text: tap dance

text: minstrel show

text: vaudeville

text: Shirley Temple

text: Stormy Weather

text: National Film Registry

text: blackface

text: two-colored rule

text: Temple

text: The Little Colonel

text: Uncle Tom

text: Dallas

text: Franklin Delano Roosevelt

text: World War II

text: Miami

text: Ed Sullivan

text: Fred Astaire

text: Lena Horne

text: Jesse Owens

text: Nicholas brothers

text: Sammy Davis, Jr.

text: Ann Miller

text: Gregory Hines

text: NAACP Best actor Award

text: U.S. Congress

text: National Tap Dance Day

text: Richmond, Virginia

text: Jackson Ward

text: busker

text: "pick"

text: Benning Race Track

text: Al Jolson

text: pickaninny

text: United States Army

text: buck-and-wing

text: Keith

text: Orpheum Circuit

text: two-colored rule

text: World War I

text: Keith

text: Orpheum Circuit

text: Orpheum Circuit

text: Keith

text: Lew Leslie

text: Blackbirds of 1928

text: Adelaide Hall

text: Tim Moore

text: Adelaide Hall

text: Hoofers Club

text: Palace Theatre (Broadway)

text: The Hot Mikado

text: Gilbert and Sullivan

text: Broadhurst Theatre

text: 1939 New York World's Fair

text: Imogene Coca

text: Pert Kelton

text: Phil Baker

text: Leonard Sillman

text: Memphis Bound

text: top billing

text: Avon Long

text: Billy Daniels

text: Ada Brown

text: Sheila Guyse

text: H.M.S. Pinafore

text: RKO

text: 20th Century Fox

text: Paramount Pictures

text: RKO Pictures

text: "Dixiana"

text: Harlem Is Heaven

text: The Little Colonel

text: D. W. Griffith

text: James Dunn

text: Stand Up and Cheer!

text: 20th Century Fox

text: The Littlest Rebel

text: Rebecca of Sunnybrook Farm

text: Just Around the Corner

text: Hooray for Love

text: Fredi Washington

text: Will Rogers

text: Stormy Weather

text: Lena Horne

text: Fats Waller

text: Cab Calloway

text: Nicholas Brothers

text: Fred Astaire

text: National Film Registry

text: Library of Congress

text: Webster's Dictionary

text: Columbus, Ohio

text: Harlem

text: New York Giants

text: major league baseball

text: James Barton

text: James Barton

text: The Original Amateur Hour

text: Ed Sullivan

text: 369th Infantry Regiment Armory

text: Adam Clayton Powell, Sr.

text: Abyssinian Baptist Church

text: William O'Dwyer

text: Cemetery of the Evergreens, Brooklyn

text: Richmond

text: New York Black Yankees

text: Harlem

text: James "Soldier Boy" Semler

text: Negro National League

text: Major League Baseball

text: desegregated

text: U.S. Senate

text: National Tap Dance Day

text: National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame

text: rifleman

text: 15th Infantry Regiment

text: National Guard

text: 369th Infantry

text: Fourth Army

text: drum major

text: Fifth Avenue

text: Jim Haskins

text: two-colored rule

text: Oxford English Dictionary

text: Irving Bacheller

text: Carl Van Vechten

text: Nigger Heaven

text: John O'Hara

text: Appointment in Samarra

text: Jerry Jeff Walker

text: Mr. Bojangles

text: Uncle Tom

text: Rev. Adam Clayton Powell

text: Donald Bogle

text: Uncle Tom

text: Lincoln "Stepin Fetchit" Perry

text: Sing Sing

text: the Tombs

text: Jesse Owens

text: 1936 Olympics

text: Adolf Hitler

text: Jeni Le Gon

text: Twentieth Century Fox

text: Café Metropole

text: Fred Astaire

text: Swing Time

text: Duke Ellington

text: Charles Strouse

text: Annie

text: Bye Bye Birdie

text: Applause

text: Academy Award

text: Sammy Cahn

text: Bojangles

text: NAACP Best actor Award

text: Gregory Hines

text: Jerry Jeff Walker

text: Mr. Bojangles

text: New Orleans

text: Arthur Duncan

text: The Lawrence Welk Show

text: Larry Norman

text: So Long Ago the Garden

text: All in the Family

text: Grateful Dead

text: Lupe Fiasco

text: Sammy Davis Jr.

text: Tim Burton

text: Corpse Bride

text: Leo and Diane Dillon

text: Anita O'Day

text: Brunswick Records

text: Brunswick Records

text: Columbia Records

text: Brunswick Records

text: Racism in the United States

text: Blackface

text: "Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall"

text: Bojangles at the Evergreens Cemetery

categories: Male actors from Richmond, Virginia,American male dancers,African-American dancers,African-American male actors,African-American male dancers,Burials at the Cemetery of the Evergreens,Vaudeville performers,American military personnel of World War I,1949 deaths,American tap dancers,1877 births,American male stage actors,Harlem Renaissance,United States Army soldiers

paragraph: Bill Robinson

paragraph: Bill "Bojangles" Robinson (May 25, 1877 – November 25, 1949) was an American tap dancer and actor, the best known and most highly paid African-American entertainer in the first half of the twentieth century. His long career mirrored changes in American entertainment tastes and technology. He started in the age of minstrel shows and moved to vaudeville, Broadway, the recording industry, Hollywood, radio, and television. According to dance critic Marshall Stearns, "Robinson's contribution to tap dance is exact and specific. He brought it up on its toes, dancing upright and swinging", giving tap a "…hitherto-unknown lightness and presence." His signature routine was the Stair Dance, in which Robinson would tap up and down a set of stairs in a rhythmically complex sequence of steps, a routine that he unsuccessfully attempted to patent. Robinson is also credited with having introduced a new word, "copasetic", into popular culture, via his repeated use of it in vaudeville and radio appearances.

paragraph: A popular figure in both the black and white entertainment worlds of his era, he is best known today for his dancing with Shirley Temple in a series of films during the 1930s, and for starring in the musical "Stormy Weather" (1943), loosely based on Robinson's own life, and selected for preservation in the National Film Registry. Robinson used his popularity to challenge and overcome numerous racial barriers, including becoming the following:

paragraph: BULLET::::- one of the first minstrel and vaudeville performers to appear without the use of blackface makeup

paragraph: BULLET::::- one of the earliest African-American performers to go solo, overcoming vaudeville's two-colored rule

paragraph: BULLET::::- a headliner in Broadway shows

paragraph: BULLET::::- the first African American to appear in a Hollywood film in an interracial dance team (with Temple in "The Little Colonel", 1935)

paragraph: BULLET::::- the first African American to headline a mixed-race Broadway production

paragraph: During his lifetime and afterwards, Robinson also came under heavy criticism for his participation in and tacit acceptance of racial stereotypes of the era, with critics calling him an "Uncle Tom" figure. Robinson resented such criticism, and his biographers suggested that critics were at best incomplete in making such a characterization, especially given his efforts to overcome the racial prejudice of his era. In his public life Robinson led efforts to:

paragraph: BULLET::::- persuade the Dallas police department to hire its first African-American policemen

paragraph: BULLET::::- lobby President Franklin Delano Roosevelt during World War II for more equitable treatment of African-American soldiers

paragraph: BULLET::::- stage the first integrated public event in Miami, a fundraiser which, with the permission of the mayor, was attended by both black and white city residents

paragraph: Despite being the highest-paid black performer of the era, Robinson died penniless in 1949, and his funeral was paid for by longtime friend Ed Sullivan. Robinson is remembered for the support he gave to fellow performers, including Fred Astaire, Lena Horne, Jesse Owens, and the Nicholas brothers.

paragraph: Sammy Davis, Jr. and Ann Miller credited him as a teacher and mentor, Miller saying he "changed the course of my life." Gregory Hines produced and starred in a biographical movie about Robinson for which he won the NAACP Best actor Award. In 1989, the U.S. Congress designated May 25, Robinson's birthday, as National Tap Dance Day.

paragraph: Section::::Life and career.

paragraph: Section::::Life and career.:Early years.

paragraph: Luther Robinson was born on May 25, 1877, in Richmond, Virginia, and raised in its Jackson Ward neighborhood. His parents were Maxwell, a machine-shop worker, and Maria Robinson, a choir singer. His grandmother raised him after both parents died in 1884 when he was six years old—his father from chronic heart disease and his mother from natural causes. Details of Robinson's early life are known only through legend, much of it perpetuated by Robinson himself. He claimed he was christened "Luther"—a name he did not like. He suggested to his younger brother Bill that they should exchange names. Eventually, the exchange between the names of both brothers was made.

paragraph: The brother subsequently adopted the name of "Percy" and under that name achieved recognition as a musician.

paragraph: Section::::Life and career.:Early career.

paragraph: At the age of five, Robinson began dancing for small change, appearing as a "hoofer" or busker in local beer gardens and in front of theaters for tossed pennies. A promoter saw him performing outside the Globe Theater in Richmond and offered him a job as a "pick" in a local minstrel show. At that time, minstrel shows were staged by white performers in blackface. Pickaninnies were cute black children at the edge of the stage singing, dancing, or telling jokes.

paragraph: In 1890, at the age of 13, Robinson ran away to Washington, D.C., where he did odd jobs at Benning Race Track and worked briefly as a jockey. He teamed up with a young Al Jolson, with Jolson singing while Robinson danced for pennies or to sell newspapers. In 1891 he was hired by Whallen and Martel, touring with Mayme Remington's troupe in a show titled "The South Before the War", performing again as a pickaninny, despite his age. He travelled with the show for over a year before growing too mature to play the role credibly.

paragraph: In 1898, he returned to Richmond where he joined the United States Army as a rifleman when the Spanish–American War broke out. He received an accidental gunshot wound from a second lieutenant who was cleaning his gun.

paragraph: Section::::Life and career.:Vaudeville.

paragraph: On March 30, 1900, Robinson entered a buck-and-wing dance contest at the Bijou Theater in Brooklyn, New York, winning a gold medal and defeating Harry Swinton, star of the show "In Old Kentucky" and considered the best dancer of his day. The resulting publicity helped Robinson to get work in numerous traveling shows, sometimes in a troupe, more frequently with a partner, though not always as a dancer (Robinson also sang and performed two-man comedy routines).

