title: Roy Heath

texts:
<mask> (13 August 1926 – 14 May 2008) was a Guyanese writer who settled in the UK, where he lived for five decades, working as a schoolteacher as well as writing. His 1978 novel The Murderer won the Guardian Fiction Prize. He went on to become more noted for his "Georgetown Trilogy" of novels (also published in an omnibus volume as The Armstrong Trilogy, 1994), consisting of From the Heat of the Day (1979), One Generation (1980), and Genetha (1981). <mask> said that his writing was "intended to be a dramatic chronicle of twentieth-century Guyana". His work has been described as "marked by comprehensive social observation, penetrating psychological analysis, and vigorous, picaresque action." Biography
<mask> was born and grew up in Georgetown in what was then British Guiana, and "had African, Indian, European and Amerindian blood running through his veins". He was the second son and youngest of the four children of <mask> (d. 1928), head teacher of a primary school, and his wife, Jessie de Weever (d. 1991), music teacher.Educated at Central High School, Georgetown, <mask> worked as a Treasury clerk (1944–51) before leaving for the UK in 1951. He attended the University of London (1952–56), earning a B.A. Honours degree in Modern Languages. He also studied law and was called to the bar at Lincoln's Inn in 1964 (and to the Guyana bar in 1973), although he never practised as a lawyer, pursuing a career since 1959 as a writer and a schoolteacher in London, where he lived until his death at the age of 81. In his later years he had suffered from Parkinson's disease. Rohan <mask>, founder of the band Urban Cookie Collective, is his son. Writing

Although <mask> left British Guiana in 1951, "it never left him.He only ever wrote about his mother's land, never his adopted home." As Mark McWatt notes: "Guyana is always the setting for his fiction, and its capital and rural villages are evoked in the kind of powerful and minute detail that would seem to require the author's frequent visits." However, "Although [<mask>'s] fiction has fed richly upon his obsessive and meticulous memories of Georgetown and the coastland, his novels cannot be called celebrations of the place and its people. They seem to reveal instead the failures and shameful inadequacies of individual and community." His short story "Miss Mabel's Burial" was published in 1972 in the Guyanese journal Kaie; another story, "The Wind and the Sun", appeared in the Jamaican journal Savacou two years later. <mask>'s first novel, A Man Come Home, was published in 1974 by Longman, where Anne Walmsley was Caribbean publisher, with a limited focus on the local educational market. When <mask> completed his next book, Walmsley "urged him to look elsewhere for a firm that could bring his work the acclaim, the wide sales, that it deserved.Who better than the then fledgling Allison and Busby?" Taken on by A&B, with Margaret Busby as editor, <mask>'s next novel, published in 1978, was The Murderer, which that same year won the Guardian Fiction Prize and was described by The Observer as "mysteriously authentic, and unique as a work of art". The Murderer was also listed in 1999's The Modern Library: 200 Best Novels in English since 1950 by Carmen Callil and Colm Tóibín. <mask> Combray was produced in Georgetown, Guyana, in 1972, in which year he won the Guyana Theatre Guild Award.In 1983, during a vacation to Guyana, <mask> delivered the Edgar Mittelholzer Memorial Lecture, entitled "Art and Experience", in Georgetown. In the lecture <mask> stated: "The price the artist pays for his egotism is a high one. On one level egotism obliges him to create, while the same egotism threatens to destroy him. Success not only goes to his head, it remains there, creating demands he cannot hope to satisfy. I am acutely aware of all of this and therefore try to shun gratuitous publicity." In 1989 he was awarded the Guyana Prize for Literature for his novel The Shadow Bride, which was also shortlisted for the 1991 Booker Prize, and about which Publishers Weekly said: "<mask>'s modest, unpretentious style undergirds a powerful realism as his subtle analysis of family conflicts builds to a tragic and moving climax." Reception
<mask>'s writings have been widely acclaimed and he has been called "truly one of the most brilliant story tellers ever", with reviewers at different times comparing his work to that of such great writers as D. H. Lawrence, R. K. Narayan, Dostoevsky, Tolstoy, Graham Greene, Joseph Conrad, V. S. Naipaul and others.Described by Salman Rushdie as "a beautiful writer" and by Edward Blishen as "simply one of the most astonishingly good novelists of our time", <mask> might have been better known outside literary circles had he not eschewed personal publicity, believing that his work should speak for itself. The Murderer
Winner of  the Guardian Fiction Prize in 1978, The Murderer was well reviewed on first publication and later reissues, being described by The Observer as "mysteriously authentic, and unique as a work of art" and by Publishers Weekly as "an impressive study of a man's descent into paranoia and madness." "What is impressive about The Murderer is the execution of a style that truncates emotion..." (Wilson Harris, World Literature Written in English)

The Armstong Trilogy
"A spare, bleak saga of two generations in the life of a Guyanese family struggling for respectability but unable to snatch any but the most fleeting moments of happiness. ... Like the early D.H. Lawrence, <mask> endows the familiar trials of this family with an elemental power, as if each were happening for the first time. The result is harrowing in its simplicity and cumulative force." (Kirkus Reviews)

"Mr. <mask> is a gentle social satirist with a concise, probing style; his prose is filled with ironies, both overt and subtle.... <mask>'s solid devotion to character, plot and emotion, to the minutiae of daily life and its buried tragedies, is not post-modern or even modernist. It is impossible, despite his work's affinities to Dostoyevsky and Hardy and the Joyce of 'Dubliners,' to put a date on it: the post-colonial world has its own unique time lines.To call this author old-fashioned, however, is nothing but praise." (The New York Times)

Kwaku; or, the Man Who Could Not Keep His Mouth Shut
"<mask> is a master of droll, understated comedy; his affectionate empathy with his characters is never for a moment compromised by condescension. He's a somewhat flintier R.K. Narayan, and there's more than whiff of Kipling in his avuncular fascination with scramblers and hustlers. A wonderful novel, which stands impressively both on its own and in tandem with its equally irresistible sequel. There's no longer any doubt that <mask> is one of the world's best writers." (Kirkus Reviews)

"Kwaku comes from a long line of literary buffoons who manage to triumph over the intelligent people around them. The language Mr. <mask> employs to describe this process is luxurious and densely baroque in places, sweetly comic in others.The hero's clowning conceals an essential wisdom and goodness. In the end, he is unable to become as hardened and corrupt as the people he tries so desperately to emulate, and in this lies his greatest success." (Mark Childress, The New York Times)

Orealla
"...this novel perhaps owes as much to Wilson Harris as to Mittelholzer, contrasting as it does the communal, spiritual and moral values of traditional Amerindian life" (Stewart Brown, Kyk-over-Al)

"<mask>'s novels are so imbued with local sights, sounds, smells, speech and unique features of the landscape that they offer rare and penetrating insight into the history and culture of twentieth century Guyana." (Frank Birbalsingh, Indo-Caribbean World)

The Shadow Bride
"The Guyanese-born <mask> (the superb Armstrong Trilogy, 1994, etc.) surpasses himself with this ambitious, vividly written, psychologically rich chronicle—set in his own colorfully multiracial native country—of compromised ambition and family conflict. ...And in the harrowing progression from mother's love through sexual enslavement to climactic violence and madness of Betta's larger-than-life mother, the author has achieved a masterly feat of characterization: This is a woman whom no reader will easily forget. <mask>'s brilliant novel—also distinguished for its flexible and lyrical prose, expert handling of its several native populations, varieties of pidgin English, and memorable use of figurative language—was shortlisted for the Booker Prize.It's hard to believe it didn't win." (Kirkus Reviews)

"<mask>'s modest, unpretentious style undergirds a powerful realism as his subtle analysis of family conflicts builds to a tragic and moving climax." (Publishers Weekly)

The Ministry of Hope
"A wonderful comic novel.... A dramatic display of character in action that has seldom been matched by any contemporary novelist. On all counts, a triumph." (Kirkus Reviews)

"With a fine ear for comic dialogue and an eye for the ironies of clashing personalities ... <mask> ably steers his charming ship of fools and knaves through a sea of picaresque corruption to a generous-hearted conclusion." (Publishers Weekly)

Shadows Round the Moon
"In his memoir-novel Shadows Round the Moon <mask> offers reminiscences of colonial life and Caribbean culture. His reproductions of Guyanese dialect, as well as his descriptions of the Creole (black), Hindu, and Muslim communities are noteworthy."(Raymond Williams)

Bibliography

Novels
 A Man Come Home (London: Longman, 1974). The Murderer (London: Allison & Busby, 1978; Guardian Fiction Prize). From the Heat of the Day (London: Allison & Busby, 1979). One Generation (London: Allison & Busby, 1980). Genetha (London: Allison & Busby, 1981). Kwaku; or, the Man Who Could Not Keep His Mouth Shut (London: Allison & Busby, 1982). Orealla (London: Allison & Busby, 1984).The Shadow Bride (London: Collins, 1988; New York: Persea Books, 1995). The Armstrong Trilogy (New York: Persea, 1994). The Ministry of Hope (London: Marion Boyars, 1997). Memoir
 Shadows Round the Moon: Caribbean Memoirs (London: Collins, 1990). Short stories
"Miss Mabel's Burial," in Kaie (Georgetown, Guyana), 1972. "The Wind and the Sun," in Savacou (Kingston, Jamaica), 1974. "The Writer of Anonymous Letters," in Firebird 2, edited by T. J.Binding (London: Penguin Books, 1983). "Sisters," in London Magazine, September 1988. "The Master Tailor and the Lady's Skirt", in Colours of a New Day: Writing for South Africa, edited by Sarah LeFanu and Stephen Hayward (London: Lawrence & Wishart, 1990)
"According to Marx," in So Very English, edited by Marsha Rowe (London: Serpent's Tail, 1991). Lecture
 Art and Experience – Eighth series, Edgar Mittelholzer Memorial Lectures (Georgetown, Guyana, Department of Culture, Ministry of Education, Social Development and Culture, 1983; 31 pp). Awards
 1972: Guyana Theatre Guild Award
 1978: Guardian Fiction Prize for The Murderer
 1989: Guyana Prize for Literature
 1991: Booker Prize shortlist for The Shadow Bride

