015–2019)

2014 general election

During her first term, <mask> became affiliated with the political project of Santa Cruz Governor Rubén Costas. When Costas' civic group Truth and Social Democracy (Verdes) established itself as a regional political party in 2011, she attended its departmental congress as a representative for Governor Ernesto Suárez and Santa Cruz Mayor Percy Fernández. In December 2013, she attended the first founding congress of the Social Democratic Movement (Demócratas; MDS). By early 2014, with the disintegration of CN as a viable political force and the dispersion of its members to other fronts, <mask> was already noted as one of the at least twenty assembly members who had joined the Democrats.As part of the negotiations between the Democrats and the National Unity Front (UN) to form the Democratic Unity (UD) coalition, it was agreed that each party would define its own electoral lists in the departments in which they were most present. As a result, the MDS was allowed to designate candidates in Beni and Santa Cruz and, on 27 June 2014, <mask> —now the party's spokeswoman— announced that it had nominated her to go to reelection as its candidate for first senator for Beni. In order to qualify as a candidate before the Supreme Electoral Tribunal (TSE), <mask> resigned her Senate seat on 10 July, ending her term early. Two weeks later, on 25 July, the TSE certified her alternate, Donny Chávez, as the titular senator for Beni. In the elections held on 12 October, UD lost in all but one department, <mask>'s home department of Beni where she was reelected as senator. Tenure
Unlike in the previous legislative term, the vote to form the Senate's directive for its 2015–2016 session took place without significant controversy. <mask> was elected second vice president of the Senate by a vote of thirty-five of the thirty-six senators, making her the UD coalition's representative in the Senate's directive.In January 2019, she was again elected second vice president of the Senate, set to remain in that position until the end of the 2015–2020 Legislative Assembly, after which, she intended on retiring from politics. Presidency (2019–2020)

Assumption to office
On 10 November 2019, after three weeks of increasingly fierce demonstrations, marches, and protests stemming from allegations of electoral fraud in that year's presidential election, President Evo Morales and Vice President Álvaro García Linera, announced their resignations after over a decade in office. Morales' abdication set in motion a series of further resignations of top MAS officials within his cabinet and the legislature. Within hours, Adriana Salvatierra and Víctor Borda, presidents of the Senate and Chamber of Deputies, respectively, presented their resignations, exhausting the constitutional line of succession to the presidency. Amid the vacuum of power, <mask>, as second vice president of the Senate, became the highest-ranking remaining member of the Senate's directive. As such, shortly after Salvatierra stepped down, Áñez reported to UNITEL that the task of assuming the presidency corresponded to her: "I am the second vice president, and in the constitutional order it would be up to me to assume [the presidency] with the sole objective of calling new elections". Such a succession was not automatic, however, as an emergency session of the Legislative Assembly would have to be convened to first accept the resignations of the top officials.Considering that the MAS held a two-thirds supermajority in the assembly, <mask> relayed her hope that the party would allow the required quorum to be reached. <mask> could not attend an emergency session of the assembly until the day after Morales's resignation, as she was in Beni at the time and there were no private Sunday flights from Trinidad to La Paz. The following day, an emergency operation was mounted to transfer her from Trinidad to El Alto. On the morning of 11 November, she landed at the El Alto International Airport and was subsequently transferred in a military helicopter to La Paz. The senator arrived at the Plaza Murillo amid strong security measures at 2:04 p.m., where she was received by former president Jorge Quiroga —a political actor during the crisis— and some of her Senate colleagues. Once inside the Legislative Assembly, <mask> announced that the country's senators would be summoned to an extraordinary session of the Senate to be held the following day, in which the resignations of the previous days were to be reviewed, and she would assume the presidency. The following day, in her capacity as second vice president of the Senate, <mask> formally called for the installation of an extraordinary session of the Senate, but it was immediately suspended due to the lack of quorum.MAS legislators demanded security guarantees to attend the session: "We are predisposed towards a constitutional solution […]. But we request the highest guarantees so that we can hold a session", said Betty Yañíquez, leader of the MAS caucus in the Chamber of Deputies. Yañíquez argued that the MAS felt unsafe because civic leader Luis Fernando Camacho had announced a siege of the Plaza Murillo hours prior. Deputy Juan Cala further detailed that the lack of guarantees had prevented the vast majority of MAS legislators from making their way to the capital; of the 119 MAS parliamentarians, Cala stated that only twenty percent had managed to arrive in La Paz. As a result, shortly after the session was suspended, <mask> appealed to Subsection (a) of Article 41 of the General Regulations of the Senate: "Replace the president [of the Senate] and the first vice president, when both are absent due to any impediment". Under this justification, <mask> declared that "it is up to me to assume the presidency of this chamber". With that, those present made their way to the hemicycle of the Plurinational Legislative Assembly, where she proceeded to install a new session of parliament, in which no MAS legislators participated.<mask> then appealed to Article 170 of the Constitution, which states that the president of the Senate will assume the presidency of the State in the case of a vacancy in that office and the vice presidency. Considering that Morales and García Linera had achieved asylum in Mexico hours prior, <mask> stated that this action "constitutes a material abandonment of their functions" and therefore "forces the

masks:
Jeanine Áñez Chávez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Jeanine
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez
Áñez