paragraph: By 1912, Robinson was a full partner in the duo, which had become primarily a tap dancing act, booked on both the Keith and Orpheum Circuits. The team broke up in 1914, and vaudeville performer Rae Samuels, who had performed in shows with Robinson, convinced him to meet with her manager (and husband), Marty Forkins. Under Forkins' tutelage, Robinson matured and began working as a solo act, increasing his earnings to an estimated $3,500 per week. Forkins accomplished this by inventing an alternate history for Robinson, promoting him as already being a solo act. This technique succeeded, making Robinson one of the first performers to break vaudeville's two-colored rule, which forbade solo black acts.

paragraph: When the U.S. entered World War I, the War Department set up a series of "Liberty Theaters" in the training camps. The Keith and Orpheum Circuits underwrote vaudeville acts at reduced fees, but Robinson volunteered to perform gratis for thousands of troops, in both black and white units of the Expeditionary Forces, receiving a commendation from the War Department in 1918.

paragraph: Throughout the early 1920s, Robinson continued his career on the road as a solo vaudeville act, touring throughout the country and most frequently visiting Chicago, where Marty Forkins, his manager, lived. From 1919–1923 he was fully booked on the Orpheum Circuit, and was signed full-time by the Keith in 1924 and 1925. In addition to being booked for 50–52 weeks (an avid baseball fan, he took a week off for the World Series), Robinson did multiple shows per night, frequently on two different stages.

paragraph: Tap Dance Style

paragraph: As mentioned above, the chapter of Stearns' "Bill Robinson: Up on the Toes" entitled "Jazz Dance" (1966) describes how Robinson introduced dancing "up on the toes" to tap dance. This was a new addition to King Rastus Brown's popular "flat-footed wizardry." Moving primarily from the waist down, Robinson maintained impressive control of his body. Pete Nugent is said to have remarked, "Robinson was the absolute tops in "control."" That Robinson infrequently dropped his heels marked a significant change in popular tap technique. Due to his adroit ability to be both light on his feet and distinct in his percussive taps, Robinson was called the Father of Tapology.

paragraph: In 1918 at the Palace Theater in New York, Robinson performed the Stair Dance. Claims regarding the origin of the Stair Dance were highly disputed; however, Robinson was widely credited with the dance because he made it popular. The dance involved "a different rhythm for each step--each one reverberating with a different pitch--and the fact that he had a special set of portable steps enhanced his claim to originating the dance." The popular sensation of the Stair Dance led Robinson to try to secure a patent on the routine through the U.S. Patent Office in Washington D.C., ultimately to no avail; however this did not infringe on Robinson's professional command of the Stair Dance. The entertainment community began to associate the Stair Dance exclusively with Robinson as the routine became a standard part of his performances in 1921. Haskins reports that dancer Fred Stone sent Robinson a check for having performed the routine.

paragraph: Robinson's talents transcended his famous Stair Dance by far. The steps themselves were not essential to Robinson's performances; rather, Robinson would naturally shift into "a little skating step to stop-time; or a Scoot step, a cross-over tap" or many other tap steps involved in his particular movement quality. Robinson changed rhythmic meters and tap steps and syncopated breaks seamlessly. Often Robinson would talk to his audience, share anecdotes, and act as if he were surprised by the action of his feet. His amusing personality was essential to his performances and popularity. Robinson is said to have consistently performed in split-soled wooden shoes, handcrafted by a Chicago craftsman.

paragraph: Section::::Life and career.:Broadway.

paragraph: In 1928, a white impresario, Lew Leslie, produced "Blackbirds of 1928" on Broadway, a black revue for white audiences starring Adelaide Hall and Bill Robinson along with Aida Ward, Tim Moore and other black stars. The show was a huge success on Broadway, where it ran for over one year to sell-out performances. On stage, Adelaide Hall and Robinson danced and sang a duet together, which captivated the audiences. From then on, Robinson's public role was that of a dapper, smiling, plaid-suited ambassador to the white world, maintaining a connection with the black show-business circles through his continuing patronage of the Hoofers Club, an entertainer's haven in Harlem. So successful was Adelaide Hall's collaboration with Bojangles, they even appeared together on stage at the prestigious Palace Theatre (Broadway) before they were teamed up together again by Marty Forkins (Robinson's manager) to star in another Broadway musical titled, "Brown Buddies", that opened in 1930 at the Liberty Theatre, where it ran for four months before commencing a road tour of the States.

paragraph: In 1939, Robinson returned to the stage in "The Hot Mikado", a jazz version of the Gilbert and Sullivan operetta. The show opened at the Broadhurst Theatre, with Robinson cast in the role of the Emperor. His rendition of "My Object All Sublime" stopped the show and produced eight encores. After Broadway, the show moved to the 1939 New York World's Fair, and was one of the greatest hits of the fair. August 25, 1939, was named "Bill Robinson Day" at the fair.

paragraph: Robinson's next Broadway show, "All in Fun" (1940), was with an all-white cast. Despite having Imogene Coca, Pert Kelton, and other stars, the show received poor reviews at out-of-town tryouts in New Haven and Boston. When the white stars and co-producers, Phil Baker and Leonard Sillman, withdrew, Robinson became the star, the first time an African-American headlined an otherwise all-white production. Although the reviewers were enthusiastic about Robinson, they panned the show, and it failed to attract audiences. "All in Fun" closed after four performances.

paragraph: Robinson's next foray on Broadway was the musical comedy "Memphis Bound", which opened in May 1945. This production used an all-black cast including Robinson (who had top billing), Avon Long, Billy Daniels, Ada Brown, and Sheila Guyse. Robinson played the boat pilot and then Sir Joseph Porter in the play-within-a-play of "H.M.S. Pinafore". Critics widely praised Robinson's performance and especially his dancing, with his stair dance cited as a high point of the show.

paragraph: Section::::Life and career.:Film career.

paragraph: After 1932, black stage revues waned in popularity, but Robinson remained in vogue with white audiences for more than a decade in some fourteen motion pictures produced by such companies as RKO, 20th Century Fox and Paramount Pictures. Most of them had musical settings, in which he played old-fashioned roles in nostalgic romances.

paragraph: Section::::Life and career.:Film career.:Early films.

paragraph: Robinson's film debut was in the RKO Pictures 1930 musical "Dixiana". RKO was formed in part by a merger of the Keith and Orpheum theater circuits, with whom Robinson had performed as a headliner for many years. He was cast as a specialty performer in a standalone scene. This practice, customary at the time, permitted Southern theaters to remove scenes containing black performers from their showings of the film. "Dixiana" was followed by Robinson's first starring role, in "Harlem Is Heaven" (1932), which is sometimes cited as the first film with an all-black cast, even though all-black silent films preceded it and the cast of "Harlem Is Heaven" includes a white actor with a speaking part, as well as a few white extras. The movie was produced in New York and did not perform well financially, leading Robinson to focus on Hollywood-produced movies after that.

paragraph: Section::::Life and career.:Film career.:Shirley Temple.

paragraph: The idea for bringing a black dancer to Fox to star with Temple in "The Little Colonel" was actually first proposed by Fox head Winfield Sheehan after a discussion with D. W. Griffith. Sheehan set his sights on Robinson but, unsure of his ability as an actor, arranged for a contract that was void if Robinson failed the dramatic test. Robinson passed the test and was brought in to both star with Temple and to teach her tap dancing. They quickly hit it off, as Temple recounted years later:

paragraph: Robinson walked a step ahead of us, but when he noticed me hurrying to catch up, he shortened his stride to accommodate mine. I kept reaching up for his hand, but he hadn't looked down and seemed unaware. Fannie called his attention to what I was doing, so he stopped short, bent low over me, his eyes wide and rows of brilliant teeth showing in a wide smile. When he took my hand in his, it felt large and cool. For a few moments, we continued walking in silence. "Can I call you Uncle Billy?" I asked. "Why sure you can", he replied... "But then I get to call you darlin.'" It was a deal. From then on, whenever we walked together it was hand in hand, and I was always his "darlin.'"

paragraph: Temple had already appeared in five films released in 1934, and had performed a tap routine with James Dunn in "Stand Up and Cheer!" After Robinson was signed by 20th Century Fox, it was decided that he would perform his famous stair dance with Temple. While Robinson liked the idea, he quickly realized that he could not teach his complex stair dance to a seven-year-old in the few days permitted by the shooting schedule. Instead, he taught Temple to kick the riser (face) of each stairstep with her toe. After watching her practice his choreography, Robinson modified his routine to mimic her movements, so that it appeared on film that she was imitating his steps. The sequence was the highlight of the film.

paragraph: Robinson and Temple became the first interracial dance partners in Hollywood history. The scene was controversial for its time, and was cut out in the south along with all other scenes showing the two making physical contact. Temple and Robinson appeared in four films together: "The Little Colonel", "The Littlest Rebel", "Rebecca of Sunnybrook Farm" and "Just Around the Corner".

paragraph: Robinson and Temple became close friends as a result of his dance coaching and acting with her. Robinson carried pictures of Temple with him wherever he traveled, and Temple considered him a lifelong friend, saying in an interview "Bill Robinson treated me as an equal, which was very important to me. He didn't talk down to me, like to a little girl. And I liked people like that. And Bill Robinson was the best of all."

paragraph: Section::::Life and career.:Film career.:Other films.

paragraph: On rare occasions, Robinson departed from the stereotypes of African-Americans imposed by Hollywood studios. In a small vignette in "Hooray for Love" (1935), he played a mayor of Harlem modeled after his own ceremonial honor; in "One Mile from Heaven" (1937), he played a romantic lead opposite African-American actress Fredi Washington after Hollywood had relaxed its taboo against such roles for blacks.

paragraph: Robinson appeared opposite Will Rogers in "In Old Kentucky" (1935), the last movie Rogers made prior to his death in an airplane crash. Robinson and Rogers were good friends, and after Rogers' death, Robinson refused to fly, instead travelling by train to Hollywood for his film work.

paragraph: Section::::Life and career.:Film career.:Stormy Weather.

paragraph: Robinson's final film appearance was a starring role in the 1943 Fox musical "Stormy Weather". Lena Horne co-starred as Robinson's love interest, and the movie also featured Fats Waller in his final movie appearance before his death, playing with Cab Calloway and his orchestra. The Nicholas Brothers are featured in the film's final dance sequence, performing to Calloway's "Jumpin' Jive", in what Fred Astaire called "the greatest movie musical number he had ever seen".

paragraph: In 2001, "Stormy Weather" was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."

paragraph: Section::::Life and career.:Radio and sound recordings.