References

Further reading
 Gafoor, Ameena, Aftermath of Empire: The Novels of <mask>. K<mask>, The University of the West Indies Press, Kingston, 2017. McWatt, Mark, "Wives and Other Victims in the Novels of <mask>. K<mask>", in Out of the Kumbla: Caribbean Women and Literatures, Trenton. NJ: Africa World Press, 1990.McWatt, Mark A., "<mask>. K. <mask>", in Daryl Cumber Dance, Fifty Caribbean Writers: A Bio-Bibliographic-Critical Sourcebook, Westport, Connecticut: Greenwood Press, 1986, pp. 207–16. McWatt, Mark, "Tragic Irony, the Hero as Victim: Three Novels of <mask>. K<mask>", in Erika Smilowits and Roberta Knowles (eds), Critical Issues in West Indian Literature, Parkersburg, Ia. : Caribbean Books, 1984, pp. 54–64. Akoma, Chiji, "<mask>. K. <mask> and Guyanese Anxiety Lore" (Chapter Two), in Folklore in New World Black Fiction: Writing and the Oral Traditional Aesthetics, Columbus: Ohio State University Press, 2007. Saakana, Amon Saba, Colonization and the Destruction of the Mind: Psychosocial Issues of Race, Class, Religion and Sexuality in the Novels of <mask>, London: Karnak House, 1996.External links
Review of The Shadow Bride. Mark Childress, "No Ordinary Idiot" (review of The Ministry of Hope and Kwaku; Or, The Man Who Could Not Keep His Mouth Shut), New York Times, 11 May 1997. Margaret Busby, "<mask> <mask>: Brilliant, gentle writer whose novels explored the subtle textures of Guyanese life" (obituary), The Guardian, 20 May 2008. "UK-based novelist <mask> dies at 82" (obituary), Kaieteur News, 16 May 2008. Ameena Gafoor, "The Arts Forum – A Tribute to <mask> (1926–2008)", Kaieteur News, 18 May 2008. <mask>. K<mask> biography
David Katz, "<mask>: A Man Goes Home", Caribbean Beat, Issue 93, September/October 2008. Al Creighton, "<mask>: ‘A writer of prodigious talent’", Stabroek News, 22 June 2008.Al Creighton, "Dissecting <mask> and Guyanese literature", Stabroek News, 22 July 2018. 1926 births
Guyanese writers
Guyanese novelists
Guyanese emigrants to England
2008 deaths
People with Parkinson's disease
Alumni of the University of London
Members of Lincoln's Inn
Guyanese short story writers
20th-century British short story writers
People from Georgetown, Guyana
20th-century male writers
20th-century Guyanese writers
Guyanese people of Indian descent
British male novelists
Schoolteachers from London
British memoirists
British people of Indo-Guyanese descent
20th-century British novelists
20th-century memoirists
20th-century novelists

masks:
Roy Aubrey Kelvin Heath
Heath
Roy Heath
Melrose Arthur Heath
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Heathez
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Roy Heath
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. Heath
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Roy A
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. Heath
Roy A
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Roy AK
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Roy Heath


title: Louis Christian Hess

type: original

texts:
<mask>, artistic name of <mask>, known also as <mask> (Bozen, 24 December 1895 – Schwaz, 26 November 1944) was an Austrian painter and sculptor of the German Neue Sachlichkeit (New Objectivity) during the 1920s. Early years

In 1915 <mask> exhibited his first works - drawings, tempera and engravings - at the "Turn und Taxishof Galerie" in Innsbruck. During World War I <mask> fought on the French front at the Somme and Ardennes. After the war, from 1919 to 1924 he attended the Bayerische Akademie der Bildenden Künste in Munich, in the class of Prof. C. Becker-Gundhal. In 1920 <mask> attended the first collective exhibition "Ausstellung Junger Münchner - Graphische Kunstwerkstätten" in  Munich presented by George Jacob Wolf. In the following 1921 exhibition "Ausstellung Junger Münchner" at the Gemälde Galerie Sct. Martinus, also in Munich, he exhibited works alongside pieces by Florian Bosch, Adolf Hartmann, Siegfried Kühnel, Georg Liebhardt, Josef Nickl, Eugen Siegler, Bernhard Therhorst and the sculptors Lothar Dietz and Benno Miller.After his sister Emma moved to Sicily in 1924, <mask> made frequent trips to Italy, drawing inspiration from the colour and mediterranean light that he poured into his art. <mask> and the Juryfreie

In 1928 he became close to Max Beckmann until his exile. <mask> participated in the "Sommer Ausstellung des Deutschen Künstler Verbandes AUFBAU - E. V." in Munich and some of his paintings were shown in Berlin. In 1929 he joined the "Juryfreie" movement, becoming its leader until his ban in 1933 by the National Socialist regime. In "Aus meinem Künstnotizbuch", the art critic Wilhelm Hausenstein wrote: "Juryfreie reveals itself as a prominent artistic group... I notice <mask>, Josef Scharl, Fritz Burkhardt, Grassmann, Panizza and sculptors such as Spengler and Zeh". Art magazines published <mask>'s works: the Lipsian "Cicerone" published the painting "Am Strand" (On the beach); the Munich magazine "Jugend", official voice of the "Jugendstil" movement, published on the cover of the April 1930 issue the oil painting "Fischer mit roter Weste" (Fisherman with red jacket), central part of a triptych shown at the Secession exhibition.In the same year, the catalogue "Zweijahrbuch" (1929–30) presented by the critic Hans Eckstein, with essays by Franz Rho, Oskar Maria Graf and Wolfgang Petzet, published the paintings "Neptun" and "Matrosen" produced in Messina. <mask> frescoed the thermal bath in Oeynhausen (Westphalia). "Jugend" reproduced "Am Wasser", the central part of a triptych shown at the June Secession exhibition. On 6 June 1931, in the Munich Glaspalast fire, works by <mask> and other artists were burnt. For the "Juryfreie" artists an extraordinary exhibition was organised in the German Museum. In the same year <mask> was in Rome with his friend Karl Hofer. Back in Germany there began a movement of painters, sculptors and architects and in the exhibition "Bildhauer Maler Architekt" <mask> presented cartoons for the frescoes of a cinema with sound in Breslau.1932 was still a year of great artistic vitality. With the "Juryfreien" <mask> exhibited the painting "Wartesaal III Klasse in Bologna" (Monspreis London - Opus 30) and sculptures in the Munich "Lenbach Galerie" and in Düsseldorf. A season of exhibitions followed with the Deutscher Künstlerbund in Berlin, Nuremberg, Koenigsberg, Danzig and Rostock. The years of exile

The artistic ostracism practised by Nazism moved <mask> to a voluntary exile. In 1933, after the dissolution of Jurifreie, regarded by the regime as a "Bolshevik cultural union", he moved to Sicily. The following year he married the Swiss citizen Cecile Faesy with whom he left for Switzerland. There he had to work in difficult conditions because since 1935 Germans were not welcome.He ran some theatre direction, scenography and made some puppet engravings. Through some friends he was able to sell some unsigned paintings but in 1936 went back to Sicily with the wife that he divorced some months later. From friends still in Germany and Austria he knew that the political situation was worsening. He studied new techniques but depression brought him to the edge of suicide. Supported by his sister Emma he found the energy to go back north. In 1938 he was in Switzerland again, in Liestal, in the house of his close friend Jurg Spiller but he did not receive a residence permit. Then he moved to Germany where the cultural and artistic life was under the strict control of the regime.In 1939 he was hosted in Chiemsee by his friend Franz Saverius Gebhardt-Westerbuchberg. There he was able to paint and model sculptures. In Oberwössen, Bavaria, he frescoed the walls of a restaurant owned by the widow of his friend, the sculptor Oskar Zeh, who had committed suicide in 1935 in Munich. His health worsened. Seriously ill, he spent 1941 in Schwabing Hospital, then in Planegg Asylum. Once he was discharged, he went to the Tyrol, first to Axams and Innsbruck, then to Grinzens and to Zirl, where he painted frescos in the municipal offices. In 1942 he was back in Innsbruck.The Tyrolean Artistic Union ("Der Landsleiter der Reichskammer der Bildenden Künste beim Landskulturwalter Gau Tirol Voralberg") provided him with an atelier. After his last hospitalization he died on 26 November 1944, during an air raid on Innsbruck, where he is buried, in the Westfriedhof. Bibliography
 Zweijharebuch (1929–30) - Deutscher Künstlerverband die Juryfreien - München E.V. - 1930
 <mask> - Exhibition catalog - Palermo - 1974
 Christoph Stolzl, Die Zwanziger Jahre in München, München, Münchner Stadtmuseums, 1979
 Abbild und Emotion - österreicher Realismus -1914 1944 - Manfred Wagner et al. - Edition Tusch Wien - 1984
 Im Spiegel der Wirklichkeit - Matthias Boeckl - Museumsverein Bruneck - 2007
 <mask> 1895 1944 - Museum Rabalderhaus Schwatz - Stadtmuseum Bozen - Athesia BZ - 2008 -
 <mask>. Ein Tiroler in Sizilien. Edition Schütz, Wien 2012,

External links
 Christian Hess Cultural Association

1895 births
1944 deaths
19th-century Austrian painters
19th-century male artists
Austrian male painters
20th-century Austrian painters
20th-century male artists
Academy of Fine Arts, Munich alumni
Austrian civilians killed in World War II
Deaths by airstrike during World War II

masks:
Louis Christian Hess
Alois Anton Hess
Christian Hess
Hess
Hess
Hess
Hess
Christian Hess
Hess
Christian Hess
Hess
Hess
Hess
Hess
Hess
Hess
Hess
Christian Hess
Christian Hess
Christian Hess


title: Dominic Barrett

texts:
<mask> (often called <mask>) (born 30 July 1985 in Cambridge, England) is one of England's leading ten-pin bowlers. He competes in world events and the PBA Tour, on which he has won nine titles. This total includes three PBA major titles: the PBA World Championship (2013), the U.S. Open (2018) and the Tournament of Champions (2022), which makes him the eighth triple crown winner in PBA history and the first European player to accomplish the feat. He has also been the ranking winner on the European Bowling Tour (EBT) in three seasons (2010, 2012 and 2013). He is nicknamed "The Dominator". For much of his PBA career, <mask> was sponsored by the Track division of Ebonite International. He is now a member of the Brunswick pro staff since Brunswick purchased Ebonite in late 2019.He is also sponsored by Turbo 2n1 grips and Dexter shoes. Perfect Games

To date, <mask> has bowled 65 perfect 300 games in professional competition, including 18 on the PBA Tour. Achievements

<mask> has 13 European Bowling Tour (EBT) titles to his name as of the end of the 2019 season, plus eight PBA titles through the 2019 season. 2008
<mask> was the EBT ranking runner-up in 2008. 2009
In the first stage of the World Tenpin Masters, <mask> won 2–0 against Guy Caminsky from South Africa. In the second stage of the tournament, <mask> won 2–0 against Paeng Nepomuceno from the Philippines. In the third stage, he defeated Finnish bowler Osku Palermaa 2–0.He then beat Chris Barnes in the semifinals with a two-game score of 490. In the end, <mask> won the World Tenpin Masters at the Barnsley Metrodome with a 505 over two games, beating his opponent Jason Belmonte of Australia. <mask> would also win the Weber Cup with Team Europe this year. 2010
<mask> was Ranking Winner on the EBT for the 2010 season. 2011

