title: Leon Levinstein

texts:
<mask> (1910–1988) was an American street photographer best known for his work documenting everyday street life in New York City from the 1950s through the 1980s. In 1975 <mask> was awarded a Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation. Early life and education

<mask> was born on 20 September 1910 in Buckhannon, West Virginia. He began high school in September 1923 at Baltimore City College, which was a public college-preparatory school. During his senior year in high school, he attended evening classes at the Maryland Institute of Arts in Baltimore. In the autumn of 1927, after graduating from high school, he enrolled as a part-time student at the Institute, taking courses in drawing, calligraphy, and design. In his application for a Guggenheim Fellowship he mentioned taking courses at the Art Institute of Pittsburgh.Career

<mask>'s first job in advertising was with the Hecht Furniture Company in downtown Baltimore. From 1934 to 1937 he worked there as an assistant art director, doing layouts for newspaper advertisements. He then set out on his own as a freelance graphic artist and designer. Layouts were to be his forte throughout his career in advertising. In the autumn of 1948 he took an advanced workshop with the school's director and one of its most influential teachers, Sid Grossman. As a walker and a loner, it was only natural that <mask> would prowl the streets of New York and the beaches of Coney Island, like numerous photographers before him. <mask> was studying with Grossman in 1950 when Lisette and Evsa Model attended the class, and from 1954 until 1960 <mask> was a student in Evsa Model's painting workshop.One of his photographs was included in U.S. Camera Annual 1951, and two were chosen the following year. In 1956 he was among six featured photographers of the annual, together with Richard Avedon, Wynn Bullock, G.E. Kidder Smith (an architectural photographer), Eugene Smith, and Brett Weston. Over the course of the decade, his work would also be in five Popular Photography annuals. In 1952 he was the winner of Popular Photography's international photography contest, with a prize of $2,000. .In 1955 <mask>'s work was included in a summer group exhibition there, and in the same year Edward Steichen selected two of his photographs for the world-touring Museum of Modern Art exhibition The Family of Man, seen by 9 million visitors and for the accompanying catalogue, which is still in print.The two candid photographs were shot at close quarters, his habitual approach, for which he would shoot from the hip, and one is a ground-level view of a well-to-do couple waiting for a cab, she in her voluminous fur and he in his double-breasted suit and hat. The other is more sympathetic to the less privileged people <mask> enjoyed photographing on the Lower East Side; an African-American woman adoringly caressing her baby as they sprawl on a rug in the dappled shade. Another supporter was Helen Gee, the founder of the Limelight Gallery, the first New York gallery devoted solely to the exhibition and sale of photographs. In her autobiography, Gee devotes the first part of chapter 13 to <mask> and his was the first exhibition of 1956, his only solo show at Limelight , with sixty-five prints covering seven years of work by "a photographer I considered one of the best of the non-professionals. Perhaps, even the best." Like Gee, <mask> had studied photography with Sid Grossman, first at the Photo League and then in Grossman’s private workshops; “he was the only one…who lived up to Sid’s frequent exhortation: ‘Live for photography!’”. There were favourable reviews, one by Wright from The Village Voice.In 1980, Gee included his work in the exhibition Photography of the Fifties. The following year she was instrumental in arranging the sale of a substantial number of prints to the art dealer Harry Lunn. In the late 1970s and 1980s Levinstein travelled abroad to photograph, only to return to the United States and stay in his Baltimore apartment. Lunn purchased a large group of <mask>'s photographs, and his work was being included in important exhibitions of postwar documentary photography, beginning in 1978 with New Standpoints at the Museum of Modern Art. Still not widely known, Levinstein has gradually come to be acknowledged as a key figure in photography from the latter half of the twentieth century. Publications
Black Through Time: Photographs of Black Urban Life 1937-1973. Charlottesville: Bayly Art Museum, University of Virginia, 1992.Text by Stephen Marguilies. <mask>: The Moment of Exposure. University of Chicago Press, 1995. Bob Shamis and Max Kozloff. . Catalogue for an exhibition at the National Gallery of Canada, Ottawa, and at the Museum of Modern Art, New York, 1995. <mask>. Obsession. Léo Scheer, 2000.By Helen Gee. . French. <mask>: That's Where The Life Is. Stephen Daiter Gallery, 2001. By Helen Gee. <mask>. Göttingen: Steidl, 2014. . Edited by Howard Greenberg and Bob Shamis. With an introduction by Jeff L. Rosenheim and an essay by Carrie Springer.Award
1975: Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation. <mask>'s work is held in the following permanent collection:
Metropolitan Museum of Art, New York

References

"Kudos From the Art World He Shunned" John Lelan, The New York Times, 1 December 2012
"Hipsters, Hustlers, and Handball Players: <mask>'s New York Photographs, 1950–1980"
"<mask>, The Lonely Photographer" by Claire O'Neill

Further reading
Benton-Harris, John "<mask>, 1913-1988” Creative Camera, July 1989, pp. 18–19. "Coney Island." Photographs selected by Grace M. Mayer. Camera, March 1971, pp. 6–45.Deschin, Jacob. "'Family of Man': Museum of Modern Art Prepares Global Collection for January Opening." The New York Times, 12 December 1954. External links
"<mask>’s street photography" – Interview with Jeff L. Rosenheim the curator of a Levinstein exhibition at the Metropolitan Museum of Art (video)

Street photographers
1910 births
1988 deaths
Photographers from New York (state)
20th-century American photographers

masks:
Leon Levinstein
Levinstein
Levinstein
Levinstein
Levinstein
Levinstein
Levinstein
Levinstein
Levinstein
Levinstein
Levinstein
Levinstein
Leon Levinstein
Leon Levinstein
Leon Levinstein
Leon Levinstein
Collection Levinstein
Leon Levinstein
Leon Levinstein
Leon Levinstein
Leon Levinstein


title: Esther Kreitman

type: original

texts:
Hinde Ester Singer Kreytman (31 March 1891 – 13 June 1954), known in English as <mask>, was a Yiddish-language novelist and short story writer. She was born in Biłgoraj, Vistula Land to a rabbinic Jewish family. Her younger brothers Israel Joshua Singer and Isaac Bashevis Singer subsequently became writers. Biography
Kreitman was the daughter of Pinchas Menachem Singer (Pinkhas Mendl Zinger) and his wife Basheve (Bathsheba), née Zylberman. Her father was a rabbi and an avid Hasid with a passion for mysticism. Kreitman's mother also came from a rabbinic, albeit non-Hasidic, family. The daughter of the rabbi of Biłgoraj, who was renowned in his day for his intellectual and spiritual character, she had benefited from an education comparable to that of her brothers.Kreitman had an unhappy childhood. According to her son, her mother gave her to an uncaring wet nurse for the first three years, who left her
in a cot under a dusty table where she was visited once a week by her mother, who did not touch her. Later, as a highly gifted child, she had to watch her younger brothers being taught, while she was relegated to menial household duties. Kreitman's first novel includes numerous scenes depicting the main female character's desires for education: scenes in which she waits with great anticipation for the bookseller to arrive in their town, dreams of becoming a scholar, and hides a Russian text-book from the male members of her family so that they won't find out she is studying in secret. It is likely that these incidents reflect Kreitman's own story. In 1912 she agreed to an arranged marriage, and went to live with her husband, Avraham Kreitman, a diamond cutter, to Antwerp, Belgium. The events surrounding this marriage are both described by her in Deborah and by Isaac Bashevis Singer in his autobiographical collection In my Father's Court.In Antwerp her son, Morris Kreitman, was born. (He later was known by his journalistic pen name, Maurice Carr, and his novelistic pen name, Martin Lea.) The outbreak of World War I forced the family to flee to London, where Kreitman lived for the rest of her life, except for two long return visits to Poland. Her marriage was not happy. She and her husband both worked in menial jobs, and she translated classic English works into Yiddish to earn extra
money. Although she had been the first in the family to write, she published relatively late in life, her first novel Der Sheydims Tants (Dance of the Demons) appearing in Poland in 1936. It was translated by her son in 1946 as Deborah.Her second novel, Brilyantn (Diamonds) was published in 1944. Yikhes (Lineage), her book of short stories, was published in 1949. Many of her works deal with the status of women, particularly intellectual women, among Ashkenazi Jews. Other works explore class relationships, and her short stories include several set in London during The Blitz, which she experienced. After World War II Kreitman attempted to contact her mother and a third brother, Moyshe, who had become a village-rabbi in Poland and had fled to the Soviet Union with their mother and his wife; their father had died before the war. Although she received two postcards from southern Kazakhstan, in the town of Dzhambul, (today Taraz), no further communication was forthcoming. Forced evacuation of Jewish refugees to Central Asia under extremely harsh conditions was relatively common in the Soviet Union during World War II, and both are reported to have perished in 1946.Her other brother Israel Joshua Singer had died in New York in 1944, but her remaining sibling, Isaac Bashevis Singer, came to visit her in London in 1947. Her relationship with her brothers had always been complex. Her son tells about how she constantly told him stories about her brothers – until mother and son went to visit them Poland in 1936 when she felt rejected by both and never talked about them again. This feeling of rejection must have been aggravated when Isaac Bashevis Singer refused to help her immigrate to the United States after 1947. He also did not answer letters and failed to send money, although – then far from being the famous and well-to-do writer he would become in his old age – he was comparably secure and Kreitman and her family were in great need. Kreitman's two brothers are not known to have encouraged or helped her as an author. Her books were never reviewed in Yiddish daily The Forward, for which they both worked.But the deep impression her personality made on both of them is reflected in their work. In Israel Joshua Singer's Yoshe Kalb an unhappy and unstable seductress appears to be modelled on Kreitman, and Isaac Bashevis Singer's Satan in Goraj includes an innocent girl who is crushed by circumstance, who carries Kreitman's features and particularities. (<mask> suffered either from epilepsy or another physical or mental condition with similar symptoms, and was later in life diagnosed as paranoid.) I.B. himself stated that his sister was the model for his fictional Yentl, a woman from a traditional background who wishes to study Jewish texts. He considered <mask> the "best female Yiddish writer" he knew, but difficult to get along with. "Who can live with a volcano?"(Hadda, p. 137). And he dedicated the volume of his collected short stories The Seance (New York, 1968) "To the memory of my beloved sister". Kreitman died in 1954 in London. Since her death, her works, which she wrote "in support of the Haskalah (Jewish enlightenment) from a female perspective," have been translated into French, German, Dutch and Spanish. Almost her entire small output is now available in English translation. There is only a few works of Kreitman translated into Polish, Kreitman's stories were published in Poland in 2016 (translated by Natalia Moskal). Her biography and works were inspiration of play "Hindełe, the Sister of the Magician" performed from 2017 in Lublin.Works by <mask> in Yiddish and English
Der Sheydim-Tants (Warsaw: Brzoza, 1936); translated by Maurice Carr as Deborah (London: W. and G. Foyle, 1946; republished London: Virago, 1983, New York: St. Martins Press, 1983, London: David Paul, 13 August 2004, , and New York: Feminist Press, 1 May 2009 ). Reviewed in The New Yorker (14 January 1985) : 117–118. Brilyantn (London: W. and G. Foyle, 1944); translated by Heather Valencia as Diamonds (London: David Paul, 15 October 2009, ). Yikhes (London: Narod Press, 1949); translated by Dorothee van Tendeloo as Blitz and Other Stories (London: David Paul, 1 March 2004 ). Notes