paragraph: From 1936 until his death in 1949, Robinson made numerous radio and occasional television appearances. The distinctive sound of Robinson's tap dancing was frequently featured, but Robinson also sang, made sound effects, and told jokes and stories from his vaudeville acts. He also addressed the audience directly, something very rare for a black radio performer in that era.

paragraph: Robinson also made several recordings, including one in which he demonstrated each of his tap steps and their corresponding sounds. It was also on the radio and in his recordings that Robinson introduced and popularized a word of his own invention, "copasetic", which he had used for years in his vaudeville shows, and which was added to Webster's Dictionary in 1934.

paragraph: Section::::Life and career.:Personal life.

paragraph: Little is known of Robinson's first marriage to Lena Chase in 1907. They separated in 1916, and the marriage ended in 1922. His second wife was Fannie S. Clay whom he married shortly after his divorce from Chase. They divorced in 1943. His third marriage was in 1944 to Elaine Plaines in Columbus, Ohio, and they remained together until Robinson's death in 1949. There were no children from any of the marriages.

paragraph: Political figures and celebrities appointed Robinson an honorary mayor of Harlem, a lifetime member of policemen's associations and fraternal orders, and a mascot of the New York Giants major league baseball team. Robinson reciprocated with open-handed generosity and frequently credited the white dancer James Barton for his contribution to his dancing style.

paragraph: Section::::Life and career.:Death.

paragraph: The last theatrical project for Robinson was to have been "Two Gentlemen from the South", with James Barton as the master and Robinson as his servant, in which the black and white roles reverse and eventually the two come together as equals, but the show did not open.

paragraph: Robinson's final public appearance in 1949, a few weeks before his death, was as a surprise guest on a TV show, Ted Mack's The Original Amateur Hour, in which he emotionally embraced a competitor on the show who had tap-danced for the audience. A friend remarked, "he was handing over his crown, like him saying, 'this is my good-bye. '"

paragraph: Despite being the highest-paid black performer of the first half of the twentieth century, earning more than US$2 million during his lifetime, Robinson died penniless in 1949, at the age of 71 from heart failure. His funeral was arranged and paid for by longtime friend and television host Ed Sullivan. Robinson lay in repose at the 369th Infantry Regiment Armory in Harlem, where an estimated 32,000 people filed past his open casket to pay their last respects. The schools in Harlem were closed for a half-day so that children could attend or listen to the funeral, which was broadcast over the radio. Reverend Adam Clayton Powell, Sr. conducted the service at the Abyssinian Baptist Church, and New York Mayor William O'Dwyer gave the eulogy. Robinson is buried in the Cemetery of the Evergreens, Brooklyn, New York.

paragraph: Section::::Legacy.

paragraph: Robinson was successful despite the obstacle of racism. A favorite Robinson anecdote is that he seated himself in a restaurant and a customer objected to his presence. When the manager suggested that it might be better if Robinson leave, he smiled and asked, "Have you got a ten-dollar bill?" Politely asking to borrow the manager's note for a moment, Robinson added six $10 bills from his own wallet and mixed them up, then extended the seven bills together, adding, "Here, let's see you pick out the colored one". The restaurant manager served Robinson without further delay.

paragraph: Despite earning and spending a fortune, his memories of surviving the streets as a child never left him, prompting many acts of generosity. In 1933, while in his hometown of Richmond, he saw two children caught between the heat of traffic to retrieve their ball. There was no stoplight at the intersection: Robinson went to the city and provided the money to have one installed. In 1973, a statue of "Bojangles", sculpted by Jack Witt, at the intersection of Adams and West Leigh Streets was established in a small park at the intersection.

paragraph: Robinson co-founded the New York Black Yankees baseball team in Harlem in 1936 with financier James "Soldier Boy" Semler. The team was a successful member of the Negro National League until it disbanded in 1948, after Major League Baseball was desegregated.

paragraph: In 1989, a joint U.S. Senate/House resolution declared "National Tap Dance Day" to be May 25, the anniversary of Bill Robinson's birth.

paragraph: Robinson was inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in 1987.

paragraph: Section::::Popular myths, legends, and misconceptions.

paragraph: There are several commonly cited anecdotes about Robinson that are likely the result of conflicting stories put out by Robinson's second wife Fanny, or his manager, Marty Forkins, or by various show business associates of Robinson. There are also numerous documented instances in which Robinson gave conflicting stories to news reporters at different times.

paragraph: Section::::Popular myths, legends, and misconceptions.:Military service.

paragraph: It has been claimed that Robinson served as a rifleman in World War I with New York's 15th Infantry Regiment, National Guard. The Regiment was renamed the 369th Infantry while serving under France's Fourth Army and earned the nickname the "Harlem Hellfighters."

paragraph: According to his biographer, Robinson had previously served in the Spanish–American War, where he sustained an accidental gunshot wound, was 40 when the U.S entered World War I, and received a letter of commendation from the War Department for his work during the war in boosting morale at training camps in the United States, not overseas.

paragraph: It has further been claimed that, along with serving in the trenches in World War I, Robinson was also the drum major for the 369th "Hellfighters Band" and led the regimental band up Fifth Avenue on the 369th's return from overseas.

paragraph: While numerous sources repeat the claim of Bill Robinson's appointment as drum major in the 369th Regiment Band, this is not mentioned in either "Mr. Bojangles", the Bill Robinson biography by Jim Haskins and N. R. Mitgang, or "A Life in Ragtime", the biography of James Reese Europe, the leader of the 369th regimental band.

paragraph: Section::::Popular myths, legends, and misconceptions.:The origin of the nickname "Mr. Bojangles".

paragraph: Tales about the origin of Robinson's nickname even varied across the color line, a consequence of differing opinions of him by blacks and whites. To whites, for example, his nickname "Bojangles" meant happy-go-lucky, while the black variety artist Tom Fletcher claimed it was slang for "squabbler." Robinson himself said he got the nickname as a child in Richmond, which is the most commonly-accepted version.

paragraph: Section::::Popular myths, legends, and misconceptions.:Marriage to Fanny Clay.

paragraph: The date and location of Robinson's second marriage, to Fanny Clay, or even the year they met, is uncertain because the couple gave different dates and locations in interviews, possibly because they were worried about unfavorable publicity about the marriage occurring so soon after Robinson's divorce. Robinson's biographer estimates that they met in late 1920 and were married in early 1922.

paragraph: Section::::Popular myths, legends, and misconceptions.:First Meeting with Marty Forkins.

paragraph: Robinson's meeting with the man who became his manager, Marty Forkins, is said to have occurred when Robinson, working as a waiter, spilled soup on Forkins. After Robinson's death, Forkins and his wife, Rae Samuels, admitted that Samuels made the introduction after having seen Robinson perform with his partner, George Cooper. Their explanation was that the story was made up in order to obscure Robinson's & Cooper's partnership, and to more effectively promote Robinson as a solo act. The ruse was successful, making Robinson one of the first solo acts to break vaudeville's two-colored rule, which required African-American performers to work in pairs.

paragraph: Section::::Popular myths, legends, and misconceptions.:Legendary dance contest.

paragraph: A dance contest between Robinson and three other dance legends (typically Ray Bolger, Fred Astaire, and James Martin) in which Robinson emerges the victor is recounted in many places, but no verifiable source can be found describing where and when the contest might have taken place.

paragraph: Section::::Popular myths, legends, and misconceptions.:Copasetic.

paragraph: Robinson is given credit for having popularized the word and claimed to have invented it while still living in Richmond. The "Oxford English Dictionary" lists the origins of the word as "unknown" and documents the earliest written use of the word in 1919, by the newspaperman and author Irving Bacheller, in his serialized book, "A Man for the Ages"; this was followed by uses in 1926 by Carl Van Vechten in his novel "Nigger Heaven", in 1934 in "Webster's New International Dictionary", and by John O'Hara in his novel "Appointment in Samarra". Haskins biography of Robins includes, "Bill was shelling peas at the Jefferson Market, a "New York Daily Mirror" reporter asked him how he was, and the reply just popped into his head: 'I'm copasetic.'" The word was not popularized until Robinson used the term as an opening for his Vaudeville and radio performances. The word was used in films Robinson made with Shirley Temple in the 1930s.

paragraph: Section::::Popular myths, legends, and misconceptions.:World record for running backward.

paragraph: One of Robinson's methods for generating publicity in cities where he wasn’t the headliner was to engage in "freak sprinting" races, such as running backward. In 1922, Robinson set the world record for running backward (100 yards in 13.5 seconds). The record stood until 1977, when Paul Wilson ran the distance in 13.3 seconds.

paragraph: Section::::Popular myths, legends, and misconceptions.:The song "Mr. Bojangles".

paragraph: Jerry Jeff Walker's 1968 folk song "Mr. Bojangles" indirectly makes reference to Robinson. According to Walker, it was inspired by Walker's encounter with a white street performer in the New Orleans first precinct jail, a street performer who called himself "Bo Jangles", presumably taking his pseudonym from Robinson. In the song, the street performer is a heavy drinker and has a dog that died. By Robinson's own account and those of his friends, he neither smoked nor drank (although he was a frequent and avid gambler), and he never had a dog.

paragraph: Section::::Controversies.

paragraph: Section::::Controversies.:Uncle Tom roles.

paragraph: Robinson came under heavy criticism for playing stereotyped roles, and took offense at such claims. Once, after being named as an "Uncle Tom" in the New York newspaper "The Age", Robinson went to its office in Harlem, pistol in hand, demanding to see the editor. In his eulogy at Robinson's funeral, Rev. Adam Clayton Powell argued against the claim that Robinson was an "Uncle Tom" figure, focusing on Robinson's ability as an entertainer and a person to transcend color lines.

paragraph: In 1973, the film historian Donald Bogle, in his history of African Americans in American film, refers to Robinson's role in "The Littlest Rebel" and other Shirley Temple movies as the "quintessential Uncle Tom." Other critics noted that such criticism fails to account for the genuine affection and chemistry between Robinson and Temple that came through on the screen, and that the role represented a breakthrough for Hollywood stereotypes in that it was the first time a black man was made the guardian of a white life. Bogle later modulated his criticism by noting that the reliable, articulate Uncle Billy character in "The Littlest Rebel" was a cut above the characters portrayed by Lincoln "Stepin Fetchit" Perry.