On November 19, 2011, in his American television debut (broadcast February 19, 2012), <mask> defeated American Sean Rash of Montgomery, IL, 247–204, to win the Professional Bowlers Association Scorpion Open at the South Point Casino and Hotel in Las Vegas. This was his first PBA Tour title. 2012
While unable to win a PBA title, <mask> was Ranking Winner on the EBT for the 2012 season.2013
<mask> won the Weber Cup XIV with Team Europe teammates Mika Koivuniemi, Martin Larsen and Stuart Williams. He captured the 2013 PBA World Championship for his second PBA Tour title and first PBA major. He then won the 2013 Qatar Open in Doha, Qatar, which qualified as his third PBA title in addition to a World Bowling Tour title. On the EBT, <mask> was Ranking Winner for the third time in his career in 2013. 2014
<mask> successfully defended his 2013 Qatar Open championship by winning the event again on 27 November 2014. He defeated Stuart Williams 395–388 over the two-game final in an all-England title match. This was his fourth PBA title.2015
<mask> finished runner-up at the 2015 Bowlmor AMF U.S. Open, defeating three opponents in the stepladder final before losing to Ryan Ciminelli in the final match, 236–223. In December, 2015, <mask> was the #1 seed for the PBA World Bowling Tour Men's Finals, held in Reno, NV, and defeated Mike Fagan in the final match. The three finalists for this non-title event were chosen and seeded based on a rolling points list of PBA International-World Bowling Tour tournaments held over the previous two years. <mask> made a career-high nine championship round appearances during the 2015 PBA season. 2016
Despite not winning a PBA Tour event in 2016, <mask> still had PBA earnings of almost $117,000 (USD), thanks to a third-place finish in the PBA World Championship and a second-place finish in DHC PBA Japan Invitational. 2017
<mask> topped a 345-player field at the Brunswick Euro Challenge on 26 March 2017, defeating Thailand's Jojoe Yannaphon in the final match to win the €12,500 first prize and his fifth PBA title. As one of the top eight PBA Tour money leaders from the start of the 2015 season through the 2017 USBC Masters, <mask> was invited to participate in the inaugural Main Event PBA Tour Finals in May, 2017.He placed seventh in the event. 2018
On January 28, 2018, <mask> won his sixth PBA title at the DHC PBA Japan Invitational in Tokyo, topping American Kyle Troup in the final match. On October 31, <mask> won his seventh PBA title and second PBA major at the U.S. Open, defeating top seed Jakob Butturff in the final match by a single pin, 207–206. Following this win, <mask> is now title-eligible for the PBA Hall of Fame (having two major championships with at least five total titles). <mask> was announced as a finalist for the 2018 PBA Player of the Year award, but the award was given to Andrew Anderson. 2019
<mask> qualified as the #14 seed for the inaugural PBA Tour Playoffs in 2019. He made it to the Round of 8 before being defeated by #6 seed Sean Rash.<mask> won his eighth PBA Tour title at the PBA-WBT Kuwait Open on November 8, 2019. Per tournament rules, <mask> had to beat the #1 qualifier, Iceland's Arnar Jonsson, twice to earn the title, which he did by scores of 289–235 and 278–277. <mask> also won the non-title World Bowling Tour Men's Finals during this same stop. 2022
After going through the COVID-shortened 2020 PBA Tour season and the 2021 season without winning, <mask> returned to the winner's circle on February 27, 2022, winning the PBA Tournament of Champions. After a convincing 279–201 semifinal match win over Shawn Maldonado, <mask> defeated top seed Kristopher Prather 210–189 in the final match. <mask>'s ninth PBA title gave him a win in all three of the PBA Tour's original major championships, making him the eighth triple crown winner in PBA history. PBA career statistics
Statistics are through the last complete PBA season.+CRA = Championship Round Appearances

PBA titles
Major championships in bold type. 2011 WSOB III Scorpion Open (Las Vegas, Nevada)
 2013 PBA World Championship (Las Vegas, Nevada)
 2013 PBA-WBT Qatar Open (Doha, Qatar)
 2014 PBA-WBT Qatar Open (Doha, Qatar)
 2017 PBA-WBT Brunswick Euro Challenge (Munich, Germany)
 2018 DHC PBA Japan Invitational (Tokyo, Japan)
 2018 74th U.S. Open (Wichita, Kansas)
 2019 PBA-WBT Kuwait Open (Kuwait City)
 2022 PBA Tournament of Champions (Fairlawn, Ohio)

Personal
<mask> now resides in Great Bentley, England. His wife Cassie gave birth to the couple's first child, a son named Colby Henry <mask>, on August 18, 2018. References

External links
 Industry profile of <mask>
 <mask>'s web site
 TalkTenpin.net news report

1985 births
Living people
British ten-pin bowling players

masks:
Dominic Simon Barrett
Dom Barrett
Barrett
Barrett
Barrett
Barrett
Barrett
Barrett
Barrett
Barrett
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Dominic Barrett
Dominic Barrett


title: Trent Frederic

texts:
<mask> (born February 11, 1998) is an American professional ice hockey forward for the  Boston Bruins of the National Hockey League (NHL). The Bruins selected him in the first round, 29th overall, of the 2016 NHL Entry Draft. Born and raised in St. Louis, Missouri, <mask> was a childhood fan of the St. Louis Blues NHL team, and his childhood coaches included former Blues players Keith Tkachuk and David Backes. After two seasons at De Smet Jesuit High School, he was recruited for the USA Hockey National Team Development Program in 2013, with whom he appeared in multiple international tournaments, including the World U-17 Hockey Challenge and IIHF World U18 Championship. While with the USA Hockey program, <mask> committed to join the Wisconsin Badgers college ice hockey program for their 2016–17 season. The Badgers lost the Big Ten Conference championships both seasons <mask> was there, but he scored 15 and 17 goals in those two seasons, respectively. After his sophomore year, <mask> chose to leave Wisconsin in order to sign with the Bruins.<mask>'s push to become the Bruins' third-line center in the  season did not work out: he had a chance at the role in February 2019, but was sent back down to the Providence Bruins of the American Hockey League (AHL) after 11 scoreless outings. <mask> remained with Providence for the  season, save for two NHL games in place of an injured Zachary Senyshyn, and had 32 AHL points by the time that the COVID-19 pandemic brought the season to a premature end. <mask> had a permanent position in the Bruins' NHL roster the following season until he contracted a mysterious illness in April, after which he was used only sparingly. Early life
<mask> was born on February 11, 1998, in St. Louis, Missouri, to Bob and Gaye <mask>, both lifelong fans of the St. Louis Blues of the National Hockey League (NHL). Raised a Blues fan, <mask>'s favorite hockey players as a child were Keith Tkachuk and David Backes, and as he began playing hockey himself, he would model his playing style after that of Backes. He played three sports throughout his childhood, all of which were coached by former professionals: <mask>'s hockey coaches were Tkachuk and Jeff Brown, the quarterback coach on his American football team was Gus Frerotte, and Mike Matheny coached him in Little League Baseball. <mask> spent two years as a three-sport athlete for De Smet Jesuit High School before October 2013, when the USA Hockey National Team Development Program noticed him at a minor ice hockey tournament and recruited him for their program.He spent two years in the development program, scoring seven goals and 12 assists for a total of 19 points in 58 United States Hockey League games. Playing career

NCAA
On April 18, 2014, <mask> committed to play college ice hockey for the Wisconsin Badgers beginning in the 2016–17 season. The summer before joining the Badgers, <mask>, who had previously been recruited by the Boston University Terriers, was selected by the Boston Bruins in the first round, 29th overall, of the 2016 NHL Entry Draft. Despite being drafted, <mask> committed to Wisconsin, and he scored his first collegiate goal on October 8, 2016, as part of a 6–5 defeat of the Northern Michigan Wildcats. With six points in his first four games, including a four-point game against the Boston College Eagles, <mask> was named the Big Ten Conference's Second Star of the Week for the week ending October 18. After breaking his hand in practice on November 17, the Badgers' goals per game dropped from 3.75 in the eight games he had played to 2.67 in the six games he missed. Centering a line with Cameron Hughes and Luke Kunin, <mask> was second to Kunin with 15 goals and 33 points in 30 regular season games.Although the Badgers lost the Big Ten tournament to Penn State in double overtime, thus keeping them out of the NCAA tournament, <mask> was named the Big Ten Men's Ice Hockey Freshman of the Year, as well as the recipient of the Spike Carlson–Chris Chelios Award for the Badgers' most valuable player (MVP). He was also named to both the All-Big Ten Second Team and Freshman Team. When Hughes was promoted to Badgers captain shortly before the 2017–18 season, <mask> became one of four alternate captains. He struggled in the first half of the regular season, dropping from 1.1 points per game during his freshman year to 0.76 as a sophomore, in part because his opponents were targeting him. In an effort to remedy this, coach Tony Granato dropped <mask> from the first to the third offensive line, where he centered Matthew Freytag and Sean Dhooghe. On February 7, after back-to-back three-point outings against the Michigan Wolverines, <mask> was named the Big Ten second star of the week. Although <mask> delivered two goals in the Big Ten tournament game, the Badgers lost to Michigan 7–4 and were kept once again from the NCAA tournament.<mask> had 17 goals and 32 points in 36 regular season games for the Badgers that year and was named an All-Big Ten honorable mention, but had two four-game scoring droughts as Wisconsin finished the season 14–19–4. After the 2017–18 season ended, <mask> signed a three-year, entry-level contract with the Bruins, ending his college hockey career. Professional
<mask>'s contract with the Bruins started during the  season, but he was able to finish out the  season with the Providence Bruins, Boston's American Hockey League (AHL) affiliate, on an amateur tryout contract. He played in 13 regular season games for Providence, recording five goals and eight points in the process, and contributed an additional assist in three postseason games. The offseason departure of Riley Nash to the Columbus Blue Jackets left the Bruins' third-line center position open for the  season, and <mask> entered training camp in contention with Jack Studnicka and Jakob Forsbacka Karlsson for the role. Veterans David Backes and Sean Kuraly were ultimately awarded the job, while <mask> and his competitors were sent back to Providence. Ultimately, however, the third-line center became a rotating position, and <mask> was called up from Providence on January 29 to try out the role.He made his NHL debut that night, skating alongside his childhood hero Backes, and received a five-minute major penalty for fighting with Winnipeg Jets forward Brandon Tanev. After 11 scoreless games for Boston, <mask> was sent back down to Providence on February 22, shortly before the trading deadline, in order to clear salary cap space for new acquisition Charlie Coyle. Ultimately, <mask> played in 15 NHL games during the 2018–19 season, with no goals or assists in any of them, but had 14 goals and 25 points in 55 games with Providence. Although he began the  season in Providence, injuries soon decimated the Bruins' offensive core, and <mask> was called up to Boston on November 14 to replace an injured Zach Senyshyn. He skated on the third line with Par Lindholm and Danton Heinen, playing on the left wing instead of his usual center. His call-up was short-lived, as <mask>, Paul Carey, and Urho Vaakanainen were all sent down to Providence on November 18 to make room for Jake DeBrusk, Patrice Bergeron, and Brett Ritchie, all of whom were returning from their respective injuries. Although he played in only two NHL games that season, <mask> made a much larger impact in the AHL, where he scored eight goals and 32 points in 59 regular season games, all while leading the league with 148 penalty minutes.By the time that the AHL season was canceled in March due to the COVID-19 pandemic, the Providence Bruins were on a 12-game winning streak and were poised to take the No. 1 seed in the Eastern Conference. When the NHL returned to play for the 2020 Stanley Cup playoffs, <mask> was one of 31 players selected to join the team in the Toronto "bubble". He contracted the COVID-19 virus during the pre-playoff training camp, however, and could not play with the team during their postseason run. <mask> opened the  season as a member of the Bruins' taxi squad, ready to fill in for either Craig Smith or Brad Marchand as needed. After cementing his place on the Bruins lineup by way of fighting with P. K. Subban of the New Jersey Devils early in the season, <mask> finally picked up his first NHL point on January 23, an assist on Coyle's goal in a 3–1 defeat of the Philadelphia Flyers. His first NHL goal also came against the Flyers, a second-period shot past Carter Hart during the NHL Outdoors at Lake Tahoe game on February 21.What was poised to be a strong rookie season for <mask> was suddenly derailed aftar April 6, when he contracted a mysterious, non-COVID-19 illness. <mask> suffered a fever of over  that sidelined him for some time, and when the Bruins acquired Curtis Lazar and Taylor Hall in a late-season trade with the Buffalo Sabres, it was difficult for <mask> to find his way back into the lineup. After contracting the illness, he made only six more regular-season appearances for Boston. He scored four goals and one assist in 42 regular season games, but did not make an appearance in any of the Bruins' 11 games at the 2021 Stanley Cup playoffs, even when the fourth line wavered and Boston eventually fell to the New York Islanders. An impending restricted free agent after the 2020–21 season, <mask> signed a two-year, $2.1 million contract extension with the Bruins on June 25, 2021. Shortly thereafter, he was one of the seven forwards that the Bruins chose to protect in the 2021 NHL Expansion Draft. He was taken out of the Bruins'  lineup on November 9 after an unexpected hit from Josh Brown of the Ottawa Senators caused an upper body injury.International play