References
Carr, Maurice. "My Uncle Itzhak: A Memoir of I. B.Singer." Commentary, December 1992: 25–32. Carr, Maurice. "Kadish Mayn Muter Ester Kreytman." Loshn un Lebn 173 (June 1954): 8–10. (In Yiddish)
Carr, Maurice. "My Mother, Hindele", Introduction by David Mazower, Pakn-Treger 45 (Summer 2004): 44–49."Ester Kreytman, o'h." [London] Yidishe Shtime 18 June 1954: 1. (In Yiddish)
Fogel, Joshua. "<mask>itman and Her Sketch, 'A New World,'" The Yale Review 73 (Summer 1984): 525–32. Hadda, Janet. Isaac Bashevis Singer: A Life. (New York: Oxford University Press, 1997).Kreitman, <mask>. "Ester Kreytman's Notitsn Vegn Zikh Aleyn." [London] Yidishe Shtime. 9 July 1954: 3. (In Yiddish)
Norich, Anita. "The Family Singer and the Autobiographical Imagination." Prooftexts, 10 n. 1 (Jan. 1990): 97–107.Ravitch, Melech. "Ester Kreytman." Mayn leksikon vol. 4 pt. 2 (Montreal: Komitet, 1982): 254–6. (In Yiddish)
Sinclair, Clive. "<mask>, the silenced Singer", Los Angeles Times, Sunday, 14 April 1991: BR1, 11.Singer, I.J. Fun A Velt Vos Iz Nishto Mer. (New York: Farlag Matones, 1946). In English as Of a World That is No More. Trans. Joseph Singer. (New York: Vanguard Press, 1971).Tree, Stephen. Isaac Bashevis Singer. (Munich: Deutscher Taschenbuch Verlag, 2004). (In German)

External links
Guide to the Papers of <mask> (RG 341). YIVO Institute for Jewish Research
A Bibliography of Works by and About Esther Kreitman
Books by <mask> in All Languages
Article on the "Jewish Women's Archive"
The Life and Works of <mask>itman

1891 births
1954 deaths
British Jewish writers
British writers
British people of Polish-Jewish descent
20th-century Polish women writers
Translators from English
Translators to Yiddish
Yiddish-language writers
20th-century translators
20th-century British women writers
Jewish women writers
People from Biłgoraj

masks:
Esther Kreman
Esther Kreman
Esther Kreman
Esther Kreitman
Esther Kre
Esther
Esther
Esther Kreman
Esther Kreman
Esther Kre


title: Arturo Melocchi

texts:
<mask> (December 9, 1879 – October 25, 1960) was an Italian baritone and voice teacher who is best known for having been the teacher of dramatic tenor Mario Del Monaco and his older brother Marcello Del Monaco. Also whose method influenced the voice and technical development of tenor Franco Corelli. Biography

Education
<mask> was born in Milan. He studied at the Regio Conservatorio di Milano under Giuseppe Gallignani, who was also the director of the Conservatory. On November 13, 1907 <mask> graduated, receiving his license to be a singer, as well as to become a teacher of singing at any public school in Italy. His exams—with diploma requirements nearly identical to those of the old conservatorio system—consisted of the following:

 two arias for baritone voice—"Sei vendicata assai" from Dinorah by Meyerbeer and "S'il faut s'enfler de gloire," sung by Boniface, the monastery cook in Le jongleur de Notre-Dame (meeting the requirement for an aria by contemporary a composer). the sixth vocalise from Gaetano Nava's Method for Baritone
 the aria "È ver ch'io t'ingannai" from Fra Diavolo by Meyerbeer
 sight reading a piece taken from Pier Luigi Farnese by Constantino Palumbo
 questions about the physiology of singing, about teaching, and on the best old school and modern authors

<mask>'s scorecard showed that he had already proven himself expertly prepared and capable in the complementary studies of piano, theory, harmony, scenic arts, and physiology of the vocal organs, as well as the standard cultural studies in Italian history, poetry, and literature.Liceo Musicale Rossini & Mario Del Monaco
<mask> became a teacher of singing at the Conservatory, appointed by Gallignani. In January 1912 he was called to take the title the Chair of Singing at the Liceo Musicale Rossini in Pesaro. He held this position uninterruptedly until 1941. Around 1932 a young Mario Del Monaco—whose voice had been dangerously lightened in his studies with Luisa Melai-Palazzini, destroying its natural emission and timbre—began to consult and take lessons from <mask>, who reeducated his voice with the appropriate exercises, gradually returning it its power, its breadth and natural ease, and giving it its full homogeneity along the entire range from low B♭ to  high D♭. However, not yet satisfied with the progress he had achieved, Del Monaco began to make up and add to his technique, in order to get more from his vocal organs. In 1936, Del Monaco won a prize that gave him the opportunity to study his craft at the Teatro dell'Opera di Roma. This experience, in which he was again assigned inappropriate light repertoire, caused him to lose his voice nearly completely.In 1938, he returned to Pesaro, where he attempted to resume his studies with <mask>. At first <mask> did not take Del Monaco back, but at the insistence of Rina Filippini (later Del Monaco's wife), <mask> accepted the tenor into his studio, and within six months, Del Monaco's voice was rebuilt to the state that quickly carried him forward to becoming the greatest dramatic tenor of the mid-20th century. On May 18, 1941 <mask> was suspended without pre-warning, for supposed "poor performance." He later said that it was well known that he was actually suspended for his anti-fascist views. Similar anti-fascist sentiments were held by his maestro Gallignani, who after his being fired from his directorship in 1923, became distraught and committed suicide by throwing himself out a window. During the entire period of fascism in Italy, <mask> was one of only two teachers at the Liceo Rossini who never joined the Fascist Party and refused the Fascist card. Between the time of <mask>'s suspension and the end of the fascist Italian Social Republic in 1945, he spent three years abroad, teaching singing at a school of music in Hong Kong and at the Shanghai Conservatory of Music (then under another name), which had on its staff teachers from as far as Russia and France.During these three years, he learned to speak correct and practical English, French, and Russian. In August 1945, <mask> himself submitted a lengthy petition to the Ministry of Public Instruction (Arts Division) to allow him to take up his post again at the Liceo Rossini. According to the annals of the school, pleas from students and colleagues—as well as the recent death of tenor and teacher Umberto Macnez—did finally result in his reassignment there from 1947 to 1949. Carlo Scaravelli & Franco Corelli

At the insistence of his friend, baritone Carlo Scaravelli, a 25-year-old Franco Corelli sent a letter (dated September 28, 1946) formally requesting admission to the Conservatory in Pesaro. Although Corelli had submitted his voice type as baritone, the conservatory's Maestro Fradelloni immediately pointed out that he was a tenor. Corelli's request for admission was granted, and both Corelli and Scaravelli entered the classes of the aforementioned Umberto Macnez, in his first and only year as teacher at the school. Unfortunately Corelli, still living and working in Ancona, was unable to attend classes regularly, and he was expelled from the conservatory.After a few months of lessons in Ancona with Rita Pavoni, whose "masque placement" method caused Corelli to lose his upper range, he stopped formal studies and sang on his own. By 1949, Mario Del Monaco had become a star, and meanwhile Carlo Scaravelli had begun studying with <mask>. Corelli was so impressed both by Del Monaco and by Scaravelli's improvement, that he went to meet <mask>. According to Corelli, he met and took lessons from <mask> only a few times. Corelli still could not abandon his work in Ancona, so he devised a plan: when Scaravelli would return to Ancona by train from his lessons in Pesaro, Corelli would meet him at the station; Scaravelli would relay the contents and concepts from the lesson, and then the two would go to the old Corelli family house in Via Mamiani, which was in ruins from the war and was still uninhabited, and there they would practice together. They continued in this fashion for all of 1949, Corelli's own voice improving enormously. This provided Corelli with enough knowledge and technique to begin to pursue what would become his first successes at Spoleto and in Rome.Students