paragraph: Haskins explains that critics calling Robinson an "Uncle Tom" often disregarded the discriminatory limitations Robinson endured and combated throughout his career. In addition to the impact of Jim Crow policies and the Depression, Haskins writes, "That Bill traveled, at least professionally, in increasingly white circles was not so much a matter of choice as one of reality." Having overcome numerous policies inhibiting his success to reach an unmatched level of stardom, Robinson had limited performance venue opportunities for a performer of his caliber.

paragraph: In 1933, Robinson was named an honorary "Mayor of Harlem" for his philanthropic contributions to his community and for his renown success. He took this role seriously performing over three thousand benefits in the course of his career, aiding hundreds of unorganized charities and individuals.

paragraph: Section::::Controversies.:Trial and imprisonment.

paragraph: On March 21, 1908, as a result of a dispute with a tailor over a suit, Robinson was arrested in New York City for armed robbery. On September 30, he was convicted and sentenced to 11–15 years hard labor at Sing Sing prison. Robinson had failed to take the charges and trial seriously and paid little attention to mounting a defense. After his conviction, Robinson's partner, George Cooper, organized his most influential friends to vouch for him, and hired a new attorney who produced evidence that Robinson had been falsely accused. Though he was exonerated at his second trial and his accusers indicted for perjury, the trial and time spent in the Tombs (Manhattan's prison complex) affected Robinson deeply. After he was released, he made a point of registering his pistol at the local police station of each town where he performed. Robinson's second wife, Fanny, also sent a letter of introduction with complimentary tickets and other gifts to the local police chief's wife in each town ahead of Robinson's engagements.

paragraph: Section::::Controversies.:Jesse Owens.

paragraph: After Jesse Owens returned from the 1936 Olympics, Robinson befriended him. Despite his fame from his four Olympic track wins, undermining Adolf Hitler's claims of Aryan supremacy, Owens found most of the offers that had been made to employ him had been nothing more than publicity stunts that had no substance. Robinson was the one exception, finding work for Owens within a few months of his return to the U.S. Robinson also introduced Owens to his manager, Marty Forkins, who secured a series of demonstration races for Owens which were viewed by many as degrading to the dignity of an Olympic athlete, most notably an event in Cuba in which Owens raced against a horse. As a result, Forkins and Robinson were viewed as having taken advantage of Owens. According to Forkins’ son, Robinson had told Owens that he should start running demonstration races that would both earn money for him and keep him in the public eye. Robinson had done many such races (including a race in which he set the world record for running backwards) and did not view them as undignified. Moreover, the events paid Owens well and provided him with a source of funds when no one else was offering him employment or helping him financially. Owens made a gift to Robinson of one of his four Olympic gold medals, as a gesture of gratitude for the help Robinson had given him.

paragraph: Section::::Controversies.:"Café Metropole" and Jeni Le Gon.

paragraph: In 1937, Robinson caused a stir in the Harlem community by choosing a white dancer, Geneva Sawyer, as his dance partner over Jeni Le Gon in the Twentieth Century Fox film "Café Metropole" (1937). Le Gon had danced with him in "Hooray for Love" (1935) and had received favorable reviews. Sawyer had been Shirley Temple's dance coach during the time Temple and Robinson made movies together, and Sawyer had taken tap lessons from Robinson while he was teaching Temple and choreographing her routines. Robinson suggested to the producers that Sawyer could be cast as his partner if she wore blackface. Le Gon's career suffered as a result, and she never worked with Robinson again. Although the scene was shot with Sawyer in blackface, the studio became convinced that a mixed-race adult couple dancing together would be too controversial: both scenes with Robinson were cut from the final version of the movie and the deleted scenes were only released in 2008 as part of a Fox DVD boxed set of Tyrone Power movies.

paragraph: Section::::In popular culture.

paragraph: BULLET::::- Fred Astaire paid tribute to Bill Robinson in the tap routine "Bojangles of Harlem" from the 1936 film "Swing Time". In it, Astaire famously dances to three of his shadows.

paragraph: BULLET::::- Duke Ellington composed "Bojangles (A Portrait of Bill Robinson)", a set of rhythmic variations as a salute to the great dancer.

paragraph: BULLET::::- A biography of Bill Robinson by Jim Haskins and N. R. Mitgang, "Mr. Bojangles: The Biography of Bill Robinson" (Morrow), was published in 1988.

paragraph: BULLET::::- "Bojangles" the musical, premiered as the centerpiece of Barksdale Theatre's (at Hanover Tavern) 40th anniversary season in 1993. Playwright Doug Jones collaborated with composer Charles Strouse ("Annie", "Bye Bye Birdie", "Applause") and Academy Award-winning lyricist Sammy Cahn.

paragraph: BULLET::::- A made-for-television film entitled "Bojangles" was released in 2001. The film earned the NAACP Best actor Award for Gregory Hines' performance as Robinson.

paragraph: BULLET::::- While Jerry Jeff Walker's 1968 folk song "Mr. Bojangles" is often thought to be about Robinson, it was actually inspired by Walker's encounter with a white street performer in the New Orleans first precinct jail who used Robinson's stage name as an alias.

paragraph: BULLET::::- Arthur Duncan, an exceptional tap dancer in his own right, frequently paid homage to Bill Robinson with the stair routine on "The Lawrence Welk Show".

paragraph: BULLET::::- He is mentioned in the Larry Norman song "Nightmare" from the album "So Long Ago the Garden".

paragraph: BULLET::::- In the "All in the Family" episode "Lionel Steps Out" Robinson's dancing with Shirley Temple was referenced.

paragraph: BULLET::::- The Grateful Dead mention Billy Bojangles in the song "Alabama Getaway".

paragraph: BULLET::::- Lupe Fiasco mentions Bojangles in his song "Body of Work".

paragraph: BULLET::::- A character loosely modeled upon Bojangles and Sammy Davis Jr., called 'Bonejangles' appears in Tim Burton's "Corpse Bride" (2005).

paragraph: BULLET::::- A children's book titled "Rap a Tap Tap: Here's Bojangles - Think of That!" by Leo and Diane Dillon pays homage to Robinson.

paragraph: BULLET::::- "Blues for Bojangles" is a song composed by Chuck Darwin, and performed by Anita O'Day with the Paul Jordan Orchestra.

paragraph: Section::::Selected discography.

paragraph: BULLET::::- 1929 "Ain’t misbehavin’" / "Doing the new low down" with Irving Mills & His Hotsy Totsy Gang (released September 4, 1929) Brunswick Records Br4535 Re-issued on "Cotton Club stars" (released 1990) Milan Records OCLC 858508492

paragraph: BULLET::::- 1931

paragraph: BULLET::::- "Keep a song in your soul" / "Bill Robinson blues" (released April 3, 1931) Brunswick Records E36441-A-B; also issued on Columbia Records 30183

paragraph: BULLET::::- "Keep a song in your soul" / "Just a crazy song (Hi-hi-hi)" Brunswick Records Br 6134, 1168b, A9091

paragraph: BULLET::::- 1935 "Living in a great big way" with Jeni Legon (recorded 1934, re-released in 2000 on "Hollywood swing & jazz : hot numbers from classic M-G-M, Warner Bros., and RKO films") Rino Records

paragraph: BULLET::::- 1943 "Stormy Weather" Motion picture soundtrack (recorded January–May, 1943, re-released 1993) Fox Records: Distributed by Arista Records, 1993.

paragraph: Section::::See also.

paragraph: BULLET::::- Racism in the United States

paragraph: BULLET::::- Blackface

paragraph: Section::::References.

paragraph: BULLET::::- Sources

paragraph: BULLET::::- Some biographical material is from the "International Tap Association Newsletter", May/June 1993. The biographical material was extrapolated from "The American Dictionary of Biography" and "Webster's American Biographies".

paragraph: BULLET::::- Haskins, James; Mitgang, N. R., "Mr. Bojangles: the biography of Bill Robinson" (New York: William Morrow, 1988).

paragraph: BULLET::::- Williams, Iain Cameron "Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall". Bloomsbury Publishers,

paragraph: Section::::External links.

paragraph: BULLET::::- Bojangles at the Evergreens Cemetery

alias:
Luther Robinson
Bojangles Robinson
Bill Bojangles Robinson

description: American dancer and actor

wikidata_label: Bill Robinson

wikipedia_title: Bill Robinson


text:
Jules Charles Victurnien de Noailles
Duke of Noailles
François de Noailles
Dampierre
Cannes
Paris
Bergen-Belsen
Paris
Elisabeth Pauline Sabine Marie
Maintenon
Paris

categories: Olympic equestrians by year,Competitors at the 1900 Summer Olympics,1953 deaths,Counts of Ayen,1900 in equestrian,1869 births,House of Noailles,Dukes of Noailles

paragraph: Adrien de Noailles

paragraph: Adrien Maurice Victurnien Mathieu de Noailles, 8th Duke of Noailles (22 September 1869 – 23 October 1953), son of Jules Charles Victurnien de Noailles, acceded to the title of Duke of Noailles on his father's death in 1895. He was succeeded by his nephew, François de Noailles

paragraph: Section::::Family.

paragraph: He married Yolande Louise Marie Valentine d'Albert de Luynes (6 August 1870, Dampierre – 18 October 1952, Cannes) on 5 December 1892; they had children:

paragraph: BULLET::::- Jean Maurice Paul Jules Duc d'Ayen (18 September 1893, Paris – 14 April 1945, Bergen-Belsen)

paragraph: BULLET::::- Yolande Marie Clothilde Charlotte (2 January 1896, Paris – 27 November 1976)

paragraph: BULLET::::- Elisabeth Pauline Sabine Marie (27 October 1898, Maintenon – 7 December 1969, Paris

wikidata_label: Adrien de Noailles

wikipedia_title: Adrien de Noailles


text: Duke de Gramont

text: Marguerite de Rothschild

text: duc de Noailles

text: Adrien de Noailles

text: Paris

text: François, 9th duc de Noailles' obituary

categories: 1905 births,Counts of Ayen,2009 deaths,French centenarians,House of Noailles,Dukes of Noailles

paragraph: François de Noailles (1905–2009)

paragraph: François-Agénor-Alexandre-Hélie de Noailles, 9th Duke of Noailles (20 November 1905 – 11 January 2009) was the nephew of Adrien-Maurice-Victurnien-Mathieu, 8th duc de Noailles. His parents were Marquis Hélie Guillaume de Noailles (26 May 1871 – 24 May 1932) and Corisande de Gramont (8 August 1880 – 5 March 1977), daughter of Duke de Gramont and Marguerite de Rothschild.