<mask>'s tenure with the National Team Development Program allowed him to represent the United States at a number of international tournaments, beginning with the 2014 World Under-17 Hockey Challenge, where he recorded one goal and one assist in six games of Team USA's silver-medal finish. The following year, <mask> helped the United States to a bronze medal with four goals and three assists in the 2016 IIHF World U18 Championships, including a hat-trick in the team's 12–1 opening-round rout of Latvia. Two years later, he won another bronze medal, this time contributing five goals in seven games for the United States junior team at the 2018 World Junior Ice Hockey Championships. Four of these goals came in the bronze medal game, where the US team defeated the Czech Republic 9–3. Fighting
Standing at  and weighing , <mask> has become a successful fighter in his NHL career. His penchant for fighting began as a child, when he and his brother Grant would practice hitting each other in a makeshift basement roller rink. Most of his fights have come from a self-professed desire to help his teammates, such as when he battled Tommy Cross of the Springfield Thunderbirds after Cross elbowed Cameron Hughes in the head.Boston coach Bruce Cassidy has praised <mask>'s discipline and control in picking his battles and has encouraged him to become an enforcer. Cassidy and teammate Brad Marchand, himself a notorious pest, have also praised <mask>'s ability to draw penalties from his opponents by agitating them into a fight or another infraction. Personal life
<mask>'s older brother Grant is also a hockey player, and the two would often face each other while <mask> played with the US national team and Grant was with the Green Bay Gamblers. Grant spent four years playing college ice hockey for the Miami RedHawks before signing with the Adirondack Thunder of the ECHL in 2020. Career statistics

Regular season and playoffs

International

Awards and honors

References

External links

1998 births
Living people
American men's ice hockey centers
Boston Bruins draft picks
Boston Bruins players
Ice hockey players from St. Louis
National Hockey League first round draft picks
Providence Bruins players
USA Hockey National Team Development Program players
Wisconsin Badgers men's ice hockey players

masks:
Trent Frederic
Frederic
Frederic
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Frederic
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Frederic
Frederic
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title: Karlheinz Deschner

texts:
<mask> (23 May 1924 – 8 April 2014) was a German researcher and writer who achieved public attention in Europe for his trenchant and fiercely critical treatment of Christianity in general and the Catholic Church in particular, as expressed in several articles and books, culminating in his 10 volume Christianity's Criminal History (Kriminalgeschichte des Christentums, Rowohlt Verlag, Reinbek). <mask>'s father Karl was a forester in Bamberg, Bavaria. His mother, Margareta Karoline (née Reischböck) grew up in Franconia and Lower Bavaria. Both of them were Roman Catholics, but the mother converted from Protestantism at some point. Karlheinz, the eldest of three children, attended elementary school in Trossenfurt (close to Würzburg) from 1929 to 1933. Afterwards he attended the Franciscan Seminary in Dettelbach. There he first lived with the family of his godfather and sponsor, the clerical councilor Leopold Baumann, afterward in the Franciscan monastery.From 1934 to 1942 he attended the Alte, Neue and Deutsche Gymnasium as a boarding school student with the Carmelite and English Sisters. In 1942 he passed his final exams. Like the rest of his entire class he reported immediately as a military volunteer for Nazi Germany and was wounded several times. He served as a soldier until the Third Reich's capitulation, in the final stages as a  paratrooper. Initially matriculating as a major in Forestry in the University of Munich, Deschner attended lectures on Law, Theology, Philosophy and Psychology during 1946/47 at the Philosophical-Theological College in Bamberg. From 1947 to 1951 at the University of Würzburg he studied Contemporary German Literature, Philosophy and History and graduated in 1951 with a doctoral dissertation entitled Lenau's Lyrics As an Expression of Metaphysical Despair. In the same year he married Elfi Tuch.They had three children: Katja (1951), Bärbel (1958) and Thomas (1959 to 1984). From 1924 to 1964, Deschner resided in a former hunting lodge of the prince-bishops of Tretzendorf (Steigerwald), then for two years in the country house of a friend in Fischbrunn (near Hersbruck, Franconian Jura). After that, he resided in Hassfurt am Main until his death. <mask> Deschner published novels, literary criticism, essays, aphorisms, and history critical of religion and the Church. Over the years he gave more than 2,000 public lectures. In 1971, he was called before court in Nuremberg, charged with "Insults against the Church", but was acquitted. Outside of Germany, his works remained largely unpublished until the eighties, when translated versions (where necessary) were published in Spain, Switzerland, Italy and Poland.(The fourth part of The Cock Crowed Once Again was translated into Norwegian and published in 1972). <mask> worked on his ambitious Criminal History of Christianity from 1970 to 2013. He had no official research grants, honoraria, stipends, emoluments or official positions, but had been financially supported by a few friends and readers. His friend and patron Alfred Schwarz was able to celebrate the appearance of Volume 1 in September 1986 but did not live to see Volume 2 reach publication. The German entrepreneur Herbert Steffen, founder of the humanistic Giordano Bruno Foundation has continued to support <mask>'s work. In 1989 German weekly news magazine Der Spiegel published a recension of the first two volumes. The article was written by Horst Herrmann, a former professor of Church law at Münster University who left the Catholic Church in 1981.During the summer semester of 1987 <mask> taught a course entitled Criminal History of Christianity at the University of Münster. <mask> <mask> was a member of the Yugoslavian Academy of Sciences and Arts in Department of Historical Sciences. Prizes
In a foreword of his The Criminal History of Christianity an overview of awards and prizes is presented:

<mask> was awarded the Arno Schmidt Prize in 1988, succeeding Wolfgang Koeppen, Hans Wollschläger and Peter Rühmkorf. In June 1993 he followed Walter Jens, Dieter Hildebrandt, Gerhard Zwerenz and Robert Jungk in winning the Alternative Büchner Prize and in July 1993, following Andrei Sakharov and Alexander Dubček, he was the first German to be recognized with the International Humanist Award. In September 2001 he received the secularistic Erwin Fischer Prize, to be followed in November 2001 by the Ludwig Feuerbach Prize. Works
The first of <mask>'s books that has been translated into English is God and the Fascists: the Vatican Alliance with Mussolini, Franco, Hitler, and Pavelic (Amherst, NY: Prometheus Books, 2013). The following translation of his titles is taken from the English version of his official website.Novels
Night Surrounds My House (1956)
Florence Without Sun (1958)

Critique of religion and the Church
What Do You Think of Christianity? (1957)
The Cock Crowed Once Again (1962)
With God and the Fascists (1965)
Images of Jesus from a Theological Perspective (1966)
The Century of Barbarism (1966)
Church and Fascism (1968)
Christianity in the View of Its Opponents, Volume 1 (1969)
Why I Left the Church (1970)
Church and War (1970)
The Manipulated Faith (1971)
Christianity in the View of Its Opponents (1971)
On the Cross of the Church (1974)
Church of the Unholy (1974)
Why I Am a Christian/Atheist/Agnostic (1977)
A Pope Travels to the Scene of the Crime (1981)
A Century of Sacred History, Vol. 1 (1982)
A Century of Sacred History, Vol. 2 (1983)
The Offended Church (1986)
Christianity's Criminal History, Vol. 1 (1986)
Opus Diaboli (1987)
Christianity's Criminal History, Vol. 2 (1988)
What I Believe In (1990)
Christianity's Criminal History, Vol. 3 1990)
The Politics of the Papacy in the 20th Century (1991)
The Anti-Catechism (1991)
God's Representatives (1994)
Christianity's Criminal History, Vol.4 (1994)
World War of the Religions: the Eternal Crusade in the Balkans (1995)Christianity's Criminal History, Vol. 5 (1997)Nobody on Top (1997)Christianity's Criminal History, Vol. 6 (1999)Between Subjection and Damnation. Robert Mächler (1999)Memento (1999)Christianity's Criminal History, Vol. 7 (2002)Christianity's Criminal History, Vol. 8 (2004)Christianity's Criminal History, Vol. 9 (2008)Christianity's Criminal History, Vol.10 (2013)

Literary criticismKitsch, Convention and Art (1957)Talents, Poets, Dilettantes (1964)

Social criticismWho Is Teaching in German Universities? (1968)The Moloch: A Critical History of the U.S.A. (1992)What I Think (1994)For a Bite of Meat (1998)

AphorismsOnly the Living Swims Against the Current (1985)Offences (1994)

MiscellaneousDreams of Sleeping Beauty and Stench from the Stall (1989)The Rhoen Region (1998)

Footnotes

External links

<mask> <mask>'s website (English part)
tele-akademie.de Information about <mask> <mask> at SWR educational television (German)
uaar.it Storia criminale del Cristianesimo'', article about Deschner's main book in Italian by Luciano Franceschetti