References

Voice teachers
1879 births
1960 deaths
Italian music educators
Italian opera singers

masks:
Arturo di Giuseppe Melocchi
Arturo Melocchi
Melocchi
Melocchi
Melocchi
Melocchi
Melocchi
Melocchi
Melocchi
Melocchi
Melocchi
Melocchi
Melocchi
Melocchi
Melocchi
Melocchi


title: Shooting of Eleanor Bumpurs

texts:
The shooting of <mask> by the New York Police Department occurred on October 29, 1984. The police were present to enforce a city-ordered eviction of Bumpurs, an elderly, disabled African American woman, from her public housing apartment in the Bronx. In requesting NYPD assistance, housing authority workers told police that Bumpurs was emotionally disturbed, had threatened to throw boiling lye, and was using a knife to resist eviction. When Bumpurs refused to open the door, police broke in. In the struggle to subdue her, one officer fatally shot Bumpurs twice with a 12-gauge shotgun. Bumpurs' shooting, one of several black deaths that inflamed racial tensions in 1980s New York, led to changes within the police department regarding responses to disabled and emotionally volatile persons. Officer Stephen Sullivan, who shot Bumpurs, was indicted on second-degree manslaughter, but was ultimately acquitted.Bumpurs' family sued the city for $10 million in damages, and settled for $200,000. Incident
Prior to the eviction attempt, <mask>, who had arthritis and other health problems, had told her daughter Mary that someone in the building was harassing her. Mary advised her to keep the door locked. <mask> told a housing authority official she would not pay the rent because she was having maintenance problems, but refused to admit maintenance workers to her apartment when they were sent. In one phone conversation, she told a housing-authority manager she would not pay the rent because "people had come through the windows, the walls and the floors and had ripped her off". When maintenance workers were admitted to the apartment on October 12, they checked a hallway light and stove as requested, finding no problems with them, but found several cans of human feces in the bathtub. Bumpurs blamed these on "Reagan and his people".Four days before the eviction attempt, the city sent a psychiatrist to visit Bumpurs. He concluded that Bumpurs was "psychotic" and "unable to manage her affairs properly" and should be hospitalized. A Social Services supervisor decided that the best way to help Bumpurs was to evict her first, then hospitalize her. On the morning of October 29, Bumpurs told housing authority workers who had come to evict her that she would throw boiling lye at the next face to appear. The NYPD Emergency Service Unit, specially trained in subduing emotionally disturbed people was summoned, but was unable to get Bumpurs to come to the door. They drilled out the lock, and through the hole they could see the naked 66-year-old in her living room, holding a 10-inch kitchen knife. The officers then knocked down the door and entered.They attempted to restrain Bumpurs with plastic shields and a special Y-shaped bar, but she fought free, waving the knife and trying to slash an officer. His partner, Officer Stephen Sullivan, fired two shots from his 12-gauge pump action shotgun. One pellet from the first shot struck Bumpurs' hand; all nine pellets from the second shot struck her in the chest, killing her. Reactions
The case brought much notice: the victim was black, a senior citizen, and mentally ill. Some observers claimed that the fact that two shots had been fired also raised questions. To meet the criticism of the public, the PBA aired radio and print advertisements asserting that Bumpurs was a severe threat to the officers in the apartment: "This 300-pound woman suddenly charged one of the officers with a 12-inch butcher knife, striking his shield with such force that it bent the tip of the steel blade." There followed the development of a new, special program to train police officers in New York State to work safely and effectively with "Emotionally Disturbed People (EDPs)".Employees of the NY State Department of Mental Health, along with those of the NYPD and NY State Police were trained as trainers. The new, mandatory course was delivered at the NYPD and State Police Training Academies, and to officers already in service. The program was delivered by training teams composed of police and mental health employees. It was an attempt to address the problem of safely controlling potentially dangerous situations. Legal proceedings
A grand jury was convened to investigate Sullivan's actions. On January 30, 1985, the grand jury indicted Sullivan on charges of second-degree manslaughter, to which Sullivan pleaded not guilty. However, on April 12, Judge Vincent A. Vitale of State Supreme Court dismissed the indictment, ruling that under the New York State Penal Code "the evidence before the grand jury was legally insufficient to support the offense charged or any lesser included offense", and that Sullivan's "acts were in conformity with the guidelines and procedures outlined" in the NYPD's Emergency Service Unit manual.The case took another turn on appeal when, on November 25, 1986, the New York Court of Appeals reinstated Sullivan's second-degree manslaughter indictment by a 6-1 vote. Chief Justice Sol Wachtler was the lone dissenter, saying that the evidence warranted more serious charges. Trial of Officer Sullivan
Sullivan waived his right to a jury trial, choosing a bench trial before a judge only. The trial opened on January 12, 1987, over two years after <mask>' death. The trial hinged on whether Sullivan had used excessive force, especially in firing twice at Bumpurs. His fellow officers testified that Bumpurs was still not immobilized after the first blast hit her hand, and therefore still posed a threat to the police. In addition, two plastic surgeons testifying as expert witnesses for the prosecution said that Bumpurs could have continued to slash at the officers trying to subdue her even after her hand had been injured by the first shotgun blast.By contrast, the emergency room physician who treated Bumpurs immediately after the shooting stood by his grand jury testimony that her hand was left "a bloody stump" by the first shot. On February 26, 1987 Judge Fred W. Eggert acquitted Sullivan on the charges of manslaughter. On August 4, 1987 federal prosecutors declined to investigate the Bumpurs case. Rudy Giuliani, who was the U.S. Attorney in Manhattan at the time, stated that he had found "nothing indicating that the case was not tried fully, fairly and competently", and that there was no "proof of a specific intent to inflict excessive and unjustified force." Civil suit and settlement
The Bumpurs family filed a civil suit against the city for $10 million in damages. In March 1990, the city agreed to pay $200,000 to the Bumpurs estate, marking a close to the legal proceedings stemming from the shooting. Social Services demotions
Two supervisors in the city's Social Services administration were later demoted for failing to seek an emergency rent grant for Bumpurs and for not getting her proper psychiatric aid.Legacy
The Bumpurs case was one of several racially charged cases in New York during the 1980s that exacerbated racial tensions. Others were the fatal assault on Willie Turks in 1982, the 1983 arrest and death of Michael Stewart while in police custody, the subway shooting of four men by Bernhard Goetz in 1984, the fatal assault on Michael Griffith in 1986, the shooting of six NYPD officers by Larry Davis also in 1986, and the murder of Yusef Hawkins in 1989. Since shortly after Bumpurs' death, members of the NYPD Emergency Service Unit have carried Tasers, weapons that can deliver thousands of volts of incapacitating electrical current, as an alternative to the use of firearms when dealing with the mentally ill.

Spike Lee dedicated the film Do the Right Thing to the families of <mask>urs among other victims. See also
 Gidone Busch

External links
<mask>urs on Find A Grave

References

20th century in the Bronx
African Americans shot dead by law enforcement officers in the United States
Crimes in the Bronx
Deaths by firearm in the Bronx
Deaths by person in New York City
History of the Bronx
October 1984 crimes
October 1984 events in the United States
1984 deaths

masks:
Eleanor Bumpurs
Bumpurs
Bumpurs
Bumpurs
Eleanor Bump
Eleanor Bump


title: LaToya Cantrell

texts:
<mask> (née Wilder; born April 3, 1972) is an American politician serving as the Mayor of New Orleans, Louisiana since May 7, 2018. A Democrat, Cantrell is the first woman to hold the office. Before becoming mayor, Cantrell represented District B on the New Orleans City Council from 2012–2018. Early life and education
<mask> was born as <mask> in Los Angeles. She moved to New Orleans in 1990  to attend Xavier University of Louisiana, where she earned a BA in sociology. She attended an executive training program at the Harvard Kennedy School. Broadmoor neighborhood work
Cantrell returned to New Orleans in 1999, settling in the Broadmoor neighborhood.In 2003, she joined the board of the Broadmoor Improvement Association and became president of the association in 2004. After the 2005 levee failures in Greater New Orleans following Hurricane Katrina, the Broadmoor neighborhood flooded severely and remained mostly deserted for months afterward. In early 2006, the Bring New Orleans Back Commission, a blue-ribbon panel convened by then-mayor Ray Nagin, released a recovery plan that called for Broadmoor and five other New Orleans neighborhoods to be converted into greenspace. In her role as president of the association, <mask> worked with residents and local religious leaders to organize opposition to the panel's recommendation. She also helped enlist returning Broadmoor residents in a six-month effort to write a recovery plan for the neighborhood. <mask> worked full time to implement Broadmoor's recovery plan from 2006 through 2012. She and fellow residents formed the Broadmoor School Board, overseeing the reopening and renovation of the Andrew H. Wilson school.She served as a founding board member of the Broadmoor Development Corporation, a community development corporation that provided case management and other social services for returning residents. She was involved with residents' efforts to reopen Broadmoor's Rosa F. Keller Library, which won a $2 million grant from the Carnegie Endowment. She created a partnership between the Broadmoor Improvement Association and Church of the Annunciation, which provided the neighborhood association with office space and hosted volunteer groups. She also formed a partnership between the Broadmoor Improvement Association and her home parish, Blessed Trinity Catholic Church, to open the Broadmoor Art and Wellness Center. Political career

New Orleans City Council
In 2012, <mask> declared her candidacy for the New Orleans City Council seat vacated when former District B representative Stacy Head won an election to an at-large position. After the November election, candidate Dana Kaplan and Cantrell advanced to a December runoff, which Cantrell won with 54 percent of the vote. Cantrell served out the balance of Head's term, and was unopposed for a full four-year term in 2014.As a council member, <mask> focused on health, housing, and criminal-justice issues. She introduced a bill banning smoking at restaurants and bars within New Orleans, citing the health effects of secondhand smoke on service industry workers. The council unanimously passed the bill in 2015. Also in 2015, Cantrell began work to open a low-barrier homeless shelter, a move that was objected to by residents because of its proposed placement in Central City, New Orleans. Instead, the shelter was moved to the downtown site of the former VA Hospital. In 2017, Cantrell introduced legislation with at-large council member Jason Williams to register and inspect rental units in the city. As a member of the Criminal Justice Committee, <mask> has participated in efforts to install crime cameras in her district, assess the effectiveness of citywide anti-gun-violence campaigns, and address understaffing at the New Orleans Police Department.2017 mayoral election