paragraph: He styled himself duc de Noailles (Duke of Noailles) on the death of his uncle Adrien de Noailles in 1953.

paragraph: Section::::Family.

paragraph: He married Charlotte de Caumont La Force (29 September 1917 – 19 December 2002) in 1936 at Paris. They had one child, a son, who has three children: Hélie-Marie-Auguste-Jacques-Bertrand-Philippe de Noailles, Duke of Ayen (born 1943), who succeeded him upon his death at Château de Champlâtreux in 2009.

paragraph: Section::::References.

paragraph: BULLET::::- François, 9th duc de Noailles' obituary

description: French noble

wikidata_label: François de Noailles

wikipedia_title: François de Noailles (1905–2009)


text:
VC
English
Victoria Cross
British
Commonwealth
captain of the after guard
Royal Navy
Shimonoseki Expedition, Japan
Shimonoseki
Japan
Duncan Gordon Boyes
HMS "Euryalus"
National Maritime Museum
Greenwich

categories: British recipients of the Victoria Cross,1893 deaths,Royal Navy recipients of the Victoria Cross,People from Wareham, Dorset,1835 births,Royal Navy sailors,Royal Navy personnel of the Second Opium War

paragraph: Thomas Pride (VC)

paragraph: Thomas Pride VC (29 March 1835 – 16 July 1893) was an English recipient of the Victoria Cross, the highest and most prestigious award for gallantry in the face of the enemy that can be awarded to a serviceman in the British and Commonwealth forces.

paragraph: Section::::Details.

paragraph: Pride was 29 years old, and a captain of the after guard in the Royal Navy during the Shimonoseki Expedition, Japan when the following deed took place for which he was awarded the VC.

paragraph: On 6 September 1864 at Shimonoseki, Japan, Captain of the After Guard Pride was one of the two colour sergeants who accompanied Midshipman Duncan Gordon Boyes from HMS "Euryalus" when they carried the Queen's Colour into action in the capture of the enemy's stockade. They kept the flag flying in spite of the fierce fire which killed the other colour sergeant and severely wounded Pride. He and the midshipman, however, did not falter and were only finally prevented from going further forward by direct orders from their superior officer.

paragraph: Section::::The medal.

paragraph: His Victoria Cross is displayed at the National Maritime Museum at Greenwich, London.

description: Recipient of the Victoria Cross

wikidata_label: Thomas Pride

wikipedia_title: Thomas Pride (VC)


text: Shizuoka Prefecture

text: Kanō Kagenobu

text: Mount Fuji

text: shōgun

text: Ashikaga Yoshinori

text: Muromachi period

text: Edo period

text: Kanō school

text: Ashikaga shogunate

text: Kanō Masanobu

text: Kyoto

text: e-ma

text: Thirty-six Poetry Immortals

text: Hiroshima Prefecture

text: Tosa School

text: Tosa Mitsunobu

text: Hasuike Hideaki

text: suiboku-ga (sumi-e)

text: fusuma

text: byōbu

text: Mu-ch'i Fa-ch'ang

text: Hsia Kuei

text: Tosa Mitsunobu

text: Seiryō-ji

text: gyōsho

text: sōsho

text: wa-kan

text: Museum of Fine Arts Boston

text: Hosokawa Sumimoto

text: Eisei Bunko Museum

text: Hosokawa Takakuni

text: Tōrin-in

categories: 1476 births,Kanō school,16th-century Japanese artists,15th-century painters,Japanese portrait painters,16th-century Japanese painters,1559 deaths,15th-century Japanese people,16th-century painters,16th-century Japanese people,15th-century Japanese painters

paragraph: Kanō Motonobu

paragraph: Section::::Family Background.

paragraph: The Kanō family are presumed to be the descendants from a line of warriors from the Kanō district. The Kanō district is now called Shizuoka Prefecture. The forebear of this family was Kanō Kagenobu. He seems to have been a retainer of the Imagawa family. It has been reported that he painted a picture of Mount Fuji for a visit to the "shōgun" Ashikaga Yoshinori in 1432. The Kanō family dominated the painting world from the end of the Muromachi period (1336–1573) to the end of the Edo period (1603–1868).

paragraph: Kanō Masanobu, Motonobu's father, was the founder of the Kanō school. Kanō Masanobu was the official court painter to the Ashikaga shogunate in 1481. Masanobu was a professional artist whose style derived from Kanga style. Masanobu’s descendants were the people that made up the Kanō school. The Kanō school had secular ink painters.

paragraph: Section::::Career.

paragraph: Since Kanō Motonobu was a son and heir of the founder of the Kanō School, Kanō Masanobu, he was likely trained in "Kanga" (Chinese-style ink painting) by his father. Right away Motonobu showed great promise as an artist and procured several commissions from major patrons as early as nine years old. Such patrons include the Ashikaga shogunate, members of the imperial aristocracy, Kyoto merchant class, and major Kyoto shrines and temples.

paragraph: One of his earliest documented contracts was for a set of votive plaques (e-ma) depicting for the Thirty-six Poetry Immortals for the Shinto shrine of Itsukushima. It was commissioned by a group of Sakai merchants in 1515 and the pieces are now located in Hiroshima Prefecture.

paragraph: By the 1530s Motonobu had married the daughter of the head of the Tosa School of painting, Tosa Mitsunobu, had three sons (Shōei [1519–1592], Yusetsu [1514–1562], and Joshin), and lead a small Kanō sect in northern Kyoto. The workshop contains roughly ten people containing Motonobu, his three sons, Motonobu’s younger brother Yukinobu (1513–1575), and some assistants that might have not been blood related. Since Motonobu was the head or chief architect of these paintings he took on the contracting, production, and organization of the projects while still being very involved with the marketing of his work and his studio. Known for his charm and intellect, Motonobu became a fierce businessman, and frequently petitioned to the shogun for a vast amount of varied commissions with his fellow merchant, Hasuike Hideaki.

paragraph: However, the time he spent marketing did not deter him from his paintings. As head of the Kanō school, he took the most important rooms in a building commissioned, and then assigned his son and assistants other projects based on hierarchy. These projects could be painting their own rooms independently or grinding pigments, preparing the paper, painting the background color, or simply filled in large areas of color. As a result of Motonobu's marketing skills, the commissions grew allowing the workshop and school itself to expand. Motonobu trained his workshop which was full of members of his family and other apprentices to execute his many designs. The workshop trained other artists by watching the master painter work and emphasised recreating their master's style.

paragraph: Section::::Style.

paragraph: Motonobu was known for his Chinese monochromatic style and characteristic brushwork, pioneering the suiboku-ga (sumi-e) painting style in Japan. The forms were organic, natural, and full of drama. Motonobu's commissions were generally designed for in the home of the samurai warrior class, focusing on "fusuma" and "byōbu". His sumi-e style paintings are reported to take inspiration from three distinct Chinese masters of the sumi-e technique, Mu-ch'i Fa-ch'ang, Hsia Kuei, and Yü Chien (c. 1230).

paragraph: However, he was versatile in his painting and was able to produce landscapes, scenery, and figures of bold decorative patterns. This was likely due to his father-in-law being head of the Tosa school, Tosa Mitsunobu, who was famous for his revival of the "yamato-e" style. Noted works in the "yamato-e" style include a set of hand scrolls "Seiryō-ji no engi" ("Origins of Seiryō-ji", 1515; Kyoto, Seiryō-ji), and some "fusuma" wall paintings. By mastering these two distinct styles, Motonobu's artistic skills could be tailored to match his respective patron and create a unique fusion of Chinese and Japanese style. This fusion of Chinese style and iconography with Japanese aesthetics is what helped the Kanō school achieve the legendary status it is known for today.

paragraph: He also was a master in calligraphy, specifically the formal style known as "shintai" ("new form"), the more informal form known as "gyōsho" ("running style"), and the running style "sōsho" ("grass", very cursive style).

paragraph: Section::::Legacy.

paragraph: One of Motonobu's greatest achievements was the creation of a new technique for painting. This technique formed the basis for the early Kanō school style. It was known as wa-kan, a mixture of Japanese and Chinese painting. This combination had the spatial solidity and careful brushwork techniques of Kanga. It also had some of the characteristics of Yamato-e style, for instance, the fine line and decorative patterning, use of colors, and gold leaf. The wall panels depicting Birds and Flowers of the Four Seasons shows this combination of styles.

paragraph: He taught other generations everything he learned. This established some creativity and flexibility in the Kanō school. "The Story of Xiang yan" (Tokyo National Museum) shows the emergence of Kanō style, although it has an underlying Chinese philosophy to it. But the figure in the foreground is active and the vertical plane makes the painting Japanese. The brushwork and compositional elements also make the painting appear distinctively Japanese.

paragraph: The Kanō school flourished because of leaders like Motonobu. His reputation, talent and developed organizational skills made this possible. Though the school was founded in the fifteenth century, its impact can still be felt in modern art across the world.

paragraph: Section::::Works.

paragraph: BULLET::::- Kurama-dera engi (‘Origins of Kurama temple’; Zen Patriarchs), 1513. Separated and distributed into hanging scrolls, ink and color on paper, 175.1 x 88.4 cm. Tokyo National Museum, Tokyo, Japan. https://mdid3.uwsp.edu/data/record/10512/2015_00571jpg/

paragraph: BULLET::::- Em-a Thirty Six Immortal Poets, 1515. Hanging Scroll ink on paper. Shinto shrine of Itsukushima.

paragraph: BULLET::::- The Four Accomplishments, mid-16th century. Pair of six-panel folding screens; ink and color on paper. https://www.metmuseum.org/art/collection/search/44673

paragraph: BULLET::::- Bo Ya Plays the Qin as Zhong Ziqi Listens, 1530s. Hanging scroll, ink on paper, Image: 65 1/16 × 34 1/4 in. (165.2 × 87 cm) Overall with mounting: 8 ft. 10 7/8 in. × 40 13/16 in. (271.5 × 103.7 cm) Overall with knobs: 8 ft. 10 7/8 in. × 43 3/16 in. (271.5 × 109.7 cm). https://www.metmuseum.org/art/collection/search/53233

paragraph: BULLET::::- Bamboo Stalks, Rocks and Cranes, 15th century. Ink on paper. https://www.japantimes.co.jp/culture/2017/10/24/arts/motonobu-father-kano-styles/#.Woc1ZZM-cWo

paragraph: BULLET::::- White-robed Bodhisattva of Compassion, Early 16th century. Hanging scroll, ink and color on paper, Image: 157.2 x 76.4 cm (61 7/8 x 30 1/16 in.) Mount (with jiku): 256.5 x 104.1 cm (101 x 41 in.). Museum of Fine Arts Boston, Fenollosa-Weld Collection. http://www.mfa.org/collections/object/white-robed-bodhisattva-of-compassion-24752

paragraph: BULLET::::- "49 Landscapes with Flowers and Birds, Early 16th century. Hanging Scroll, mounted ink and color on paper, Kyoto Shinto Shrine."