1924 births
2014 deaths
People from Bamberg
German atheism activists
German military personnel of World War II
Writers from Bavaria
Members of the Serbian Academy of Sciences and Arts
Critics of Christianity
German male novelists
20th-century German novelists
20th-century German male writers
University of Würzburg alumni
Ludwig Maximilian University of Munich alumni
Former Roman Catholics
Critics of the Catholic Church
Fallschirmjäger of World War II

masks:
Karl Heinrich Leopold Deschner
Life Deschner
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title: John Alexander Ewart

texts:
General Sir <mask>B (1 June 1821 – 18 June 1904) was a 19th-century British military leader who commanded the Gordon Highlanders and several other important British regiments. A hero of the Siege of Lucknow he spent the second half of his life without his left arm. A favourite of Queen Victoria he served as her official aide-de-camp. Life

Early life and career

<mask> was born in Sholapur in India on 1 June 1821 the third son of Lt General <mask> CB of the Indian Army (son of <mask>), and his wife, Lavinia Brisbane, daughter of Sir Charles Brisbane. His younger brother was <mask>. He was educated at the Royal Military College, Sandhurst and trained as a military leader in the footsteps of his father and grandfathers. He joined the British Army in July 1838 as an Ensign in the 35th Royal Sussex Regiment.He was promoted to Lieutenant in April 1842 and served in both Cape Town and Mauritius. In 1846 he transferred to the 93rd Sutherland Highlanders. He was promoted to Captain in 1848. Crimean War
In April 1854 he was sent to Gallipoli to lead his troops in the Crimean War, reaching Varna in June. He was quickly promoted to Brevet Major in May 1854. He saw action at the Battle of Alma (20 September 1854) and the Battle of Balaklava (25 September 1854 onwards). During the latter he was one of the officers involved in the infamous action later depicted in the painting "The Thin Red Line" on 25 October, being in charge of the 6th Company of the regiment.His actions here saw his promotion to full Major in December 1854. On 6 November he was the first to inform :Lord Raglan of the Russian advance at Inkerman. He was also with Raglan at the dramatic death of General Strangways, killed by a shell (which also killed two horses beneath their riders). In May 1855 he led his command to the Sea of Azoff and aided in the capture of the town of Kertch and adjacent fortress at Yenikale. He then returned to join the Siege of Sebastopol, participating in the assaults on both 18 June and 5 September. After the war he was promoted to Brevet Lieutenant Colonel and was one of only four officers to receive the French Legion of Honour and the Turkish Order of Medjidie, and one of only three to receive the Piedmontese Silver Medal, the latter recognising service without one day of absence during the entire war. He returned to England in July 1856 and was based at both Aldershot and Dover.Indian Mutiny
In June 1857 he sailed with his troops heading to China to take part in the Second Opium War. However, at the Cape of Good Hope they received alternative orders and were instead dispatched to help to deal with the Indian Mutiny which had begun some months earlier but remained unresolved. The regiment were sent to Cawnpore and from there were dispatched to relieve the many trapped in the Siege of Lucknow including the original rescue party of the 78th Highlanders. On 2 November 1857 he captured the fortified village of Bunterah and on 5 December took supplies and ammunition to the town of Alumbagh relieving Sir Henry Havelock. On 13 November he captured the fort at Jalalabad. On 14 November he was joined by Sir Colin Campbell and 4000 further troops. Together they captured the forts of Dilkusha and Martiniere.On 16 November, alongside Lt Colonel Leith-Hay, they successfully captured Secunderabad. During this battle he had his bonnet shot off at distressingly short range and also received two sword wounds, one of which put his right arm in a sling. When they successfully infiltrated the fortress they killed all the defenders, leaving some 2000 dead. The following day they captured the Shah Nujjeef retiring to Martiniere on 22nd. On 27 November, with 3000 men, he escorted the evacuation of a large number of civilians in their crossing of the River Ganges. He then returned to aid General Wyndham at Cawnpore. In the evacuation beginning on 29 November, many persons were successfully got over the bridge on the Ganges, but on the third day, 1 December 1857, <mask> lost his left arm to cannon fire.His right arm at this time was still in a sling. The loss of the arm brought him close to death. Once sufficiently recovered in Cawnpore he sailed to England for full recuperation. On the death of Lt Colonel Adrian Hope at Fort Rohya <mask> officially became Lt Colonel in his place. In April 1859 Queen Victoria created him a Companion of the Bath and made him her personal Aide-de-Camp. He oversaw the Ross-shire Buffs until 1864 at the rank of full Colonel and in 1872 became a Major General. He was recommended for a Victoria Cross after the Relief of Lucknow but a decision was made to award only one VC to the three potential candidates.<mask> lost by one vote to Captain W. G. D. Stewart the third candidate being Captain W. A. Cooper. Later life and career
In March 1877 he became commander of the Indian region of Allahabad. In November 1879 he was promoted further to Lt General and returned to Britain. In January 1884 he became a full General and placed in charge of the Wiltshire Regiment. in March 1884 he was placed in charge of the 92nd Gordon Highlanders. In June 1895 he took over the Argyll and Sutherland Highlanders. At Queen Victoria's Diamond Jubilee in 1897 she raised him to Knight Commander of the Bath (KCB).He died peacefully at home in Dumfriesshire on 18 June 1904 a few days after his 83rd birthday. He is buried in the Old Town Cemetery at Stirling Castle in central Scotland. Family

In 1858 he married Frances Stone, daughter of <mask> Stone of Callingwood Hall. Their family home (which he rarely saw) was Craigclough Hall in Eskdale near Langholm. They had two sons who came to fame in their own right: Lt General <mask> <mask> aide-de-camp to King George V and Rear Admiral Arthur Wartensleben <mask>. Memorials

A memorial to <mask>, designed by Robert Lorimer, was erected in St Giles Cathedral in Edinburgh in 1905. Memorabilia

His sword and scabbard from the Battle of Alma is held in the National Army Museum in London.Publications
A Few Remarks about the British Army
The Story of a Soldier's Life (1881)

References

1821 births
1904 deaths
British Army generals
Knights Grand Cross of the Order of the Bath
British amputees
British Army personnel of the Crimean War
35th Regiment of Foot officers
93rd Regiment of Foot officers
Graduates of the Royal Military College, Sandhurst
Argyll and Sutherland Highlanders officers

masks:
John Alexander EwartC
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John Frederick Ewart
Joseph Ewart
Charles Brisbane Ewart
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John Spencer
John Spencer
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title: Dan Jones (composer)

texts:
<mask> is a BAFTA and Ivor Novello Award winning composer and sound designer working in film and theatre. He read music at the University of Oxford, studied contemporary music theatre at the Banff Centre for the Arts and studied electro-acoustic composition and programming at the Centro Ricerche Musicali in Rome. Having explored various means of generating music algorithmically, he is the author of one of the earliest pieces of software for generating fractal or self-similar music. Career
His scores for feature films include Shadow of the Vampire (starring John Malkovich and Willem Dafoe), In Transit (also starring John Malkovich), Jericho Mansions (starring James Caan) and Menno Meyjes' Max (starring John Cusack), for which he received the Ivor Novello Award for Best Film Score 2004. He also scored Meyjes' follow up film Manolete (starring Adrien Brody and Penélope Cruz). He has written for all the major British television broadcasters and his work includes Sir David Attenborough's The Life of Mammals, the BBC series Strange, Pawel Pawlikowski's drama "Twockers", Charlie Brooker's Channel 4 horror series "Dead Set" and Francesca Joseph's "Tomorrow La Scala", Channel 4's three-part documentary " Visions of Heaven and Hell" shown in 1994. He collaborated with Sebastião Salgado, John Berger and Paul Carlin on the BBC Arena (television) special "The Spectre of Hope".He recently composed the music for the BAFTA Best Drama Serial Any Human Heart for Channel 4 which also won both BAFTA and Ivor Novello Best Television Score Awards. More recently, he composed the music for ITV's controversial Fred West drama, 'Appropriate Adult'. In 1997 he teamed up with British trip hop group Alpha producing orchestral arrangements for their albums ComeFromHeaven, The Impossible Thrill and Jarvis Cocker's cover of "This is Where I Came In" for Massive Attack's Melankolic label. He has also created music and soundscapes for large scale public artworks. He is the co-creator of Sky Orchestra where music is played from seven hot air balloons positioned over a city, making it one of the largest sound works in the world. After an initial informal performance in Bristol in 2003, Sky Orchestra was first successfully staged in Birmingham commissioned by Fierce! and was later re-commissioned by Fierce and the Royal Shakespeare Company as part of the Complete Works Festival.Sky Orchestra opened the Sydney Festival in 2007 and has also toured to Canada and Switzerland. He also produced the sound design for "Listening Posts, an art work by Daphne Wright to commemorate the Irish emigrants who left Cork's harbourside which produces an ever changing sound score throughout the year. His most recent work is Suburban Counterpoint subtitled "Music for Seven Ice Cream Vans" which was co-commissioned by London International Festival of Theatre (LIFT), Norfolk and Norwich Festival and The Sydney Festival. In an idea dating back to 2000 the work, as the title suggests, uses seven ice cream vans to produce a surround sound score which inhabits an entire neighbourhood at once. Other works include the score for the Rambert Dance Company's "Slippage" by choreographer William Tuckett. His music has been used by The European Space Agency and incorporated into Isaac Julien's Paradise Omeros which is exhibited at Tate Modern, London. He is founding member and co-artistic director of Sound and Fury Theatre Company whose productions pioneer the immersive use of experimental sound design.He recently co-directed and sound designed the theatre production "Kursk" which toured the UK after a sellout run at the Young Vic theatre in London. He was the first ever recipient of a special jury prize for sound design at the Prague Quadrennial for his work on Sound and Fury's production of Kursk alongside fellow sound designer Kathrine Sandys for her piece Hush.