<mask> declared her candidacy for mayor of New Orleans in March 2017 in a race to replace term-limited mayor Mitch Landrieu. An open primary was held on October 14 and included 18 candidates. <mask> garnered the most votes, winning 39% of the total. In the November 18 runoff election, <mask> defeated fellow Democratic opponent Desiree Charbonnet, a former municipal judge, with 60% of the vote. She is the first woman to lead New Orleans in its 300-year history, as well as the first mayor not born in the city since Vic Schiro. Mayor of New Orleans
<mask> was inaugurated as mayor on May 7, 2018, the first woman to hold the position in the city's history. Once in office, she established a new Office of Youth and Families, with the goal of creating a strategic plan to address families in crisis in the city.<mask> also founded a Gun Violence Reduction Council, tasked with finding solutions to violent crime. Starting with a push to rededicate hotel taxes collected within the city for city use, <mask> has focused on her #fairshare initiative to improve city infrastructure, public transportation, public parks, and green spaces. As part of that initiative, in October 2018 the City of New Orleans  filed a lawsuit against four opioid manufacturers and distributors. During the 2019 session of the Louisiana Legislature, <mask> negotiated the Fair Share Agreement with Governor John Bel Edwards and city, state, and tourism officials. The agreement secured $50 million in upfront funding for the city's infrastructure needs as well as $26 million in annual recurring revenue for the city. Following the approval of the Fair Share Agreement, New Orleans voters approved 3 of the 4 proposals <mask> and the City Council put on the ballot in the 2019 general election. Voters approved a $500 million bond sale and a tax on short-term rental properties, as well the establishment of a Human Right Commission under the New Orleans Home Rule Charter.Awards
In 2016, <mask> was given a lifetime achievement award by the presidents of Tulane, Loyola and Xavier universities and the University of New Orleans for her service to the community. 2021 mayoral election

<mask> was re-elected to office by a wide margin in November 2021. Personal life
Cantrell lives with her husband Jason and daughter RayAnn in New Orleans. See also
 List of mayors of the 50 largest cities in the United States

References

External links

 New Orleans City Council member profile

1972 births
21st-century American politicians
21st-century American women politicians
African-American mayors in Louisiana
African-American women in politics
Henry Crown Fellows
Living people
Louisiana Democrats
Mayors of New Orleans
New Orleans City Council members
Politicians from Los Angeles
Women city councillors in Louisiana
African-American city council members in Louisiana
Women mayors of places in Louisiana
Xavier University of Louisiana alumni
21st-century African-American women
21st-century African-American politicians
20th-century African-American people
20th-century African-American women

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title: Arnulfo Trejo

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<mask> (August 15, 1922 – July 5, 2002) was a writer and Professor of Library Science at the University of Arizona. He was a leader in the movement to increase library collections of Latino literature and Spanish-language materials in the United States. He was also instrumental in efforts to train more Latino and Spanish-speaking people as professional librarians. Biography
<mask> was born in Villa Vicente Guerrero, Durango, Mexico. He moved to the United States at the age of three, gaining American citizenship in 1944 during his service with the U.S. Army during World War II with the 143 Infantry Division in the South Pacific. He was awarded the Purple Heart and the Bronze Star. He earned a B.A.in Education, University of Arizona, 1949; M.A. in Spanish Language and Literature, University of the Americas, 1951; M.A. in Library Science, Kent State University, 1953; Litt.D. (with honors), National University of Mexico, 1959. When he started his position as a Professor of Library Science at the University of Arizona in 1965, Trejo was one of only five Hispanic librarians in the nation. In 1971 he founded REFORMA, the National Association to Promote Library and Information Services to Latinos and the Spanish-speaking, which is today a prominent organization for Latino librarians as well as for librarians serving Latino communities. Trejo was inspired to start REFORMA after a screening of the film I Am Joaquin, based on the epic poem of the same title, by Corky Gonzalez and exploring the struggles and exploitation of Mexican Americans.He served as president of the organization from 1971 to 1974. In recognition of his importance to  the organization, REFORMA's Librarian of the Year Award is named after Trejo. In 1975 he founded the Graduate Library Institute for Spanish-speaking Americans (GLISA), an American Library Association-accredited master's degree program for training librarians. During the institute's four-year existence <mask> was directly involved in recruiting Latino students into the program and contributed to their education. In 1980 <mask> cofounded Hispanic Books Distributors, a Spanish language book seller aimed at increasing the availability of Spanish-language materials to libraries in the United States. Trejo Foster Foundation for Hispanic Library Education

In 1992, Trejo, his sister Luisa Duenes Trejo, and his second wife, Annette M. Foster Trejo, created the Trejo Foster Foundation for Hispanic Library Education (TFF) which has sponsored national institutes for library education to serve the information needs of Latinos. The TFF was formed as a “think-tank” to address issues concerning library and information science education.I. Status of Hispanic Library and Information Science; A National Institute for Educational Change. University of Arizona, School of Information Resources and Library Science.Tucson, Arizona. Director, Charlie D. Hurt. July 29–31, 1993. II. Latino Populations and the Public Library.University of Texas-Austin. Graduate School of Library and Information Science. Austin, Texas. Director Brooke E. Sheldon. November 12–15, 1995. III. Hispanic Leadership in Libraries.Rutgers University, School of Communications, Information, and Library Studies. Co-Directors: Betty J. Turock and Martín Gómez. New Jersey. August 8–10, 1997. IV. Library Services to Youth of Hispanic Heritage. University of South Florida, School of Library and Information Science.Director, Kathleen de la Peña McCook.Tampa, Florida. March 12–14, 1999. Dr. <mask> <mask> participated introducing Dr. Isabel Schon for the Alice G. Smith Lecture which was held during the Institute. V.   Bridging Borders: Building Hispanic Library Education and Services in a Global Perspective. University of Wisconsin-Madison, School of Library and Information Studies and University of Wisconsin-Milwaukee, School of Information Studies. Madison, Wisconsin. Co-Directors: Louise S. Robbins and Mohammed M. Aman.July 20–22, 2001. His third wife Ninfa Trejo (married in 1995), continues the work of the Trejo Foster Foundation as President of the Foundation. VI Institute August 15-17. 2003. “Memoria Voz y Patrimonio: The first conference on Latino-Hispanic Film, Print and Sound Archives”
Director: Clara Chu, Graduate School of Education and Information Science, University of California Los Angeles, Los Angeles (UCLA), California. VII. The University of Arizona School of Information Resources and Library Science and the Arizona Health Sciences Library seventh biannual Trejo Foster Foundation Institute focusing on issues of health information services for Hispanic constituencies.July 12–14, 2007. The University of Arizona, Tucson, Arizona. Director:Jana Bradley. VIII. Institute November 5-6, 2010. “Engaging and Serving Hispanic/Latino and Spanish-speaking Communities: Best Practices, Challenges, and Strategies” Graduate School of Library and Information Science, Simmons College, Boston, Massachusetts. Co-Directors: Howard Rodriguez-Mori and Michèle Cloonan.Co-sponsored by the Simmons College, University of Rhode Island, Southern Connecticut State University, Massachusetts Board of Library Commissioners, New England Library Association and REFORMA National and Northeast Chapter. IX "Education & Library Services: Connecting Borders" October 5, 2012 - October 6, 2012. Director: Javier Tarango, Department of Philosophy and Letters of the Chihuahua Autonomous University, Chihuahua, Chih. México. Chihuahua City, Mexico. Legacy, Honors and Death

Trejo won the Simón Bolivar Award, Colegio de Bibliotecónomos of Venezuela, 1970; El Tiradito Awards, El Tiradito Foundation, 1973 and 1975; annual award from League of Mexican-American Women, 1973; Rosenzweig Award, Arizona State Library Association, 1976; Distinguished Alumni Award, Kent State University School of Library Science. In 2001, the American Library Association (ALA) granted Trejo Honorary Membership, an honor conferred on a living citizen of any country whose contribution to librarianship or a closely related field is so outstanding that it is of lasting importance to the advancement of the whole field of library service.It is intended to reflect honor upon the ALA as well as upon the individual. <mask> <mask> died in his home in Tucson, Arizona in 2002, at the age of 79. He was survived by his wife, Ninfa, and daughters, Rachel, Rebecca and Ruth. Publications

 Bibliografía Comentada Sobre Administración de Negocios (title means Annotated Bibliography on Business Administration), Addison-Wesley, 1967, 2nd edition published as Bibliografía Comentada Sobre Adminsitración de Negocios y Disciplinas Conexas, 1967. Dicionario Etimólogico del Léxico de la Delincuencia (title means Etymological Dictionary of the Language of Delinquency), UTEHA, 1969. (Editor) Directory of Spanish-Speaking/Spanish Surnamed Librarians in the United States, Bureau of School Services, College of Education, University of Arizona, 1973, revised edition published as Quién es Quién: A Who's Who of Hispanic-Heritage Librarians in the United States, Bureau of School Services, College of Education, University of Arizona, 1986. Bibliografía Chicana: A Guide to Information Services, Gale, 1975.(Editor and contributor) Proceedings of the April 28–29, 1978, Seminario on Library and Information Services for the Spanish-Speaking: A Contribution to the Arizona Pre-White House Conference, Graduate Library Institute for Spanish-Speaking Americans (Tucson, Arizona), 1978. (Editor and contributor) The Chicanos: As We See Ourselves (essays by fourteen Chicano scholars), University of Arizona Press, 1979. Contributor to American Libraries, Arizona Highways, Folklore Americas, Wilson Library Bulletin, and other magazines. References

Contemporary Authors Online, Gale, 2006. Reproduced in Biography Resource Center. Farmington Hills, Michigan: Thomson Gale. 2006.A Tribute to <mask> D. Trejo by Sal Güereña
"Arnulfo D. Trejo Papers, 1955-2001 Trejo, <mask> D. Papers". www.azarchivesonline.org. Retrieved 2020-07-13. External links
Arnulfo D. Trejo Papers, 1955-2001. University of Arizona. Arizona Archives Online. REFORMA: the National Association to Promote Library and Information Services to Latinos and the Spanish-speaking