paragraph: BULLET::::- Hosokawa Sumimoto on Horseback, 1507. Hanging Scroll, ink and color on paper. Eisei Bunko Museum.

paragraph: BULLET::::- Portrait of Hosokawa Takakuni, 1543. Hanging Scroll, ink and color on paper. Tōrin-in.

paragraph: Section::::References.

paragraph: BULLET::::- "Kenkyusha's New Japanese-English Dictionary", Kenkyusha Limited, Tokyo 1991, .

paragraph: BULLET::::- Mason, R.H.P. and J.G.Caiger, "A History of Japan", Tokyo 1977,

paragraph: BULLET::::- "Art Grove Dictionary". Oxford University Press 2007-2009.

paragraph: BULLET::::- Jordan, Brenda G. and Victoria Weston. "Copying the Master and Stealing His Secrets: Talent and Training in Japanese Painting." University of Hawai’i Press; Honolulu, 2003.

paragraph: BULLET::::- "Encyclopædia Britannica Online".

paragraph: BULLET::::- Specific

paragraph: Section::::External links.

paragraph: BULLET::::- Bridge of dreams: the Mary Griggs Burke collection of Japanese art, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on this artist (see index)

alias:
Kano Motonobu
Motonobu
Genshin
Eisen
Motonobu Kāno
Ko-Hōgen
Motonobu (1476)
Kanou Motonobu

description: Japanese painter

wikidata_label: Kanō Motonobu

wikipedia_title: Kanō Motonobu


text:
photography
Adelaide, Australia
Townsend Duryea
Adelaide, Australia
Talbot, Victoria
Life and Health Magazine
Armadale, Victoria
Australia
Townsend Duryea
Wet plate
Indigenous Australians
Gippsland
Adelaide, Australia
Talbot, Victoria
Melbourne
Dry Plate
landscape photography
Sydney, NSW
Calcutta International Exhibition
Calcutta, India
Melbourne, Victoria
Sydney, New South Wales
Armadale, Victoria, Australia
negatives
First World War

categories: Australian photographers,1918 deaths,1837 births

paragraph: Nicholas Caire

paragraph: Nicholas Caire was an Australian photographer born in 1837. Nicholas John Caire was born in Guernsey, Channel Islands, to Nicholas Caire and Hannah Margeret. As a boy Caire spoke French found he had a passion for photography that his parents encouraged. Caire moved to Adelaide, Australia, along with both his parents in 1860. Around this time Caire Found a mentor in Townsend Duryea. in 1867 he opened his own studio in Adelaide, Australia. He was married to Louisa Master in 1870 and then shortly after moved to Talbot, Victoria where he continued his photography and started to write for Life and Health Magazine. Caire died in 1918 in Armadale, Victoria.

paragraph: Section::::Photography.

paragraph: At a young age Nicholas Caire developed his passion for his photography and, with encouragement from his parents, he pursued this goal his entire life. Caire never pursued any other career goals that didn't include photography. Shortly after, he moved to Australia he found his mentor, photographer Townsend Duryea. His work in 1865 consisted of him taking Wet plate images of the Indigenous Australians in Gippsland. Two years later in 1867 Caire opened his first studio in Adelaide, Australia. Three years later Caire moved to Talbot, Victoria. In 1876 he brought his second studio in Collins Street, Melbourne.

paragraph: Until 1885, Caire specialized mostly in portrait photography, The development of the Dry Plate process in 1855 revolutionized what photographers could do with landscape photography. This caused him to leave the city and set up a new studio in South Yarra. At this point Caire decided to focus on outdoor photography, particularly the Australian landscape. His photography aided in helping the tourism around Gippsland, the place which one of his most popular bodies of work, Gippsland Scenery, was named, this body of work is believed to have contained roughly 60 images. Then when Australia got access to x-ray photography, Caire would shoot X-Ray photography at the Melbourne General Hospital one day each week, he did this for free.

paragraph: He would only work with what he considered to be perfect conditions, this meant he would only take one or maybe two images a day, but because of the image quality in the work he would produce he could sell his works for a very high price and in large quantities. His best known series documented the rewards and hardships in the daily life of the first settlers.

paragraph: Section::::Exhibitions.

paragraph: Nicholas Caire currently still has 5 artworks on display at the Art Gallery of New South Wales. With a previous exhibition being held at the same place consisting of 32 artworks on display, the exhibition was titled Nicholas Caire. At his Calcutta Exhibition Caire was awarded a prize for his images of the Melbourne Botanic Gardens.

paragraph: List of Exhibitions

paragraph: BULLET::::- "Nicholas John Caire: photographer 1837-1918", at Art Gallery of New South Wales, Sydney, NSW, 1 November 1980 – 14 December 1980.

paragraph: BULLET::::- "Melbourne Centennial International Exhibition", at Exhibition Building, Melbourne, Victoria, 1888-1889.

paragraph: BULLET::::- "Calcutta International Exhibition", at Calcutta, India, 1883-1884

paragraph: BULLET::::- "Melbourne International Exhibition", at Exhibition Building, Melbourne, Victoria, 1880-1881.

paragraph: BULLET::::- "Sydney International Exhibition", at Garden Palace, Sydney, New South Wales, 1879-1880

paragraph: Section::::Death.

paragraph: Nicholas Caire died on 13 February 1918. he was living in Armadale, Victoria, Australia at the time. He left behind many albums of his landscape work. A few of his negatives have been kept, unfortunately, most of his glass plates were cleaned off, to be used as glass for framing his pictures that he sold, because of the shortages in supplies during the First World War, framing was a major part of his business. This included many of his ones used in his major folio Gippsland Scenery, which is his best known work. He was survived by his wife, Louisa Master, his two sons and his four daughters, one of which he left his two cameras.

wikidata_label: Nicholas Caire

wikipedia_title: Nicholas Caire


text:
missionary
Sydney Grammar School
Photographic Society of New South Wales
Sydney University
Cowra, New South Wales
Solomon Islands
Art Gallery of New South Wales
State Library of Victoria

categories: Photographers from New South Wales,1882 births

paragraph: Norman C. Deck

paragraph: Norman C Deck (1882 – 1980) was a photographer, dentist and missionary.

paragraph: Section::::Career.

paragraph: Deck first learnt photography from his older brother who let him watch as he developed a print, he then developed his knowledge throughout his schooling at Sydney Grammar School. In 1896, at the age of 14 he became the youngest ever member of the Photographic Society of New South Wales. He graduated from Sydney University in 1906 with a Bachelor of Dentistry and began practising in Cowra, New South Wales. During 1909 he returned to Sydney to begin a practice with his brother. In 1905 he won his first gold medal for a photograph entitled "Where Two Paths Meet" '(Five Docks).

paragraph: Section::::Missionary work.

paragraph: Deck's missionary work began in 1914 and spanned the length of two world wars, the total length of his term was 34 years. He made many infrequent returns to Australia during his term in the Solomon Islands. On one trip back to Sydney a disaster occurred in which almost all of his photographs were washed overboard. As part of his work in the Solomons, Deck translated the New Testament into the native dialect from the original language which was Greek. Being 66, 1948 was the year that Deck retired and returned to Sydney to live, there he continued his religious studies.

paragraph: Section::::Photographic style.

paragraph: Deck took many trips overseas, mainly to New Zealand, and he also practiced in the Solomon Islands and developed countless photographs while working as a missionary. Most of Deck's photographs are landscapes and are classified as "beautiful". Many of his earlier prints were destroyed in the tropical climate of the Solomon Islands, after returning to Sydney he reproduced many of his original prints however they took on a different appearance due to certain papers no longer being available. His negatives were donated to the Art Gallery of New South Wales. Deck had quite an eye for good composition, even before the management of his prints.

paragraph: Section::::Exhibitions.

paragraph: Deck started exhibiting around 1903. Records from the State Library of Victoria state that Deck had his first major exhibition at Harrington's in Sydney in 1912; however, a significant fire caused most of his prints from that exhibition to be destroyed.

paragraph: Records also from the State Library of Victoria indicate that Deck had an exhibition at the Church Street Photographic Centre from 7 September to 8 October 1978. This was a "major exhibition of photographs by Norman Deck which date from 1894, establishes his place in the history of Australian photography." In this particular exhibition there were 40 of Deck's photographs on show. These prints "are a reflection of his career over 84 years". This exhibition took place when Deck was 96 years old. He died two years later at the age of 98.

paragraph: Section::::References.

paragraph: BULLET::::- http://nla.gov.au/nla.news-article17058231?searchTerm=&searchLimits=

description: Australian photographer, dentist and missionary

wikidata_label: Norman C. Deck

wikipedia_title: Norman C. Deck


text:
Ruddervoorde
Oostkamp
Belgian
road bicycle racer
1958 Paris–Roubaix

categories: Belgian male cyclists,People from Oostkamp,1933 births,Sportspeople from West Flanders,2000 deaths

paragraph: Leon Vandaele

paragraph: Leon Vandaele (24 February 1933 in Ruddervoorde – 30 April 2000 in Oostkamp) was a Belgian professional road bicycle racer. His biggest victory was the 1958 Paris–Roubaix.

paragraph: Section::::Palmarès.

paragraph: BULLET::::- 1954

paragraph: BULLET::::- 1956

paragraph: BULLET::::- 1957

paragraph: BULLET::::- 1958

paragraph: BULLET::::- 1959

paragraph: BULLET::::- 1961

description: Road bicycle racer

wikidata_label: Leon Vandaele

wikipedia_title: Leon Vandaele


text:
ice hockey
defenseman
2010 Winter Olympics
Plainfield Central High School
Plainfield, Illinois
Ohio State University
2007 edition
4 Nations Cup
3rd NWHL All-Star Game
Lisa Chesson's U.S. Olympic Team bio

categories: Medalists at the 2010 Winter Olympics,People from Plainfield, Illinois,Ohio State Buckeyes women's ice hockey players,1986 births,Olympic silver medalists for the United States in ice hockey,American women's ice hockey players,Ice hockey people from Illinois,Ice hockey players at the 2010 Winter Olympics,Living people

paragraph: Lisa Chesson

paragraph: Lisa Chesson (born August 18, 1986) is an American ice hockey defenseman. She was named to the United States women's ice hockey team for the 2010 Winter Olympics.