title: Charlotte Harland Scott

texts:
<mask> (born 13 November 1963) is a British-born Zambian economic and social development specialist who served as the First Lady of Zambia from October 2014 to January 2015 during the tenure of her husband, interim President <mask>. She had previously served as the Chief of Social Policy and Economic Analysis, Planning Monitoring and Evaluation for UNICEF Zambia from 2007 until 2012. In 2016, <mask> contested the Lusaka Central seat in the National Assembly during the general election. Early life and education
<mask>, the second of three daughters, was born <mask> to Robin and <mask> in Blackheath, London, on 13 November 1963. She was raised in nearby Greenwich in southeast London. Her parents had met as students at Oxford University. She is a member of the Church of England.<mask> completed her elementary and secondary schooling in London, attending Westminster School for sixth form. She received her Bachelor's of Arts in psychology and development studies from the University of Oxford in 1986. She then obtained a Masters of Arts in rural development in 1987. <mask> later completed her PhD from the University of Bath in 2007. Personal life
In 1989, <mask> was hired by a British international humanitarian organisation who asked her to work in Zambia. She arrived in Zambia in July 1989 at the age of 26 and was placed in the northeast town of Mpika, Muchinga Province, by her employer. By 1991, she was living in the village of Chitulika, the home of future President Michael Sata's father.<mask> met her future husband, <mask>, during the run-up to the 1991 Zambian general election. He was working on Michael Sata's election campaign for the Mpika constituency seat at the time of their meeting. She and Sata were mutual acquaintances at that time since Mpika was his hometown and her development project was overseen by the government Ministry of State, which was headed by Sata. <mask> and <mask> married in 1994 at a wedding held at the Lusaka Civic Centre with the reception at their home in State Lodge. Career
Professionally, <mask> has worked in the fields of economic development policy, social development policy and NGOs for more than twenty years. She headed the team which created and launched the Zambian Public Welfare Assistance Scheme, a social protection and poverty alleviation government program. It was an early forerunner of the present-day conditional cash transfers (also called social cash transfers), which makes welfare programs conditional based upon the receivers' actions.In 2014, two years after <mask> left the program, her Zambian cash transfer program was named UNICEF's best global research program. <mask> served as the Chief of Social Policy and Economic Analysis, Planning, Monitoring & Evaluation for UNICEF's Zambian branch for five years from 2007 until 2012. She worked in nearly every district in Zambia in that position. She stepped down for her position at UNICEF in 2011 when her husband was appointed Vice-President of Zambia by President Sata. United Nations regulations required that employees whose spouses attain high political office either step down from their job or taking another position with the United Nations in another country. She chose to leave her post. By 2013, <mask> had been appointed a Visiting Fellow of the Institute of Development Studies (IDS) at the University of Sussex.She has publicly spoken out on a variety of societal issues affecting Zambia, including children's right, gender discrimination, violence against women, and women's access to education. Sata died in office on 28 October 2014. Vice-President <mask> succeeded Sata as the acting President of Zambia until a by-election could be held 90 days after Sata's death. The events made <mask> the First Lady of Zambia during this time. The couple became the country's first white President and First Lady. Despite their new positions, the <mask>s did not move into Government House, the residence of the country's president. <mask> was barred by law from running for the remainder of Sata's unexpired presidential term because the Constitution of Zambia banned presidential candidates whose parents were not born in Zambia.His parents had immigrated to present-day Zambia from England and Scotland in the United Kingdom. <mask> left the position of First Lady on 26 January 2015 and was succeeded by Esther Lungu. In 2016, <mask> decided would not seek re-election to his Lusaka Central seat in Parliament in the August general election. <mask> applied to run for her husband's seat and was endorsed by the United Party for National Development (UPND) as the party's official nominee. <mask> and her main opponent, the PF's Margaret Mwanakatwe, were considered the front-runners for Lusaka Central during the election out of the five candidates for the seat. On 18 July 2016, <mask> and her supporters were attacked while campaigning in the Town Centre Market in Lusaka. The attackers, who used stones and screwdrivers to chase <mask> and her staff from the market, were supporters of the rival party, the Patriotic Front (PF), according to news reports.<mask> and her staff escaped unharmed, but their Toyota Land Cruiser suffered major damage during the attack. She told a newspaper, "Our team did not retaliate. Why can't we campaign in peace? This is completely unacceptable!" The PF candidate, Margaret Mwanakatwe, defeated <mask> in the general election on 11 August 2016. In line with the provisions of the constitution, <mask> petitioned the validity of the election. On 24 November 2016, the High Court of Zambia nullified the election of Mwanakatwe, on grounds of violence, corruption, mis-use of Government resources, discrimination / racism, and the actions of the Zambia Police in preventing Dr <mask> from campaigning freely.The Constitutional Court subsequently ruled that Mwanakatwe maintains the seat pending appeal, but has not set a date for that appeal to be heard. References

Living people
1963 births
First Ladies of Zambia
UNICEF people
Development specialists
Development economists
People in international development
United Party for National Development politicians
Alumni of the University of Bath
Alumni of the University of Reading
Alumni of the University of Oxford
British emigrants to Zambia
People from Lusaka
People from Muchinga Province
People from Greenwich
British Anglicans
20th-century Anglicans
21st-century Anglicans
20th-century Zambian people
Zambian Anglicans
Women in Zambia
20th-century Zambian women
21st-century Zambian people
21st-century Zambian women
Zambian officials of the United Nations
21st-century Zambian women politicians

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title: Ken Hatfield

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<mask> (born June 6, 1943) is a former American football player and coach. He served as the head football coach at the United States Air Force Academy (1979–1983), the University of Arkansas (1984–1989), Clemson University (1990–1993), and Rice University (1994–2005), compiling a career college football record of 168–140–4. Playing career
<mask> is a graduate of the University of Arkansas, where he starred at defensive back for the 1964 team that won a share of the national championship. His punt return for a touchdown helped Arkansas beat the #1 Texas Longhorns, 14-13, in the 1964 game in Austin. <mask> was a first team All-American punt returner for the "64 season. Among his teammates were future Dallas Cowboys head coach Jimmy Johnson and future Dallas Cowboys owner Jerry Jones. He is a member of the Sigma Chi fraternity.Coaching career

Air Force

<mask> began his college head coaching career at the United States Air Force Academy from 1979 to 1983. He gradually rebuilt a program that had struggled through most of the 1970s and laid the foundation for its success in the 1980s and early 1990s under his offensive coordinator and successor, Fisher DeBerry. By his final year, the Falcons were ranked 13th in the country by the Coaches' Poll and 15th in the AP Poll—their first appearance in a final poll since 1970. Arkansas
<mask> then moved to his alma mater, Arkansas, where he compiled a 55–17–1 record from 1984 to 1989. His teams won two straight Southwest Conference titles in 1988 and 1989, a feat that the Razorbacks had not accomplished since his playing days. On January 2, 1989, <mask> became the first former player to coach his alma mater in the Cotton Bowl Classic. Arkansas's Southwest Conference championship in 1989 is the program's last conference title to date.<mask> had a somewhat frosty relationship with longtime Arkansas athletic director Frank Broyles, even though Broyles had been his coach during his playing days. Broyles had a reputation for being very hands-on with the football program he had built into a national power as head coach from 1958 to 1976. As good as <mask>'s last two Razorback teams had been, he lost several recruits after 1987 when rival coaches claimed he was in Broyles' doghouse. When Broyles signed a new five-year contract in early 1990, <mask> left for Clemson University without even visiting the campus. Later, when <mask> was asked if Broyles had been a factor in his abrupt departure from Fayetteville, he replied, "His name is on the (athletics) building down there. Let that be my answer." Ironically, the coach <mask> succeeded at Clemson, Danny Ford, would eventually become the Razorbacks' coach in 1993.Clemson
<mask> coached at Clemson from 1990 to 1993, compiling a 32–13–1 record. He did much to clean up the program's image in the aftermath of sanctions from the Ford era. In his second season, 1991, he led the Tigers to their last ACC title in the pre-championship game era. However, <mask> was never really accepted by Clemson's fans. A common saying among Tiger fans during this time was "Howard built it. Ford filled it. <mask> killed it."Largely due to this discontent, school officials refused to grant him a one-year extension on his contract after the 1993 season, even though the Tigers had rebounded from 5–6 in 1992 (Clemson's first losing season in 16 years) to a solid 8–3 record that year and a Peach Bowl appearance. Angered at what he saw as a lack of support, <mask> resigned at the end of the regular season. Rice
Soon afterward, <mask> was hired at Rice University, where he compiled a 55–78–1 record before resigning on November 30, 2005 following a 1–10 season. He only had three winning seasons in 12 years. Although the Owls were bowl-eligible in those three winning seasons, they weren't invited to a bowl in part because of the school's small alumni and fan base. Rice is the second-smallest school in Division I FBS and often had to play schools 10 times its size or more (and in some cases, with more freshmen than it has students), a major reason why he wasn't as successful as he had been at his previous stops. In his first year, despite a losing overall record, he managed to lead the Owls to a share of the Southwest Conference title and a victory over the rival Texas Longhorns on national TV.Football coaching philosophy
One of the few remaining proponents of the conservative triple-option offense in college football, <mask> compiled a 168–140–4 record as a head coach. On November 25, 2014 It was announced that <mask> was chosen as the recipient of the 2015 Amos Alonzo Stagg Award. Notable players
Notable players that <mask> coached include:

RB/KR Bobby Joe Edmonds (Arkansas)
RB James Rouse (Arkansas)
OL Freddie Childress (Arkansas)
OL Jim Mabry (Arkansas)
PK <mask> (Arkansas)
QB Quinn Grovey (Arkansas)
RB Barry Foster (Arkansas)
S Steve Atwater (Arkansas)
DE Wayne Martin (Arkansas)
S Brian Dawkins (Clemson)
DE N. D. Kalu (Rice)
LB Larry Izzo (Rice)

Controversy regarding homosexual players
A story in the November 1, 2002 issue of the Chronicle of Higher Education quoted <mask> saying that he "would not necessarily kick a player off the team for being gay, he probably would think hard about it." In the article, he cited his religious beliefs as the motivation for his stance. Soon after the publication, the Rice University faculty unanimously voted to repudiate <mask>'s comments, and <mask> apologized for his comments. He continued to coach the Owls until 2005. Head coaching record

Notes

See also
 List of NCAA major college football yearly punt and kickoff return leaders
 List of presidents of the American Football Coaches Association

References

External links

1943 births
Living people
Air Force Falcons football coaches
American football defensive backs
Arkansas Razorbacks football coaches
Arkansas Razorbacks football players
Clemson Tigers football coaches
Florida Gators football coaches
Rice Owls football coaches
Tennessee Volunteers football coaches
People from Helena, Arkansas
Players of American football from Arkansas
College Football Playoff Selection Committee members

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title: Yukinori Yanagi

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is a contemporary Japanese artist. <mask> is a contemporary Japanese artist who has addressed themes of national and transnational sovereignty, globalization and borders, as well as Japan’s imperial history and nationalism. He is considered one of the first postwar Japanese artists that is openly critical of Japanese society and governmental policy. Many of <mask>’s artworks consists of large-scale, site-specific installations that engage with movement and symbols of nationalism. <mask> has exhibited his artworks widely in Japan and the United States, and became among the first foreign artists living in New York to be invited to exhibit at the Whitney Biennial, alongside Cai Guo-Qiang, in 2000. His artworks are in museum collections such as the Museum of Modern Art (USA), Tate Modern (UK) , Virginia Museum of Fine Art (USA) and the Fabric Workshop and Museum (USA). His vision for the revitalization of the island of Inujima was actualized as the Inujima Seirensho Art Museum in 2008, a permanent, six-part art installation that has become an integral location of the Setouchi International Art Triennale.Early life and education in Japan