American librarians
Mexican emigrants to the United States
American academics of Mexican descent
American writers of Mexican descent
1922 births
2002 deaths
University of Arizona alumni
Kent State University alumni
University of Arizona faculty
National Autonomous University of Mexico alumni
Hispanic and Latino American librarians
Library-related organizations

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title: Paul Bateson

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<mask> (born August 24, 1940) is an American convicted murderer and former radiographer. He appeared as a radiological technologist in a scene from the 1973 horror film The Exorcist, which was inspired when the film's director, William Friedkin, watched him perform a cerebral angiography the previous year. The scene, with a considerable amount of blood onscreen, was, for many viewers, the film's most disturbing scene; medical professionals have praised it for its realism. In 1979, <mask> was convicted of the murder of film industry journalist Addison Verrill and sentenced to a minimum of 20 years in prison; in 2003 he was released on parole, which ended after five years. Prior to <mask>'s trial, police and prosecutors implicated him in a series of unsolved slayings of gay men in Manhattan, killings he had reportedly boasted about while in jail, bringing it up at his sentencing. However, no additional charges ever were brought against him. The experience inspired Friedkin to make the 1980 film Cruising which, while based on a novel written a decade earlier, incorporated in its storyline the city's leather subculture, with which Bateson had identified.In 2012, Friedkin recalled having visited the jailed <mask> prior to his trial, and having a conversation which suggested that either <mask> had committed the additional murders or merely that he was considering confessing to them for a lighter sentence. However, there is no other record of incriminating evidence mentioned by Friedkin in that interview. Despite this, <mask> is often inaccurately described as a serial killer. , it is not known if <mask> is still alive or, if he is, where he is living. Friedkin said in a 2018 interview that he had heard Bateson was living somewhere in upstate New York. A Social Security record shows that a "<mask><mask>" with the same birthdate and a Social Security number issued in Pennsylvania died on September 15, 2012. Early life and career
<mask> was born on August 24, 1940 and grew up in Lansdale, Pennsylvania, the son of a metallurgist.He would later suggest that his appearance in The Exorcist was revenge on his father for punishing him as a child by making him stay home from Saturday matinées at the local movie theater and listen to opera on the radio instead. He served in the Army in the early 1960s, where he began drinking heavily out of boredom while stationed in Germany, beginning a lifetime struggle with alcoholism. After his discharge, he returned to Lansdale and stopped drinking. In 1964 he moved to New York City, where he began a relationship with a man (he would later describe himself as "not exclusively gay") who he said was "involved in music". The relationship was marked by heavy drinking, either in the form of cocktails at The Pierre and frequent parties at the couple's home, as well as weekends in the Fire Island enclave of Cherry Grove, both with food cooked by Bateson. Five years later, Bateson's mother died of a stroke and his younger brother died by suicide. Bateson trained as a neurological radiological technician and began working in that capacity.After the relationship ended in 1973, he moved to the Brooklyn neighborhood of Borough Park. He commuted from there to his job at New York University Medical Center (NYUMC), where he was well-liked and respected by his colleagues. The Exorcist
In late 1972, film director William Friedkin visited NYUMC while he was preparing to make The Exorcist, the film adaptation of William Peter Blatty's novel of that name. He wanted to view some medical procedures since he was considering showing some in the film. He was also looking for staff who might be willing to be extras in the film, since he would be shooting interiors in New York although the film itself is set in Washington, D.C. Dr. Barton Lane invited the director to watch a cerebral angiography. At the time, such angiographies were performed by puncturing the patient's carotid artery (in the front of the neck) in order to insert a catheter through which a contrast agent was injected in order to make the patient's blood vessels more visible under X-rays. In the moments between the arterial puncture and the insertion of the catheter, blood freely issued from the tube mouth in rhythm with the patient's heartbeat.Friedkin was sufficiently impressed that he told Lane immediately afterward that not only did he want to depict the procedure in his film, he wanted Lane to be the one performing it on camera, along with the nurse and <mask>, the technician, who, recalled Lane in 2018, was the best he had ever had. A few months later, Friedkin and his crew returned to shoot the scene, blocking off part of the hospital's radiology department for two successive weekends. It was one of the first scenes shot during principal photography, in which the character of Regan (Linda Blair) is examined medically to see if any of the strange behavior (later found to be the result of demonic possession) she has been exhibiting can be scientifically explained. Lane later recalled hearing that the crew was still trying to figure out how to make Regan's head spin for a scene later on in the film that, like the angiogram, became one of the film's best-remembered moments. In the scene, it is <mask> who speaks most of the dialogue, demonstrating the calming bedside manner, another attribute that drew praise from those he worked alongside, that he had used with many actual child patients. He can be seen in the background early, as Regan is wheeled into the room, helping put her on the table and attaching wires to her shoulders. As the film shows Regan's face in tight closeup, alternating with takes of the procedure being finished, including her blood spurting into the air and staining her surgical gown as it had in the procedure Friedkin watched, <mask>'s voice is heard off-camera, instructing her, warning her that the carotid puncture will hurt and reassuring her as she winces immediately afterward.Upon The Exorcist release at the end of 1973, the scene became notorious as the one that audiences found most disturbing, despite its lack of any of the supernatural content that underlies the rest of the film's horror elements. Medical professionals, including Lane and the others involved in the scene, have also praised it as a realistic depiction of the procedure, of special historic interest since it is no longer performed with a carotid puncture, and one of the most realistic depictions of any medical procedure in a popular film. 1973–1977
Around the time The Exorcist was released, Bateson's drinking again increased, adversely affecting his social life. "Nobody likes a drunk", he later told The Village Voice. In 1975 it affected his job performance, and NYUMC let him go. Bateson sustained himself with odd jobs, such as doing light repair work and cleaning in apartments near where he now lived in Greenwich Village, and taking tickets at a theater showing pornographic films. He also went to Alcoholics Anonymous meetings, and was successful for a while in staying sober.He socialized with other recovering alcoholic gay men and was hoping to start another long-term relationship. However, by 1977 Bateson had begun drinking again, more heavily. He said later that he was drinking at least a quart (0.95 L) of vodka a day, which made him passive and curtailed his social life again. "After a few shots, I'd shave and get dressed", intending to go out. But then after the vodka, "[I] had no energy left to move". On those nights when he was able to go out, Bateson patronized leather bars, something he had started doing back in 1970 with a group that styled themselves as bikers. "Leather impresses me", he said later, contrasting it with drag and swish."They give gays a bad name, like any extreme group would". Murder of Addison Verrill
On September 14, 1977, Addison Verrill, a reporter who covered the film industry for Variety, was found dead in his Horatio Street apartment. He had been beaten and stabbed; there were some signs of a struggle. However, nothing of value had been taken. Police believed that if the killer's motive had been robbery, he might have been looking for cash or jewelry since those could be taken quickly. There was no evidence of forced entry. Verrill had likely let his killer in to the apartment; there were several empty beer cans and half-full liquor glasses at the scene.Gay activist and journalist Arthur Bell, a friend of Verrill's, wrote an article about the case in The Village Voice setting it against the larger issue of how murders of gay men, several of which occurred yearly in the Village, were rarely taken seriously by police or reported on in the media since they were seen as the results of sexual encounters gone wrong. The police, Bell wrote, had learned that Verrill had been at the Mineshaft, a popular leather bar, until 6 a.m., talking to many other patrons. According to Bell, Verrill's friends said that while he did not seek the kink that was abundant at the Mineshaft, he nevertheless "liked the attitudes" of many of the customers. He was considered a regular, holding court at a corner table, not only at the Mineshaft but the Anvil, another popular leather bar, and other popular gay bars of the era. His presence was seen as making those bars popular. Phone calls, confession, and arrest
Bell ended his article by giving the phone number of the New York Police Department's homicide bureau and asking anyone with information to call them. However, eight days after the killing someone called him claiming to be the killer, apparently to correct Bell's assumption that the killer was a psychopath who targeted gays."I like your story and I like your writing", the caller told him, "but I'm not a psychopath". In a story that ran on the Voice front page, the caller recounted the events of the night that ended in Verrill's murder. "I'm gay and I needed money and I'm an alcoholic", he said. After three months of sobriety, he claimed, he had gone out to Badlands, a Christopher Street bar, in the early hours of September 14 where Verrill, whom he did not know, offered to buy him a beer, a proposition the caller accepted. That beer became several, with the two consuming poppers and cocaine in addition to the drinks. At 3 a.m., they left Badlands and went to the Mineshaft, where they continued their alcohol and drug consumption. The caller told Bell he was impressed by how popular his companion was."I didn't realize he was such a superstar, and I wanted to go home with him". After two hours,