paragraph: Section::::Playing career.

paragraph: Chesson attended Plainfield Central High School in Plainfield, Illinois. She went on to play ice hockey for four years at Ohio State University. Chesson was a member of the United States hockey team which placed second in the 2007 edition of the 4 Nations Cup.

paragraph: Section::::Playing career.:NWHL.

paragraph: Chesson participated in the 3rd NWHL All-Star Game.

paragraph: Section::::External links.

paragraph: BULLET::::- Lisa Chesson's U.S. Olympic Team bio

description: American ice hockey player

wikidata_label: Lisa Chesson

wikipedia_title: Lisa Chesson


text:
Oslo
Steamboat Springs, Colorado
1924 Winter Olympics
Chamonix
National Ski Hall of Fame
Florida

categories: 1890 births,American male cross-country skiers,Olympic cross-country skiers of the United States,Olympic Nordic combined skiers of the United States,Nordic combined skiers at the 1924 Winter Olympics,American male ski jumpers,Norwegian emigrants to the United States,1975 deaths,American male Nordic combined skiers,People from Oslo,Cross-country skiers at the 1924 Winter Olympics

paragraph: Ragnar Omtvedt

paragraph: Ragnar Omtvedt (18 March 1890–31 March 1975) was a Norwegian born, American Olympic skier.

paragraph: Ragnar Omtvedt was born in Oslo, Norway. In 1912, he moved to the United States. He was the US Ski Jumping Champion three times (1913, 1914 and 1917). In his first year competing in the United States in 1913, he set a world record of 51.5 m (169 ft.) on Curry Hill in Ironwood, Michigan, USA. In 1916, he set a ski jumping record at Steamboat Springs, Colorado where there is currently a restaurant named after him (Ragnar's). He competed in cross-country skiing and Nordic combined at the 1924 Winter Olympics in Chamonix. Ragnar was denied the opportunity to compete in ski jumping in the 1924 Olympics because a clerk forgot to submit his name to Olympic authorities. Ragnar was injured in 1924 while jumping which caused nerve damage and ended his jumping career. Ragnar was elected into the National Ski Hall of Fame in 1957. He died in Florida in 1975.

paragraph: Section::::External links.

paragraph: BULLET::::- Ragnar's Steamboat Mountain Dining

description: Olympic skier

wikidata_label: Ragnar Omtvedt

wikipedia_title: Ragnar Omtvedt


text:
Stockholm
1924 Winter Olympics
Chamonix

wikipedia_title:
Stockholm
1924 Winter Olympics
Chamonix

categories: Olympic ski jumpers of Sweden,Ski jumpers at the 1924 Winter Olympics,Swedish male Nordic combined skiers,Nordic combined skiers at the 1924 Winter Olympics,1970 deaths,Sportspeople from Stockholm,1892 births,Swedish male ski jumpers,Olympic Nordic combined skiers of Sweden

paragraph: Menotti Jakobsson

paragraph: Menotti Jakobsson (1892–1970) was a Swedish skier. He was born in Stockholm. He competed in ski jumping and Nordic combined at the 1924 Winter Olympics in Chamonix.

description: Swedish Nordic combined skier and ski jumper

wikidata_label: Menotti Jakobsson

wikipedia_title: Menotti Jakobsson


text:
Stockport
Tyco BMW
British Superbikes
motorcycle racing
Supermoto
Supersport
Hillclimb
Superbike
British
Supermoto
British Superbike Championship
Rider's website
Profile on WorldSBK.com

categories: British Superbike Championship riders,Supersport World Championship riders,Superbike World Championship riders,People from Stockport,1985 births,English motorcycle racers,Living people

paragraph: Christian Iddon

paragraph: Christian Iddon (born 7 January 1985) is a British motorcycle racer from Stockport, England. He is the son of former racer Paul Iddon.

paragraph: For 2019, he will continue in his fourth BSB season with Tyco BMW, alongside teammate Keith Farmer who steps up from Superstock.

paragraph: A regular in British Superbikes, Iddon has competed at a high level, winning races and championships in some of the biggest motorcycle racing championships across the world. He has raced in Supermoto, Supersport, Hillclimb and Superbike. A typically adaptable rider, Iddon has won a large amount of off-road titles including multiple British and International Supermoto championships, that rank in the double figures. Since switching to circuit racing in 2010, Iddon has ranked highly among some of the world's best modified production superbike racers, scoring podiums and finishing several seasons in the top ten of the British Superbike Championship. In 2017 Iddon finished a career high 7th overall in British Superbikes and in addition won the 2017 Rider's Cup trophy, given to the top non-showdown rider.

paragraph: Section::::External links.

paragraph: BULLET::::- Rider's website

paragraph: BULLET::::- Profile on WorldSBK.com

description: British motorcycle racer

wikidata_label: Christian Iddon

wikipedia_title: Christian Iddon


text:
traditional Chinese
simplified Chinese
Wade–Giles
pinyin
Saka
Khotanese
Tang dynasty
Tocharian
Afghanistan
Sui dynasty
Yan Liben
Wu Daozi
Buddhist
Iranian
Buddhist art

paragraph: Yuchi Yiseng

paragraph: Yuchi Yiseng (traditional Chinese: 尉遲乙僧; simplified Chinese: 尉迟乙僧; Wade–Giles: "Yü-chʻih I-sêng"; pinyin: "Yùchí Yǐsēng") or Viśa Īrasangä (his Saka name), was a Khotanese painter during the Tang dynasty. He was also a Khotanese nobleman, but sometimes he is considered to be a Tocharian originated from the north of Afghanistan. His father Yuchi Bazhina (尉遲跋質那) was known for paintings during the Sui dynasty, he is called "Yuchi the Elder" (大尉遲). Thereby Yuchi Yiseng is called "Yuchi the Younger" (小尉遲). His painting skills were often compared with Yan Liben, even the well-known painter Wu Daozi was under his influence.

paragraph: Yuchi Yiseng was very good at painting Buddhist and foreign exotic portraits. He came to the Chinese court in the mid 7th century. He brought a new painting style of Iranian origin and had profound influence in Chinese Buddhist art. He was credited with having helped bring the Western technique of using a line of unvarying thickness to outline figures—the "iron-wire" line—to the Buddhist temples in many Chinese cities.

wikidata_label: Yuchi Yiseng

wikipedia_title: Yuchi Yiseng


text:
regarded as
Muhammad
Khadija
Mecca
Utbah ibn Abu Lahab
Muslim
Quraysh
Abū Lahab
Uthman ibn Affan
Migration to Abyssinia
emigrated
Medina
Usama ibn Zayd
Zayd ibn Harithah
Battle of Badr
Umar
Shia
Shiite
Muhammad Baqir Majlisi
Shia
Fatimah
Children of Muhammad
Fatima bint Muhammad
Zainab bint Muhammad
Umm Kulthum bint Muhammad
Genealogy of Khadijah's daughters
Sahaba

categories: 7th-century Arabs,7th-century women,Children of Muhammad,601 births,624 deaths,Female Sahabah

paragraph: Ruqayyah bint Muhammad

paragraph: Ruqayyah bint Muhammad (, ) (c. 601 - 624) is regarded as the daughter of the Islamic prophet Muhammad and Khadija.

paragraph: Section::::Biography.

paragraph: Born in Mecca around 601 or 602 CE, Ruqayyah was the fourth child and the second daughter of Muhammad and Khadija, his first wife who was also a successful merchant.

paragraph: She was married before August 610 to her cousin, Utbah ibn Abu Lahab, but the marriage was never consummated. Ruqayyah became a Muslim when her mother died. When Muhammad began to preach openly in 613, the Quraysh reminded Muhammad that they had "relieved him of his care for his daughters" and decided to return them so that he would have to support them at his own expense. They told Utbah that they would give him "the daughter of Aban ibn Sa'id ibn Al-As or the daughter of Sa'id ibn Al-As" if he divorced Ruqayyah. After Muhammad warned Abū Lahab that he would go to Hell, Abu Lahab said he would never speak to his son again unless he divorced Ruqayyah, which Utbah accordingly did.

paragraph: By 615 Ruqayyah was married to a prominent Muslim, Uthman ibn Affan. She accompanied him on the first Migration to Abyssinia, where she suffered a miscarriage. They returned to Abyssinia in 616, and there Ruqayyah gave birth to a son, Abdullah, in 619. Abdullah died when he was six years old in Medina. She had no further children.

paragraph: Uthman and Ruqayyah were among those who returned to Mecca in 619. Uthman emigrated to Medina in 622, and Ruqayyah followed him later.

paragraph: Ruqayyah was said to be extremely beautiful. When Usama ibn Zayd was sent on an errand to their house, he found himself staring at her and at Uthman in turns. Muhammad asked Usama, "Have you ever seen a more handsome couple than those two?" and he agreed that he had not.

paragraph: Ruqayyah fell ill in March 624. Uthman was excused from his military duties in order to nurse her. She died later in the month, on the day when Zayd ibn Harithah returned to Medina with news of their victory at the Battle of Badr. When Muhammad returned to Medina after the battle, the family went to grieve at her grave. The women wept noisily, and Umar hit them with his whip; but Muhammad said: "Let them weep, Umar; but beware of the braying of Satan."

paragraph: Section::::Shia View.

paragraph: Several prominent Shia accounts, like that of medieval Shiite cleric Muhammad Baqir Majlisi, claim that Ruqayyah was beaten to death by Uthman. Some Shia accounts don't consider her to have been a biological daughter of Muhammad; they consider Fatimah as his only biological daughter.

paragraph: Section::::See also.