Early life
<mask> was born and raised in a rural region of Fukuoka, Japan. Growing up in the prefecture closest to the Korean Peninsula allowed <mask> to grow up with a distinct awareness of the existence of other nations and cultures. He has spoken of his childhood experiences of picking up ‘everyday objects’ marked with Korean hangul that had washed up on the shore from the Sea of Japan as the beginning of his long-term interest in transpacific and transnational boundaries and movement. Like many Japanese people of his generation, <mask>'s family was part of the Empire of Japan's Pacific War war effort. An awareness of this familial history has informed the artist's body of work: his father was a fighter pilot, and his paternal grandfather worked in border control in Japan’s former colony Manchukuo and was detained for more than a decade in Siberia and China following Japan’s surrender. In his artwork, <mask> considers continuity and diversity with regards to his own position and the place of the Japanese nation within this tumultuous history. Growing up in the 1960s before the development of widespread video games, <mask>'s childhood activities involved playing with insects in the countryside, especially ants and bagworm moths, and creating things out of various materials such as concrete and wax from a hardware store owned by one of his relatives.Furthermore, <mask>’s uncle was avant-garde artist Miyazaki Junnosuke, a member of Kyushu-ha, which meant <mask> was accustomed to seeing artistic objects and sculptures from an early age. Education and early career in Tokyo
<mask> earned both a BA and MFA in painting from Musashino Art University in Western Tokyo (1985). He was interested in the work of artists from the Mono-ha generation, especially of Noriyuki Haraguchi’s industrial sculptures, and became increasingly restless within the conventions of the University’s painting department. Despite being told that graduation work must be limited to flat works and oil paint only, <mask> created a sculpture out of wooden supports and was subsequently excluded from the graduate thesis exhibition at the Metropolitan Museum of Tokyo. For his first solo exhibition the following year he burned all the artworks he made in art school and exhibited the ashes in large wooden boxes as the installation Ground Transport Project (1985). It was in this installation that <mask> first included the element of live ants, a characteristic that he became known for throughout the 1990s. From 1986, <mask> began to exhibit artwork that addressed issues of “movement” from the perspective of an outsider of the art world’s system.This included his installation Ground Transposition (1987) that included large, spherical sculptures that were scaled to the human form in relation to the proportions to the size of dung beetles and the ball of dung that they roll as part of their ecology. The proportional scaling was a reference to the ancient Egyptian symbolism of the dung beetle as a ‘steward of the sun’ tasked with physically pushing the weight of the sun across the sky each day, which for <mask> was a direct reference to the rising sun of the Japanese flag and the weight of Japanese nationalism that the artist felt. In the late 1980s <mask> exhibited his work at various galleries in Tokyo, Kanagawa, and Fukuoka, including a prominent solo exhibition held at the Hillside Gallery in Daikanyama, in which he executed a smoky performance piece entitled I Feel Yellow (1987). He was awarded the Excellence Award in Art Document from the Tochigi Prefectural Museum of Fine Arts in 1987. Move to the United States
Despite the promising trajectory of his art career in Tokyo following his graduation, <mask> was increasingly disillusioned with the Japanese art world, describing his feeling of “being trapped in a giant Japanese flag, in a cage, engulfed by national identity.” The artist moved to United States in 1988 to earn an MFA from the Sculpture Department of the Graduate School of Yale School of Art (1990), where he studied under Vito Acconci and Frank Gehry, among others. At Yale, <mask> started to expand on his engagement with Japanese nationalism and history after having the opportunity to read the works of prominent prewar Japanese intellectuals such as Nishida Kitarō and Kuki Shūzō, as well as texts and documents from or about the Pacific War that were difficult to access in Japan but available in the US. These studies allowed the young artist to gain a fuller picture of World War II, and question the omissions and identitarian narratives of both the Japanese and American perspectives of their national wartime history.He began to engage seriously with the idea of "wandering as a permanent position," creating artworks to dissolve the fixity of symbols associated with nations and regions, attempting to account for the changes that occur through time and circumstance. Ants and national boundaries – late 1980s–1990s

Artworks from Yale University, 1988–1989
In the first year of his MFA at Yale University, <mask> began thinking about the figure of the wandering ant as a multifaceted allegory for transnational movement. He began to regularly incorporate the insects into his artworks, a live element that became emblematic of <mask>’s body of work from the 1990s. He thought of the ant colony as a perfectly organized communal society—exemplary on the one hand of a blind obedience, but also reflective of an unstoppable ecosystem of working parts that could surpass and dismantle any concept of national boundaries or borders. <mask> came up with the Ant Following Plan (1988) at the end of his first semester, in which he tracked the wandering movements of a single ant on the dark floor of his mostly empty 5-by-9-meter studio space using thick red chalk. Shortly after, he debuted American Flag Ant Farm (1989), which he crafted from an Uncle Milton toy ant farm by adding an extra panel with sand colored to appear as the American flag. The ‘wandering’ ants created tunnels that disintegrated the stars and stripes of the flag, overlaying macro and micro elements (nation vs ant) to dismantle and critique the permanence of the symbol of American national unity.These earlier works would prove to be very impactful, informing much <mask>’s works for the next ten years. He continued working on and expanding his ‘Ant Farm Series’ from 1990-2002. He also resurfaced the ‘ant following’ technique in 1994 for his ongoing series ‘Wandering Position’ (1994–Present)’ in which he performs site-specific live tracings of a wandering ant (San Diego, California in 1994; Alcatraz, California, 1996; Anomaly Gallery, Tokyo, 2021). He also uses this technique to create more conventional works for traditional gallery spaces on large format papers and copper plates. Following his graduation from Yale, <mask> moved to New York where he started to work internationally. World Flag Ant Farm (1990)
In 1991, <mask> exhibited World Flag Ant Farm (1990) at Los Angeles’s LACE (Los Angeles Contemporary Exhibitions) in one of the prominent solo exhibitions that launched his international career. World Flag Ant Farm was a large-scale installation consisting of 180 national ‘flags’ representing the members of the United Nations at the time.Each ‘flag’ was made out of a plastic box filled with colored sand in the pattern of the flag. They are interconnected by plastic tubes as they hung on the wall. As the title suggests, the entire artwork functioned as a multitude of interconnected ant colonies which could be viewed through the plastic by audiences. As the tiny insects tunneled through each flag and carried colored grains of sand to other areas, the colors and signs of national unity intermixed and began to dissolve the individual flags, creating a blurred image of a single, more ambiguous flag. World Flag Ant Farm was well received and <mask>'s approach was considered ‘iconic’ especially in the context of the end of the Cold War and rising globalization and postcolonial studies, even being featured on the cover of the international art magazine Art in America, despite also facing harsh criticism from animal rights activists. The constant ‘wandering’ of the ants through each national symbol was exemplary of <mask>’s ongoing engagement with the often muddled processes of globalization, the crossing of transnational borders, the diasporic movement of peoples, and the ultimate precarity of nationhood, race, and identity. <mask> has said that he personally identifies with the piece, that it is related to the “borders I have had to cross or barriers I have confronted in trying to define myself as a Japanese.” The World Flag Ant Farm was exhibited at the 45th Venice Biennale in 1993, where <mask> became the first Japanese artist to be awarded the Aperto Award as an emerging artist.In 1992, with the aid of the Asian Cultural Council, <mask> was invited to the International Studio Program at PS1 Contemporary Art Center in New York. This artwork marked the maturation of <mask>’s ant farm idea and the beginning of a long series of Ant Farm Projects in which colonies of ants would slowly dissolve symbols of nationalism, including flags, currency, and American art. World Flag Ant Farm (1990) is in the collection of the Benesse House, Naoshima Contemporary Art Museum, Naoshima. Ant Farm Project series (1990–2002)
<mask> produced many more flag-based ant farm projects with a wide variety of different geopolitical combinations in the years following his debut of World Flag Ant Farm (1990), while living in New York but traveling to Japan regularly. Some of the largest ant farm installations he made after World Flag Ant Farm include: The World Flag Ant Farm 1991 -Asia- (1991); America (1994), connecting all nations of North and South America; Asia-Pacific Ant Farm (1995); and Eurasia (2001). Some of the more political pieces he produced included: The 38th Parallel (1991) connecting North and South Korea; Pacific - the Ant Farm Project (1996), connecting Japan and the U.S.; Union Jack Ant Farm (1994), encompassing the former British Empire; DMZ (1995) connecting North and South Korea and an ambiguous zone between them that alluded to the DMZ; and 2 China (1997), connecting China and Taiwan. Pacific - the Ant Farm Project (1996) gained particular traction in art and academic circles and is now in the Tate Museum’s collection.To create it, <mask> not only included the countries that border the Pacific Ocean, but also the nations that once had colonies in the Pacific, as well as indigenous groups like the Māori of New Zealand that have still not regained sovereignty over their territories. As such, the work challenged ‘neutral’ regional histories and symbols of sovereignty, instead engaging with the history of violent contestation in the Asia Pacific region. Money series (1999–2002)
In the later 1990s, <mask> also began to create ant farm projects that engaged with a variety of national currencies, creating installations centering on large-scale motifs of American, Japanese, European, and other bills. Some works include In God We Trust (1999), Dollar Pyramid (2000), Yukichi KV644955H (2002), and Euro Circuit (2002). Euro Circuit consisted of 12 ant colony units, one to represent the highest value of cash currency for each country that originally joined the European Union. As the ants tunnel through the installation, the distinctive currencies gradually dissolve into a ‘universal’ banknote, demonstrating <mask>’s reflections on the possibilities of a world becoming more and more transnational. Imperial symbolism and Article 9 – 1990s

Hinomaru series (1990–1992)
From the early 1990s, <mask> also produced a series of sculptures and site-specific installations that aimed to deconstruct the nationalist ideology of modern Japan through the motif of the Hinomaru, or the Japanese flag.The first of these works, Hi-no-maru 1/36 was produced for his first solo exhibition in New York at the alternative space STOREFRONT for Art and Architecture in 1990. Hi-no-maru 1/36 (1990) was designed with consideration to STOREFRONT’s unique, triangular exhibition space. Positioned in a 10-part radial corner, <mask> created an infinity mirror using reflections on opposing walls of angled mirrors in order to produce the illusion of one red circle with radiating beams, a direct reference to the flag adopted by the Japanese imperial army during the Pacific War. This work was exhibited alongside American Flag Ant Farm (1989), becoming a New York debut that demonstrated <mask>’s ongoing engagement with the instability of national borders and his own ‘entrapment within mobility.’

One particularly acclaimed piece from this series is Banzai Corner (1991). For

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title: Yukinori Yanagi

texts:
 this work, <mask> arranged rows of red Ultraman and Ultra Seven toy figurines into an arc with their bodies facing a mirrored corner to produce the image of a red circle. The uniforms of the toys create an illusion that once again alludes to the radiating beams of the Japanese Empire’s military flag. Each character has been carefully arranged so that its right arm is raised in the air to imply a victorious ‘Banzai’ in praise of the hinomaru, but viewers can see that in reality the figurines only celebrate their own reflection.<mask>’s use of Ultraman and Ultra Seven figurines for this artwork has been attributed to the Okinawan identity of the character’s creator, Tetsuo Kinjō, who grew up during the American occupation of Okinawa. For <mask>, the idea of alienation and otherness in Japan does not only refer to foreign nations, but also “to people living in Japan—Korean, Chinese, native Ainu, and Okinawans.”