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 they took a taxi to Verrill's apartment, something the caller said Verrill was reluctant to do because he had to get up early and work on a story. There the two had more alcohol and cocaine, followed by sex at 7:30 a.m. The caller said that afterwards he realized that was as far as Verrill had wanted the relationship to go. "I needed money and I hated the rejection", so, still intoxicated, "I decided to do something I'd never done before". After incapacitating Verrill with a frying pan from his kitchen, the caller recounted, he stabbed the journalist with a knife, although he said he chose the wrong part of his chest. After the killing, the caller said, he took cash, totaling $57 ($ in modern dollars) and Verrill's Master Charge card, passport, and some clothes.He used the money to buy liquor and was consequently drunk for the entire next day. Bell confirmed with another source that the man had been seen at a popular bathhouse that night. The caller offered some information about himself besides that relevant to understanding the crime. He claimed to be the son of an orchestra leader, to have a wife in Berlin who did not understand his homosexuality, and a teenage son. He had an interest in the arts, and had wanted to be a dancer when he was younger. Bell noted that he talked about wanting to "atone" for the crime several times, which he connected to the conversation taking place on Yom Kippur, the Jewish day of atonement. "[B]ut I don't want to give myself up.I wouldn't be able to practice again. I'd lose my license". He declined to tell Bell what sort of practice the license was for, suggesting that would help identify him. When Bell contacted police about the call, they told him that it seemed like the first solid lead in the case. The caller had known about the stolen credit card, a detail police had not made public, and described a white substance found on the floor of Verrill's apartment as Crisco, a shortening frequently used at the time by gay men as a sexual lubricant. Police had not thus far been able to identify it and had also not made the information public. Detectives suspected the caller would call Bell again, and went to his apartment to wait with him.At 11 p.m. his phone rang; it was not the original caller but a man who identified himself as "Mitch". He told Bell the killer was <mask>, whom he had gotten to know while the two were drying out at St. Vincent's Hospital a few months earlier. While he believed Bateson was not the man's real name, since he knew the man to have used the pseudonym "Johnny Johnson" at one point, he said Bateson was an unemployed X-ray technician and that he had called him earlier and confessed to the crime. Mitch asked to meet Bell in person, but the police told Bell not to do so. Instead, they just arrested Bateson at his East 12th Street apartment, where he was lying around drunk; when he was asked if he knew why he was being arrested, he pointed to an open copy of the Voice with Bell's article and indicated that that was probably why. A detective went to the bar and brought Mitch in for questioning as well; he was released after a few hours. Bateson eventually gave police a handwritten confession that was consistent with what he had told Bell.Arrest and jailhouse conversations
<mask> was charged with second-degree murder and detained while awaiting trial. Bell interviewed <mask> in person a month later, visiting him at Rikers Island. <mask> talked generally about his life, something he said he did often (as did other acquaintances of Bateson whom Bell spoke with). Jail, he said, was helping him to again get sober; his biggest regret about being in custody was missing the new season of the Joffrey Ballet, at the time based in New York. Bell admitted that he, too, might have taken Bateson up on an offer to go to his apartment if he had met him in a bar rather than a jail. While <mask> avoided talking about the crime he was charged with (on what Bell supposed to be advice from his attorney) he did talk about the trial. He had pleaded not guilty and expected that to be the verdict after a long trial."A lot of people will be hurt—parents, friends ... Then, I'll tear up my roots and settle somewhere else". Suspicion in serial killings
At the time of <mask>'s arrest, police had also been investigating a series of murders of gay men over the previous two years which they believed were committed by the same person due to similarities in the killings' modus operandi. Six corpses of men had been found, dismembered, in bags floating in the Hudson River. None of them have ever been identified, but police traced the clothes on them to shops in Greenwich Village that catered to the gay community. Since the bags reportedly had wording on them connecting them to NYUMC's neuropsychiatric unit, and the dismemberment of the bodies appeared to have been done by someone skilled in using a knife, investigators began to suggest publicly that Bateson might be a suspect in, as they were referred to officially, the "CUPPI" killings, for "Circumstances Unknown Pending Police Investigation", as well. Those killings were the subject of another interview <mask> gave, although it would not be made public until 2012. Friedkin, who recalled him from both his initial visit to NYUMC and the filming of the angiography for The Exorcist as a "nice young man" who stood out due to the earring and studded bracelet he wore, neither of which were common accessories for men at the time, read a long story about the case in the Daily News.Surprised that the gentle Bateson he recalled could have even been accused of a murder, Friedkin came to Rikers to talk with him after getting permission from <mask>'s lawyer. In an interview with Mubi's The Notebook that coincided with the release of his film Killer Joe, Friedkin said Bateson admitted killing Verrill, although the director then incorrectly stated that Bateson had dismembered the body and thrown the bagged body parts in the river. Bateson said that the prosecutors were offering him a deal whereby if he confessed to the bag murders and some other unsolved killings he would receive a shortened sentence. He told Friedkin he was not sure if he would accept it. In a 2018 episode of The Hollywood Reporter "It Happened in Hollywood" podcast, Friedkin attributed to Bateson a confession to the unsolved murders. As a result of his conversation with Bateson, Friedkin decided it was time to make the film adaptation of New York Times reporter Gerald Walker's 1970 novel Cruising about a police officer going undercover in the gay community to catch a serial killer. Life had already imitated art, with an NYPD officer, Randy Jurgenson, going undercover in gay bars since he was similar in appearance to the victims of the bag killer.Intrigued by the leather subculture <mask> had told him about, Friedkin knew Matthew Ianniello, the mafioso who owned the Mineshaft and other Manhattan gay bars of the era, and was able to visit the bar himself. He later added scenes set there to his film, released in 1980 to mixed reviews after heavy protests by the city's gay community during production. Trial
In pretrial motions, <mask>, through his attorney, attempted to have his confession suppressed. He argued that he had been drunk at the time, and the police had not yet read him his rights. <mask> also denied having made the phone call to Bell, claiming his purported confession was just based on what he had read about the case in the Voice. <mask> went on trial in early 1979. The state entered both his confession and Bell's Voice article into evidence against him.Contrary to his prediction of a long trial in the wake of his arrest, <mask> was convicted after four days, on March 5, 1979. At <mask>'s sentencing a month later, prosecutor William Hoyt called him a "psychopath" and reiterated his belief that he was responsible for the six unsolved murders. While Hoyt admitted there was "no direct proof" of this, he said that Bateson had confessed to those crimes in a conversation with Richard Ryan, a friend who had testified for the state at the trial that Bateson had confessed the Verrill murder to him. Speaking for himself, Bateson denied any role in the other murders. Justice Morris Goldman sentenced Bateson to 20 years to life in prison, five years less than the minimum Hoyt had asked for. He ultimately found the connection to the other murders "too ephemeral" to merit any consideration in sentencing Bateson. In a 2018 Esquire article about Bateson, writer Matt Miller was unable to find what that evidence might have been as the New York County court clerk's office could not find a copy of the trial transcript.But nothing Miller had been able to review mentioned either the bags purportedly being traced to NYUMC or any mention of a deal offered to Bateson if he confessed to the other murders. Prison term and release
Bateson ultimately served 24 years and 3 months of his sentence, becoming eligible for parole in 1997. On the day after his 63rd birthday, in August 2003, he was released from Arthur Kill Correctional Facility on Staten Island. According to online records kept by the state's Department of Corrections and Community Supervision, his parole was successfully completed in November 2008. That was the last public record of Bateson available ; where he is living, or even if he is alive, is not known. Miller attempted to contact <mask> for his Esquire article in 2018 at his last known address, in the Long Island village of Freeport, but was unsuccessful as the phone had been disconnected; emails to different addresses either bounced or were not answered. In his podcast interview around the same time, Friedkin said he had heard Bateson was living somewhere in upstate New York.A record in the Social Security Death Index shows that a <mask><mask>, with the same birthdate and a Social Security number issued in Pennsylvania, died on September 15, 2012. Media portrayals

<mask> was portrayed by Morgan Kelly in the second season of the Netflix series Mindhunter. See also
Crime in New York City

References

External links

1940 births
Radiographers
20th-century American criminals
American people convicted of murder
People convicted of murder by New York (state)
Criminals from Pennsylvania
Gay men
LGBT people from New York (state)
LGBT people from Pennsylvania
Military personnel from Pennsylvania
People from Lansdale, Pennsylvania
People from Borough Park, Brooklyn
People from Greenwich Village
Possibly living people
United States Army

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title: Jock Pearson

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Brigadier Alastair "<mask><mask>,  (1 June 1915 – 29 March 1996) was a baker, farmer and one of the most highly regarded soldiers of the Parachute Regiment and the British Army who served in the Second World War. Early life
<mask> was born in Glasgow, Scotland, on 1 June 1915. He was educated at Kelvinside Academy. After leaving school, he worked as a baker and enlisted in the Territorial Army. He joined the 6th Battalion of the Highland Light Infantry, based in Yorkhill, and part of the 157th Infantry Brigade, 52nd (Lowland) Infantry Division, which was fully mobilised in 1939. Second World War
<mask> was attached to the South Lancashire Regiment and served briefly in France during January 1940. On 8 June 1940, after the end of Operation Dynamo, he returned to France with the 6th Highland Light Infantry.He fought in the Battle of France with the Second British Expeditionary Force. He was evacuated on 17 June as part of Operation Aerial. On its return to the United Kingdom, the 52nd (Lowland) Infantry Division was assigned to defend the coast. In 1942 <mask> volunteered to join the British Army's airborne forces and on 1 August he joined the Parachute Regiment, part of the Army Air Corps. He was promoted to the rank of major and served as second-in-command of 2nd Battalion, part of 1st Parachute Brigade. Within a fortnight, <mask> was transferred to 1st Battalion by the commander, Eric Down. <mask> was promptly demoted by Down after a riotous night on the town.He was then promoted to the rank of major for the second time before becoming second-in-command of 1st Battalion under James Hill. In October 1942, the 1st Parachute Brigade was sent to Tunisia to participate in Operation Torch. <mask> assumed command of 1st Battalion when Hill was badly wounded on 23 November. For his actions while under heavy fire, <mask> was awarded the Military Cross. At the age of twenty-seven, <mask> was promoted to lieutenant colonel and given command of the 1st Parachute Battalion. <mask> was awarded the Distinguished Service Order for his actions in late January and early February 1943. He was awarded a second DSO for actions during the Battle of Tamera in March.<mask> was awarded a third DSO for his contribution to the invasion of Sicily. In July 1943, the 1st Parachute Brigade was assigned to capture Primosole Bridge in Sicily, ahead of Bernard Montgomery's British Eighth Army. Due to high winds, intense flak, and poor flying, less than 20% of the 1,900 men of the brigade landed on target. However, the bridge was captured and <mask> organized a defence. German forces counter-attacked the following day and the paratroopers were forced to withdraw. <mask> helped to recapture the bridge by guiding a battalion of the Durham Light Infantry, part of 151st Brigade, in an attack on the flank of the German infantry holding the bridge. After the Sicilian campaign, <mask> recuperated from an attack of malaria.During the summer of 1944, the commander of the new 6th Airborne Division, Major-General Richard Nelson Gale gave <mask> command of the division's 8th Parachute Battalion, which was assigned to the 3rd Parachute Brigade. <mask> immediately began preparing the battalion for the Battle of Normandy. On the night of 5 June 1944, the battalion departed England for France. Upon landing, as part of Operation Tonga (the British airborne drops on D-Day), <mask> was shot in the hand but continued to command. The 8th Parachute Battalion went on to destroy several bridges over the River Dives and then take up defensive positions in the Bavent Wood, east of Pegasus Bridge. <mask> was awarded a fourth DSO in February 1945 for his contributions during the Battle of Normandy. On his return to England in September 1944, <mask> surrendered command of the 8th Parachute Battalion due to ill health: he married the widow of Reginald G S Morgan Weld Smith(who was killed in the Battle of Britain)-Joan M Niven.Later life
He then resigned his commission to return to his bakery in Glasgow. In 1947, he rejoined the Territorial Army and commanded the 15th (Scottish Volunteer) Parachute Battalion. Later, he gave up the bakery to turn to farming. In 1951, he was made a Deputy Lord-Lieutenant for Glasgow. In 1953 he was promoted to full colonel and in 1967, he was promoted to Brigadier and became Commandant of the Army Cadet Force in Scotland. In June 1956 <mask> was appointed aide-de-camp to the Queen, a ceremonial post he held until 1961. He was appointed CB on 12 June 1958.He was appointed Deputy Lord Lieutenant of Dunbartonshire in 1975, and Lord Lieutenant in 1979. Honours and awards
4 May 1943 – The Distinguished Service Order Major (acting Lieutenant-Colonel) Alastair <mask>is (62792) Army Air Corps (Glasgow, W.2):