paragraph: BULLET::::- Children of Muhammad

paragraph: BULLET::::- Fatima bint Muhammad

paragraph: BULLET::::- Zainab bint Muhammad

paragraph: BULLET::::- Umm Kulthum bint Muhammad

paragraph: BULLET::::- Genealogy of Khadijah's daughters

paragraph: BULLET::::- Sahaba

description: daughter of the Islamic Prophet Muhammad

wikidata_label: Ruqayyah bint Muhammad

wikipedia_title: Ruqayyah bint Muhammad


text: Greek

text: shooter

text: 1896 Summer Olympics

text: 1912 Summer Olympics

text: Corfu

text: 1896 Summer Olympics

text: Athens

text: free rifle event

text: 1912 Summer Olympics

text: Team 25 metre small-bore rifle

text: Team 50 metre small-bore rifle

text: Team military rifle

text: 100 metre running deer, single shots

text: 25 metre small-bore rifle

text: 30 metre dueling pistol

text: 600 metre free rifle

categories: Greek male sport shooters,Olympic shooters of Greece,19th-century sportsmen,Shooters at the 1896 Summer Olympics,Running target shooters,ISSF pistol shooters,1868 births,Year of death missing,Shooters at the 1912 Summer Olympics,ISSF rifle shooters

paragraph: Nikolaos Levidis

paragraph: Nikolaos Levidis (), born 25 August 1868, date of death unknown) was a Greek shooter in the 1896 Summer Olympics and in the 1912 Summer Olympics.

paragraph: He was born in Corfu.

paragraph: Levidis competed at the 1896 Summer Olympics in Athens in the free rifle event. His place and score in the event are not known, though he did not finish in the top five.

paragraph: Sixteen years later at the 1912 Summer Olympics he participated in the following events:

paragraph: BULLET::::- 300 metre military rifle, three positions - fourth place

paragraph: BULLET::::- Team 25 metre small-bore rifle - fourth place

paragraph: BULLET::::- Team 50 metre small-bore rifle - fifth place

paragraph: BULLET::::- Team military rifle - seventh place

paragraph: BULLET::::- 100 metre running deer, single shots - 15th place

paragraph: BULLET::::- 25 metre small-bore rifle - 30th place

paragraph: BULLET::::- 30 metre dueling pistol - 34th place

paragraph: BULLET::::- 600 metre free rifle - 52nd place

description: Sports shooter

wikidata_label: Nikolaos Levidis

wikipedia_title: Nikolaos Levidis


text:
Melbourne
Gustavus Brooke
Robert James Heir

paragraph: Mary Fanny Cathcart

paragraph: Mary Fanny Cathcart (1833-1880), was an Australian stage actor, active between 1853 and 1878. Between 1855 and 1865, she was regarded as the most famed female theatre star in Australia.

paragraph: Cathcart was born in England to James Cathcart and Fannie Hubbard. Her father was the manager of his own touring theatre company. She arrived in Melbourne in Australia as a member of Gustavus Brooke's travelling theatre company in 1853. The same year, she married the actor Robert James Heir.

paragraph: Mary Fanny Cathcart was famed in mid 19th-century Australia both within comedy and Shakespeare. She was admired for her precise attention to detail in her acting and described as a talented beauty. She had her base in Melbourne but toured all over Australia and was given jewels by her audience.

paragraph: Section::::References.

paragraph: BULLET::::- Helen M. Van Der Poorten, 'Cathcart, Mary Fanny (1833–1880)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/cathcart-mary-fanny-3180/text4767, published first in hardcopy 1969, accessed online 18 August 2017.

alias:
Fanny Cathcart
Mary Darrell
Mary Heir

description: English-born Australian stage actress

wikidata_label: Mary Fanny Cathcart

wikipedia_title: Mary Fanny Cathcart


text:
Los Angeles
École des Beaux-Arts
Marlboro
West Hollywood
Flemish Masters
Louvre-Rivoli
Chris Brown
Porsche
Jarvis Landry
Wynwood, Miami
Le Touquet
Aspen, Colorado
Rag & Bone’s

categories: 21st-century American painters,Artists from Los Angeles,American graffiti artists,Street artists,Living people,Year of birth missing (living people)

paragraph: Kai (artist)

paragraph: Kaï (also known as Kaï Aspire) is an American artist. Guetta studied art in Europe, before becoming a street artist. His work has been exhibited in cities including Paris, Aspen, Miami, and Los Angeles, and focuses on anti-marketing themes. He has also worked with professional athletes and musical artists, partnering with them on group exhibitions.

paragraph: Section::::Early life and education.

paragraph: Born in Los Angeles, Kai Guetta goes by the pseudonym Kai, as well as Kai Aspire. He was raised by a French-Tunisian father and Mexican-American mother. After high school he studied at the l'École des Beaux-Arts in Paris, where he not only learned about the discipline and technique of art but he also learned how to respect art as a way of life. Kaï eventually moved back to LA, where he currently lives. Kaï is mostly known for his street art that decorates several American cities. Because he is based in Los Angeles, his work is mostly found there. He also creates paintings and sculptures. He finds inspiration for his art pieces from everyday life.

paragraph: Section::::Career.

paragraph: Kaï's first piece to receive public attention was a street art mural of a Marlboro cigarette pack with the term “Morons” replacing the brand’s name. During his teenage years, he continued to add graffiti pieces to surfaces in West Hollywood, typically with an anti-consumerism message.

paragraph: In 2012 he held his first solo exhibition at the Guetta Gallery in Los Angeles entitled "Now Royalty", which consisted of paintings representing hip hop artists in medieval royal outfits and motifs. Prior to the creation of the twenty-seven paintings, he trained in Italy and Holland in order to study the work of the Flemish Masters. In all the collection took four years to create. In 2013 Kaï debuted his solo exhibition "Lost Values" at the Lab Art Gallery in Los Angeles, in which he spoofs commercial imagery. In 2014 Kai took both of his exhibitions to Miami, in order to exhibit them at the Lulu Laboratorium. Pieces from the collection have since sold to public figures in the hip hop industry, including Lil Wayne and P. Diddy.

paragraph: In 2013 Kaï held a guerilla solo exhibition in the Louvre-Rivoli station of the Paris metro. The exhibition featured sculptures of cigarette packets with ironic slogans similar to the pieces he first created in LA, and the Baroque-style oil paintings of hip hop icons from his "Now Royalty" collection. The exhibition was set-up before the station opened as it had not been officially authorized by the city. Each piece was arranged as if it were in a real gallery, with pedestals for the sculpture pieces and secured frames for the paintings. Some of the pieces parodied the work within the Louvre Museum specifically.

paragraph: In 2015 Kaï began partnering with musical artist Chris Brown, under the pseudonym Konfused, to produce street art pieces under the label Konfuzed x Kai collection. The two spray-painted Porsche vehicles for Fine Art Auction Miami’s Urban Art Week, in addition to several other pieces. These pieces were then auctioned during the week. Seven pieces were created by the two in all over a three-day period. He has also partnered with NFL player Jarvis Landry for artwork in Wynwood, Miami.

paragraph: At the 2016 Art Basel Miami, Kaï exhibited the installation piece "Modern Relic", and later that year he exhibited cement plaques in the city of Le Touquet, France. In August 2017 Kaï affixed eight cement-relief pieces on the exteriors of seven buildings in Aspen, Colorado, causing the city to consider citing him for trespassing and destruction of property after his methods were seen as possibly damaging to the heritage value of the sites.

paragraph: In addition to gallery work, Kai has produced street art in several American cities, including Los Angeles and New York City.

paragraph: In September 2017 Kaï issue a limited edition serigraphy of "Love vs Money", one of his messages using the character IF (Imaginary Friend). This Limited edition print sold out in 14 minutes

paragraph: The same month Kaï painted the façade of Rag & Bone’s store in New York Houston Street.

paragraph: June 2018, Kaï collaborate with Kev Adams, French actor, in design the Kev Adam Popup store.

alias:
Kai Aspire
Kai

description: American artist

wikidata_label: Kai Guetta

wikipedia_title: Kai (artist)


text:
journalist
The Craftsman
decorative arts
home decorating
gardener
Brooklyn
Montana
New York
Albany Female Academy
Herald Tribune
Journal
The Sun
New York
Hetty Green
avant-garde artists
Women’s City Club
Isadora Duncan
Angna Enters
WWI
shell shock
Palm Beach
Indianapolis Star
Mary Fanton Roberts papers, 1880-1956

categories: American women journalists,American women writers,1864 births,1956 deaths,American writers,Journalists from New York City

paragraph: Mary Fanton Roberts

paragraph: Mary Fanton Roberts (1864–1956) was an American journalist and writer. She was best known as an editor of women's and decorating magazines. During her long career she was editor of the illustrated monthly "Demorest’s", editor-in-chief of "New Idea Woman’s Magazine", managing editor of "The Craftsman", and creator and editor of "The Touchstone" and "Decorative Arts" magazine. She often wrote articles on the topic of decorative arts and home decorating, and published two books, "Inside 100 Homes" and "101 Ideas for Successful Interiors". She was also an avid gardener. She occasionally wrote criticism under the pen name, Giles Edgerton.

paragraph: Section::::Biography.

paragraph: Roberts was born in Brooklyn, New York, but moved as a young girl to Deadwood, in the Montana territory. When she was old enough, she and her sister were sent back to New York to attend the Albany Female Academy. After finishing school, Roberts pursued journalism and became a staff writer for four years for the "Herald Tribune", the "Journal", and "The Sun" in New York. Her first assignment as a reporter was to interview Hetty Green and the article she wrote about her was "so successful that it launched her into what was to be a lifetime career."

paragraph: Roberts was very much involved in the artistic, theatrical, and literary circles in New York City, and she became friends with many American avant-garde artists. Roberts was responsible for helping to launch many artists' careers. She was active in organizations such as the Women’s City Club, Pen and Brush, and the MacDowell Society. As an avid supporter of modern dance, she became close to many performers, including Isadora Duncan and Angna Enters.

paragraph: She married William Carman Roberts in 1906.

paragraph: During WWI, she and Paris Singer helped establish a hospital for soldiers with "shell shock" to convalesce in Palm Beach. Roberts used her platform as an editor to raise awareness of the issue and support the hospital.

paragraph: Roberts moved to the Chelsea Hotel in 1941, where she lived for the rest of her life. She maintained lifelong relationships with a wide circle of friends and continued to correspond with them and attend social events until her death.

paragraph: Section::::Writing.

paragraph: Roberts' book, "Inside 100 Homes" (1937), is about the decoration of homes and is illustrated with numerous photographs. The "Indianapolis Star" wrote that "Inside 100 Homes" was "a book to fit the new spirit of life."

paragraph: Section::::External links.

paragraph: BULLET::::- Mary Fanton Roberts papers, 1880-1956

description: writer, editor, and critic

wikidata_label: Mary Fanton Roberts

wikipedia_title: Mary Fanton Roberts