<mask> also produced a billboard-sized neon work, Hinomaru Illumination (1992) which was exhibited at his solo exhibition at the Benesse House, Naoshima Contemporary Art Museum, Kagawa in 1993; Art Market Fuji Television Gallery in 2001; as the central window artwork for the seminal exhibition “Japanese Art After 1945: Scream Against the Sky” at the Guggenheim Museum SoHo in 1994; as well as again at his solo exhibition “Akitsushima” at the Hiroshima City Museum of Contemporary Art in 2001. This neon work is visually related to other Japanese neo-pop artists of the early 1990s, but it also exposes the “feeble foundation of national illusion” of national symbols that are harnessed when convenient—a symbol that can be turned ‘on’ and ‘off’ at will. For example, for Amaterasu and Haniwa (1993) the neon flag was exhibited in the context of the Shinto Sun Goddess Amaterasu, alongside haniwa clay figurines that harken to the Kofun or Yamato period that has been associated with Japanese cultural origin. In addition, for Hinomaru Container (1992) <mask> created another space of mirrored illusion within a shipping container shaped like an ancient tumulus (kofun) but cumulating with a refracted neon Yen symbol (¥), critiquing the conflation of consumerism and identity. Chrysanthemum Carpet (1994)
Yanagi explicitly problematized the Greater East Asian Co-Prosperity Sphere and its legacy in his work The Chrysanthemum Carpet (1994), first exhibited at Yanagi's solo exhibition at the Peter Blum Gallery in New York in 1995. The artwork consists of a large, red carpet designed to look like a Japanese passport.It included an outline of the trademark chrysanthemum flower that is the Imperial Seal of Japan, but with only one of its golden petals attached and the remaining 15 scattered around the expanse of the carpet. Black text woven into the carpet stands out starkly against the red background, reading “he loves me, he loves me not” in the languages of the Asian countries once dominated by Japan under the proclaimed Greater East Asian Co-Prosperity Sphere. On the underside of the carpet, hidden from view, <mask> inscribed texts from three distinctive sections of the Japanese Constitution: Article 19 (Freedom of thought), Article 20 (Freedom of religion), and Article 21 (Freedom of speech, press, and expression). Besides directly confronting the debate about national memory loss and historical revisionism regarding the war period, by juxtaposing the visible imperial symbol with the obstructed democratic constitutional guarantees hidden below, <mask>'s installation pointed to the structural contradictions of Japan's modernization. The Meiji Constitution that marked Japan's emergence as a modern nation state both restored the absolutism of the Japanese Emperor system as well as established a democracy, and furthermore Japan's postwar constitution was established by the U.S. Occupation forces. The artist's choice to obstruct the democratic principles from view on the underside of the carpet alludes to the subtle continuity of the survival of the Japanese emperor system, even in the postwar.In the exhibition space, <mask>'s red carpet led to an Occupation-era photograph of SCAP General Douglas MacArthur standing with Emperor Hirohito, captioned as Chrysanthemum and Sword with a quote by poet and novelist Mishima Yukio superimposed in red, reading “Why should his Imperial Majesty become human?” This inclusion evokes criticisms of the continuities and discontinuities of Japanese sovereignty ‘before’ and ‘after’ of the Pacific War, implicating the resilience of Japanese nationalism as well as the American occupation of Japan decades later. About this work, the artist stated, ""All these people died for the emperor because they thought he was a god, and it turned out that he was just a small man with a human voice." <mask>'s carpet and the historical photograph have been installed together for several exhibitions together in the 1990s, including at the Art Tower Mito Contemporary Art Center in Ibaraki and the National Gallery of Australia in Canberra, both of which also included war paintings from the Pacific War as part of the installation. In 1997, <mask> created a smaller version of the Chrysanthemum Carpet as limited edition multiple entitled Loves Me/Loves Me Not (1997) during his residency at the Fabric Workshop and Museum in Philadelphia, Pennsylvania. "Project Article 9" Exhibition, 1995
In 1995, 50 years after the end of World War II, <mask> became the first artist to specifically address Article 9 of the Japanese Constitution, which renounced Japan’s ability to wage war after the end of World War II. To mark the significance of the year, the Queens Museum in New York hosted <mask>’s solo show entitled “Project Article 9.” For this exhibition, <mask> produced a series of textual installations that focused explicitly on the Article 9 clause in the postwar Japanese constitution. He modified a photograph of SCAP General Douglas MacArthur standing with Emperor Hirohito (the same photo utilized in his Chrysanthemum Carpet installation) and prepared two new large-scale installation artworks, Forbidden Box (1995) and Article 9 (1995).<mask> superimposed a historical photo of SCAP General Douglas MacArthur and Emperor Hirohito standing together with the full text of Article 9 of Japan’s Constitution in three different forms: the draft version originally written by MacArthur, the finalized Japanese version, and its English translation. According to the Queens Museum’s executive director Carma C. Fauntleroy, <mask>’s concentration on textual elements and translation led "viewer[s] to reflect on the vagaries of communication through language and its implications in national and international arenas.”

<mask> utilized his residency at the Fabric Workshop and Museum in Philadelphia, Pennsylvania to create The Forbidden Box (1995) for the exhibition. The installation was made from two large-scale sheets of sheer nylon voile fabric, with screenprints of the giant mushroom cloud that occurred when the United States dropped the atomic bomb on the city of Hiroshima in 1945. In addition to the image, the 17-foot-long sheets of fabric also depict the text from Article 9, with the version originally written by MacArthur printed on the rear sheet, and the English translation of the Japanese version in the front, intended as a way for viewers to see the differences in the rhetoric between the United States and Japan. Like a cloud of smoke, the sheets of fabric seem to billow out from a lead box that had the words “Little Boy,” the name of the atomic bomb, inscribed on the lid. <mask> has stated that he included the box as a way to bring together two folktales, the Japanese children’s folktale of Urashima Tarō and the Greek myth of Pandora’s Box. On this, <mask> stated, “universality of children’s tales enables us to know that we, as a species, share common core values and hopes all around the globe.” The mythologies of the box parallel Yanagi’s allegory for Japan that at once acknowledges Japan’s victimization in the aftermath of the atomic bombs but also the nation’s own role as a colonial aggressor in the Asia Pacific — the Pandora’s box revealed a hope for a future world with no more victims of nuclear warfare.<mask> also produced a large-scale neon light installation entitled simply “Article 9” for the exhibition, consisting of a set of neon signs encased in plastic box frames that spelled out the Japanese version of Article 9. However, the neon signs were disassembled, seemingly cast off in a pile of disjointed, glowing red parts incomprehensible as a whole. They cast red light around the exhibition space onto <mask>'s other works. <mask>’s artworks from the “Project Article 9” show went on to be exhibited in Japan at the Kirin Plaza Osaka in 1995. Forbidden Box and Article 9 were also included more than 10 years later in Japanese curator Watanabe Shinya’s exhibition “Into the Atomic Sunshine” amongst works by other artists that engaged with Japan’s war history at Hillside Gallery in Daikanyama in 2008, Puffin Room in New York in 2008, and the Okinawa Prefectural Museum & Art Museum in 2009. Inujima Project - 2000s–present

Inujima Seirensho Art Museum
In 1992, <mask> was invited to hold a solo exhibition at the brand new Naoshima Contemporary Art Museum (now Benesse House at Benesse Art Site Naoshima). He fell in love with Naoshima and the Seto Inland Sea, returning many times from his studio in Japan in the years following, searching for an opportunity to start a long term project in the area that addressed the harmful scars that the rapid industrialization of Japan had left on the beautiful region during the Meiji Period.After three years of looking for an appropriate site, <mask> came across Okayama Prefecture’s Inujima in 1995, a depopulated island scattered with the ruins of a copper refinery dating back to the industrial Meiji Period, and the inspiration for <mask>'s Inujima Project was formed. In 1995, <mask> came up with his vision for the revitalization of the entire island of Inujima; he aimed to revamp the long-defunct copper '"seirensho" (refinery) as a permanent, site-specific artwork using renewable energy, a project that was realized with the support from Benesse Corporation’s CEO at the time, Soichiro Fukutake. <mask> and Fukutake were able to acquire Mishima Yukio's 'Shōtō House,' the former residence of the novelist and poet whose work <mask> had engaged with in his artworks throughout the previous decade. Using dismantled and reconstructed parts of Mishima's residence, <mask> spent years building a series of installations entitled Hero Dry Cell (2008) within the copper refinery, creating a permanent artwork that was also fused with the architectural heritage of the industrial site. After 13 years of collaborative work, <mask> in collaboration with architect Kazuyo Sejima, in addition to the Injuma Seirensho Art Museum

Due to his long term project in Japan, <mask> began traveling often between his studios in New York and Inujima, and eventually the artist closed his studios in the United States to move back to Japan full time.He set up in a self-designed studio situated on the north face of the mountains facing the Genkai Sea, in Itoshima City, Fukuoka prefecture. In 2005, he began working as an associate professor in the Faculty of Art at Hiroshima City University. He started a Contemporary Art and Theory Major in the Faculty of Arts and launched the Hiroshima Art Project, utilizing facilities that were unused due to the exposure to radiation as sites to exhibit artworks. Hero Dry Cell (2008)
Inside the defunct copper refinery that makes up the Inujima Seirensho Art Museum, <mask> spent more than a decade constructing a six-part permanent art installation entitled Hero Dry Cell (2008) that utilized mirrors, natural light, local stones, water elements, and architectural collage to create an interconnected, multi-layered installation about the modernization of Japan and legacy of the postwar. Hero Dry Cell is made up of six parts that unfold inside the museum "like a hand scroll" in the following order: Icarus Cell, Solar Rock, Slag Note, Mirror Note, Icarus Tower, and Solar Note. The second part, Solar Rock (2008) is of particular interest, using a natural light leak to create the illusion of a total eclipse—a black hinomaru. A black half shadow circle is created with light and then reflected in a dark pool of water gathered below on a large slab of local Inujima granite, creating the illusion of a full circle of a Black Sun rising, perhaps another addition to <mask>'s Hinomaru Series that critiqued the imperial-era nationalism associated with the Japanese flag.The granite megalith embedded into the ground of Solar Rock can be connected to <mask>'s keen interest in the Mono-ha movement. In front of the black hinomaru, <mask>'s 'architectural collage' appeared to float in mid-air as deconstructed panels of a tatami-mat room from Mishima Yukio's former residence lined up perfectly in alignment to lead the viewers' eye into the shadowy abyss of the Black Sun, even as the windows catch light and dazzle the retina simultaneously. This sensation is similarly described by the artist himself when recounting his first morning on Inujima in 1995: the rising sun made an "imprint on his retina" that developed into this six-part installation which functions an "after-image of the sun he saw that first morning." Recent years, 2010–present
After the completion of the Inujima Project, <mask> has taken on more revitalization projects, such as the challenge of transforming an old junior high school on the remote island of Momoshima Island in Hiroshima Prefecture, establishing ART BASE MOMOSHIMA in the Onomichi Channel area in 2012. In 2016, <mask>’s large-scale solo exhibition at Yokohama’s BankART1929 explored the past three decades of the artist's oeuvre, filling the entire

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