18 May 1943 – Bar to the Distinguished Service Order: Major (temporary Lieutenant-Colonel) Alastair <mask> DSO (62792) Army Air Corps. (Glasgow, W.2):

23 September 1943 Military Cross: Captain (temporary Major) Alastair <mask> D.S.O. (62792), Army Air Corps (Glasgow 19):

23 December 1943 Second Bar to the Distinguished Service Order: Major (temporary Lieutenant-Colonel) Alastair <mask>, D.S.O., M.C. (62792), Army Air Corps (Glasgow, W.2):

1 February 1945 – Third Bar to the Distinguished Service Order. Major (temporary Lieutenant-Colonel) Alastair <mask>, D.S.O., M.C. (62792), Army Air Corps (Devizes):

3 September 1948 – Lieutenant Colonel Alastair <mask> is (62792) is awarded Efficiency Medal.Television appearances
<mask> was the subject of This Is Your Life in October 1961 when he was surprised by Eamonn Andrews at the BBC Television Theatre. Footnotes

References

External links
British Army Officers 1939−1945
Imperial War Museum Interview

1915 births
1996 deaths
Military personnel from Glasgow
British Army personnel of World War II
Highland Light Infantry officers
British Parachute Regiment officers
Deputy Lieutenants of Dunbartonshire
Lord-Lieutenants of Dunbartonshire
Companions of the Order of the Bath
Officers of the Order of the British Empire
Recipients of the Military Cross
Companions of the Distinguished Service Order
Operation Overlord people
South Lancashire Regiment officers
Army Cadet Force officers
British bakers
Scottish farmers
British Army brigadiers

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" Stevenson Pearson
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title: Frederick Weston

texts:
<mask> (19462020) was an American interdisciplinary artist. Self-taught, he worked in collage, drawing, sculpture, photography, performance, and creative writing. He was raised in Detroit, Michigan and moved to New York City in the mid-1970s. Over the course of his time in New York, he developed a vast, encyclopedic archive of images and ephemera related to fashion, the body, advertising, AIDS, and queer subjects through his various jobs and social presence in hustler bars and gay nightlife. His early collages and photography, which often utilized likenesses of patrons, highlighted the social and communal nature of such institutions. Continuing this theme, in the mid-1990s, he became co-founder of guerrilla artist group Underground Railroad, which produced street art and outdoor installations. In his lifetime, he exhibited to small audiences in non-traditional art spaces and only in the last two years of his life did his work become widely known and appreciated in urban art circles.<mask>'s early ambition to write fashion reviews for a living later took new life when an AIDS therapist encouraged him to express his feelings in poems. Reviewers later saw influences of his poetry in the collages he made. When the Foundation for Contemporary Arts gave him its Roy Lichtenstein Award in 2019, its announcement praised his collages as "a form of visual poetry, which explore individualism and the ways in which identity is shaped by community" and on the occasion of his first solo exhibition in a commercial gallery a curator wrote, "<mask> embraces collage for its immediacy as a fluid form of tactile poetry". <mask> was modest about the late recognition he received. In a 2019 interview he said, "I'm getting recognition as an artist now basically because I'm 73 and a professional AIDS patient who has managed to survive and has been practicing art all this time". Early life and education
<mask> <mask> was born on September 9, 1946 in Memphis, Tennessee. His mother, Freda Morman <mask>, was 21 years old at the time and unmarried.While he was still a baby, Freda brought him to live with her parents, Fred and <mask>, in their home in Detroit. Fred was an autoworker and Emma a housewife. <mask> later said that his grandparents were his main caretakers during his childhood. He called his grandparents "mother" and "daddy" and called his mother "Freda". <mask> had a large number of close relatives, the families of Freda's aunts and uncles and the children of a marriage she made while <mask> was young. His father never recognized him as his child and <mask> said he only saw him twice in his life. The household in which <mask> was raised was literate and creative.He was read to and was himself an avid reader. An expert seamstress, his mother created much-admired women's fashions. He benefited from anti-segregation policies in education and was bused to integrated public schools in Detroit in which, he said, he felt comfortable and received a good education. A hard worker, he earned money doing odd jobs so that he could attend and eventually graduate from Ferris University. He liked student life there and helped found the university's first African-American fraternity. He spent his childhood in Detroit, Michigan, where his mother had moved soon after his birth. As a child, he met his father only once and, due to the youth of his mother, he received most of his parental care from her parents' home.He was educated in integrated public schools and, while he was a student in Detroit's Commerce High School, one of his teachers encouraged him to pursue art as a career. However, when his mother emphatically told him he could never support himself as an artist, he did not pursue that recommendation. Instead, he took business courses in high school and, after graduating, attended Ferris State University in the small mid-state city of Big Rapids where, in 1971, he obtained a B.S. degree with a major in marketing. Having learned to make clothing by watching his mother's highly skilled sewing technique, he designed clothing for himself while earning his living at an all-Black modeling agency in Detroit. In 1973, <mask> moved to Manhattan where, failing to find work in the fashion industry, worked in low-paying off-the-books service jobs. In the early 1980s, he began study at the Fashion Institute of Technology, taking courses in menswear design and marketing.He graduated from F.I.T. magna cum laude in 1985 with an A.A.S. degree. He worked for a time with the African-American designer Stephen Burrows, but grew frustrated with the fashion industry's discriminatory practices and abandoned an ambition to become a professional fashion writer. During the 1980s, he continued to survive on low-pay service jobs such as checking hats and coats at midtown gay bars, all the while collecting and organizing source material for the collages he had, by then, begun to make. Although, as he later said, he had never learned to draw, by the middle of the 1990s an unexpected sequence of events led him to believe he could become a professional artist. In March 1995, <mask> received a diagnosis as a victim of AIDS.At the time, a friend directed him to the Gay Men's Health Crisis, an AIDS service organization in Greenwich Village. An acquaintance at GMHC suggested he become a participant in the AIDS Adult Day Health Care Program, located in the same building and run by a social services organization called Village Care of New York. On applying, <mask> was accepted into the program and began participating in the Medicaid-supported services that it offered. As a participant, he received health services and substance-abuse counseling, and was given food he could take home thereby ensuring that he ate two meals a day (where before he only had one). He also received help toward obtaining financial assistance via the New York City welfare program and, significantly, was given encouragement and supplies for constructing art projects. In 1998, <mask> brought photographs taken by a deceased friend to Visual AIDS, an organization that supports artists who have AIDS. Recognizing his artistic ability, the organization invited him to join the organization and participate in exhibitions it sponsored.Career in art

At about the same time he became a participant in the AIDS Adult Day Health Care Program, <mask> took an off-the-books nighttime job in a Midtown gay bar called Trix. <mask> mounted large panels on the walls of the coat-check cubicle where he worked with Polaroid images that he had taken of young gay men he had met at Trix whom he had dressed in second-hand clothing he had accumulated and assembled into outfits. <mask> later described Trix customers as "a fabulous mix of high and low and the best drag queens you ever saw". Out of this collection of photographs he created what has been called his first solo exhibition. In 1996, Trix relocated to another block in the midtown theater-district and changed its name to Stella's. Continuing to run the coat-check operation there, <mask> produced what has been called his second solo show. Called "Night Blooming Flowers", it was a selection from the display he exhibited at Trix.An installation photo of this assemblage appears at left. <mask> picked up a low-wage clothing store job in the late 1990s where, as he said, "they were giving me a title (art director) because they weren't giving me any money". Asked to design a blue-themed presentation for the front of the store, he brought together a variety of empty containers he had collected, all of them painted blue, to simulate an abstract urban setting. When the shop's owner rejected the plan, he installed his project on the sidewalk in front of a blue barrier at a nearby construction site. This proved to be the first iteration of what became one of his best-known works, "Blue Bathroom Blues". He drew the title from an evolving series of poems he had written first called "Blue Bedroom Ballads" and eventually "Blue Bathroom Blues". In presenting the poems, he included slides showing versions of the sidewalk art project.The project evolved from empty containers assembled outdoors to collages on foamcore made up of small slips of paper. These collages were similar to the photo boards he had first made while working at Trix. A 1999 version of "Blue Bathroom Blues" is shown at right. During this period, <mask> continued to show collage projects in non-traditional gallery settings, including Village Care ("The Hats" and "I Am a Man" in 1999, as well as "Underground Railroad" in 2000), Stella's ("Presenting Stephanie Crawford" in 1997, and "Whatever Happened to Freddy Darling?" in 2003), the AIDS Housing Network Art Gallery ("The Lost Language of Men's Clothing" in 2002), and the Lesbian, Gay, Bisexual and, Transgender Community Center ("Go Figure" in 2002). In 2000, <mask> showed a collage called "Little Black Sambo" at Village Care. Like "Blue Bathroom Blues" this project evolved over a period of years.One version from 2006, called "Sambo Schema I", is shown at left. It is significant that the Sambo character in the children's book of the same name is a person of color from South India. Because many people who were labeled "Black" came from South India and other places in Asia as well as the biodiverse island of Madagascar, he resented the widespread practice of labeling all Black people African-American. Because of his dark skin color, <mask> had to endure the taunt "African" during his childhood and as an adult, he rejected the label, saying "I don't know what I am. But I'm not African. I'm not from the deep dark jungles. I'm not a savage, you know.And that's what they taught us about Africa". <mask> knew that the Sambo story was seen as racist, but he did not read it that way. He said, "it's about clothes, and going somewhere you didn't have any business... when the fear's in my face and someone is threatening my life, can I use my wits, you know, to keep my life?" In 2003, <mask> showed collages in

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title: Frederick Weston

texts:
 a group exhibition called "Release" that was organized by Visual AIDS and appeared in the Museum of Contemporary African Diasporan Arts. Sally Block and Laurie Cumbo were its curators. In 2011, he was given a retrospective exhibition called "For Colored Boys Who Have Considered Suicide When All You Ever Needed Was the Blues". It was held in the Rankin Art Gallery of Ferris State University.Later that year, his work appeared in a group show called "Stay, Stay, Stay" sponsored by Visual AIDS at La MaMa La Galleria and three years later he showed with another group in Davidson College's Van Every Gallery. Other group shows in this period included "Out of Bounds" at Leftfield Bar on the Lower East Side of Manhattan (2015), "Art AIDS America" at the University at Buffalo and three other sites (2016), and "Persons of Interest" at a Manhattan bookstore called Bureau of General Services—Queer Division. He showed collages in four group shows during 2017 ("Intersectional Identities" at Clifford Chance in New York, "Found: Queer Archaeology; Queer Abstraction" at the Leslie-Lohman Museum of Art in New York, and "AIDS at Home" at the Museum of the City of New York, "Cut Here: Matt Keegan, Siobhan Liddell, <mask>" at the Gordon Robichaux Gallery). The following year, he appeared frequently in group shows and in panel discussions in which he often showed slides of his work. These included a panel called "Fag, Stag, or Drag?" with John Neff at Artists Space in New York, a panel of poetry readings at Gordon Robichaux, a group show called "Proposals on Queer Play and the Ways Forward" at University of Pennsylvania's Institute of Contemporary Art, a panel on "Visual Arts and the AIDS Epidemic" at the Whitney Museum of American Art, a group called "This Must Be the Place" at the 44 Walker Street Gallery in New York, a group called "A Page from My Intimate Journal" at Gordon Robichaux, a group called "Queer Artist Fellowship: Alternate Routes" at the Leslie-Lohman Museum, and a two-person show called "Inside, Out Here" at La MaMa La Galleria. In 2019, Gordon Robichaux mounted a solo retrospective exhibition called "Happening".The show included the then-current version of <mask>'s "Body Map" project, a collage begun in 2013, it was made from images and other small paper objects that he had, as one commenter said, "amassed over the last 30 years and cataloged in binders in different categories of race, gender, class issues, color, and other devices for organizing images". "Body Map I" of 2015, shown here at right, contains images of prominent African-American men, including the face of Tom Morgan, the first openly gay president of the National Association of Black Journalists. In 2020, <mask> received a $40,000 prize, the Roy Lichtenstein Award of the Foundation for Contemporary Arts. That year he also showed "Blue Bedroom Blues" in an exhibition at the Ace Hotel Art Fair in New York and appeared in a groups show at the Parker Gallery ("A Page From My Intimate Journal II") and at the Tom of Finland Foundation, both in Los Angeles. Artistic style

<mask>'s exhibitions in non-traditional spaces did not usually attract reviews from critics in the mainstream press. Sponsoring organizations publicized the shows using websites or other online media and, for most of <mask>'s career, critical evaluations are rarely found. Exceptions include a wall label written by the curator, John Neff, for the Art AIDS America traveling exhibition of 2016.He wrote, "Fredrick <mask>’s tightly composed collages subject the leftovers of an HIV-positive person’s daily discipline of self-careQ-Tip wrappers, Norvir (an HIV protease inhibitor) boxes and other pharmaceutical containersto a severe formal order, transforming what would otherwise be wastepaper into abstract arrangements that rival the most accomplished paintings of the Modern movement. In this way, <mask>’s collages transform evidence of a tedious and unwelcome habitself-administration of the daily HIV-inhibiting ‘drug cocktail’into decorative, pleasurable, life-affirming works of art". A 2019 profile of <mask> by Svetlana Kitto, written in conjunction with the "Happenings" exhibition, gives what is probably the fullest evaluation of his approach and its significance. She wrote, "<mask> embraces collage for its immediacy as a fluid form of tactile poetry. Through his use of visual and textual alliteration, images and categories collide, cohere, rhyme, and fracture around a single color or cultural symbol, resisting synthesis or literal interpretation". His works, she wrote, express "range of ideas, rubrics, colors, vernaculars, histories, and ethics". She described his themes as, "the absurdity of labels, critique of racial categories and hierarchies, ecstasy of multiplicity, and the pleasure of being a person gifted with the language to celebrate, assess, and play within the world(s) we inhabit".Other evaluations tended to locate <mask> as a product of his environment, his sexual orientation, his race, and his affliction. One such, by Tessa Solomon, in ARTnews, said that <mask> "interrogate[d] the intersections of Black culture and mass consumerism, as well as his own identity as a Black, queer, HIV-positive artist". <mask> used binders to organize the source materials he used for his collages. He frequently used photocopiers to reproduce images that appealed to him and once said, "I multiply. I know I'm a multiplier... I love the copy machine". His sources included items that he called trash as well as advertising and media reproductions involving AIDS, human bodies, and queer subjects.Male fashions were a special concern of his. In 2020, he told an interviewer, "My whole practice really is about the way that men look, men comport themselves, and the way that men pose". In 2019, a reviewer said that fashion was for <mask>, "a pleasurable, expressive place of liberation where signifiers of race, gender, and class mix and match like paper dolls". Personal life
<mask> possessed an outgoing and engaging personality and maintained close ties with family, friends he'd made while working in Detroit, and his fraternity brothers. While living in New York, he suffered from poverty and drug abuse. He also endured emotional upheavals that would produce mental breakdowns. These problems resulted in frequent moves from one single-room-occupancy hotel to another and to frequent occasions during which his turmoil and loss of self-control would result in the loss of his possessions.For many years, <mask> lived in SROs and hotels all over the city—the Esquire, the Senton, the Roger Williams, and the Breslin—where a series of financial and emotional upheavals would lead him, as a reporter said, to “lose everything three times.”  He later said that during breakdowns he would check himself into Bellevue Hospital for a few days to calm down. He also said that by 2001 he had given up use of LSD and cured himself of a crack addiction. In 2016, after he had turned his life around and his art career had begun to take hold, he addressed the massive challenges he had earlier faced. He said, "there used to be a time where things would happen and I would say, "Lord why me?" Now things happen to me and I'm like, "Why not me? I'm the man for the job. Why not me".In a 2019 interview, he explained his economic situation after he had received his AIDS diagnosis. He said, "When you get an AIDS diagnosis, in order to get your entitlements, you need to take a vow of poverty. In order to get housing and the health care that you need, you have to say you don’t have anything in your pockets, because the minute you start to have anything, they’re going to start taking things away from you. So I’ve just managed to learn, to live, and to seek out a rich life under those circumstances. I really consider going to my day treatment program, taking my medicine, keeping my viral load down and my T-cells up, kind of like my job". <mask> was open about his sexual orientation but, at least on one occasion, rejected the label of gay man. In 2016, he said, "You can't put me on a cross for being a homosexual when really, I'm an asexual.I don't know why I have sex". Regarding the impact of AIDS on his art, he said, "There were the periods where I wasn't having sex just because I didn't want to catch it, or I didn't want to spread it, or didn't know how to spread it, or didn't want to get somebody else's strain. So my work really got to be a way of me using that energy". <mask>'s practice of collecting source materials for his collages could become an obsession. He joined and became an active member of Clutterers Anonymous to help cope with this problem. <mask> died on October 21, 2020. Earlier that year, he had learned that he had advanced stage of bladder cancer and this proved to be the cause of his death.An obituary reported that he worried that treating the cancer might cause problems with the medications he took to control HIV. The obituary said, "he decided not to seek more hospital treatment, and he remained at home focusing on his art". Further reading
 DUETS: <mask> & Samuel R. Delany in Conversation (Visual AIDS, 2021)

Notes

References

External links
"Blue Bathroom Blues" performance, 2001
"Share Your Vision" presentation, 2003
"Metaphors and Their Distemper", 2015
"Persons of Interest" exhibit, 2016
Tribute to Affrekka Jefferson, 2016
"AIDS at Home" presentation, 2017
AIDS at Home: Art and Everyday Activism, 2017
"Fag, Stag, or Drag? ", 2018
Discussion of "Alternate Endings, Activist Risings", 2018
"Happening" exhibition, 2019
"<mask> Reads Intimidated For James Baldwin" poetry reading
"Last Address Tribute Walk: Times Square"
Visual AIDS conversation with Alivin Baltrop, Raynes Birkbeck, and Reverend Joyce McDonald, 2020
"Page From My Intimate Journal" exhibition, 2020

1946 births
2020 deaths
20th-century American artists
American collage artists
People from Memphis, Tennessee
20th-century African-American artists
21st-century African-American

masks:
Frederick Weston
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