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<mask> (October 8, 1907 – March 4, 1992), better known as <mask>, was an American animator, best known for his work at Walt Disney Animation Studios. He received over 80 awards as an animation director and animator, and also developed the character of Goofy. Babbitt worked as an animator or animation director on films such as Snow White and the Seven Dwarfs, Pinocchio, Fantasia and Dumbo, among others. Outside of Disney, he also animated The Wise Quacking Duck for Leon Schlesinger Productions. Early life
<mask> was born to a Jewish family in the Little Bohemia section of Omaha, Nebraska, but moved to Sioux City, Iowa after he finished kindergarten. When his hard-working father had an accident on duty and became paralyzed as a result, <mask> decided to move to New York to take on the role of breadwinner. Career
<mask> began his career in New York City working for Paul Terry's Terrytoons Studio.But in the early 1930s he moved to Los Angeles followed by his fellow Terrytoon colleague Bill Tytla, and secured a job animating for the Walt Disney Studio, which was expanding at the time. Disney Studio
<mask> began his career at Disney as an assistant animator, but his talent was spotted and he was soon promoted to animator. His first important work was a drunken mouse in the short The Country Cousin (1936), which won an Academy Award for the studio. At the Disney Studio, Babbitt animated the Wicked Queen in Snow White and the Seven Dwarfs, a job described by Disney animator Andreas Deja as "one of the toughest assignments" on the film. While he was working on Snow White, he met his first wife, Marjorie Belcher, a dance model whose live-action performance was used as reference material by the animators for the role of Snow White. On the film Pinocchio, <mask> animated the character of Geppetto, and became a directing animator. Of all Disney's films, Pinocchio was the feature which <mask> most admired, and which he regarded as the finest achievement of the studio during the "Golden Age" of animation.<mask> also animated the characters of the Dancing Mushrooms, Dancing Thistles, Dancing Orchids, Zeus, Vulcan, and Boreas in Fantasia. On the feature film Dumbo, <mask> was again made a directing animator, and animated the character of the stork. When animating the stork, he made him resemble his voice actor, Sterling Holloway. <mask> is also credited with developing the character of Goofy, a character which he later described in the 1987 documentary film "Animating Art":
Goofy was someone who never really knew how stupid he was. He thought long and carefully before he did anything, and then he did it wrong. During the 1930s <mask> rose to become one of Disney's best-paid artists, and enjoyed a lavish lifestyle despite the austerity of the Great Depression:
I was living the Life of Riley. I didn't realize how fortunate I was.I was earning a very good salary. I had two servants, a large house, and three cars. You know, what in the world was I going to do with three cars? However, despite this prosperity, in 1940 he and his wife Marjorie were divorced. Cartoonist strike

Despite being one of the highest paid animators at Disney, <mask> was sympathetic to the cause of lower echelon Disney artists seeking to form a union. Most of the strikers were in-betweeners, cel painters, and other less-well paid employees, who in 1941 began industrial action in pursuit of better working conditions. As a top animator, <mask> was one of relatively few well-paid artists to join the strike, and he became one of the strike leaders.One morning, as Disney drove through picketing workers on his way to the studio, <mask> heckled him through a bullhorn. Disney exited his car to confront him, and a fistfight was only prevented by the intervention of others. For his part in the strike, <mask> earned Walt Disney's enmity. Disney was forced to re-hire <mask> after the strike was over, along with many other strikers, but by then the two men disliked one another. <mask> worked with director Jack Kinney, another "Goofy man" (meaning that they worked together on the Goofy shorts), as Disney began to look for ways to be rid of <mask>. "If he gets in your way, let me know", Disney said to Kinney. <mask> was fired more than once but was re-instated, taking his case successfully all the way to the Supreme Court of the United States, and winning a handsome settlement.WWII
After serving with the Marines in the Pacific in World War II, <mask> returned to Disney for a time, following an "unfair labor practices" suit brought by <mask> against Disney. Disney was forced to rehire him after the war, but <mask> did not stay long. Career after Disney
Along with some other former Disney strikers, <mask> left Disney and went to join the United Productions of America (UPA), a new studio which pioneered a modern, simplified form of animation. He worked on many of their famous award-winning shorts, including the lead character Frankie in "Rooty Toot-Toot" (1951), and won many awards. In the 1950s he was part owner of Quartet Films, where he worked on television commercials, including the Cleo winning "John & Marsha" spot for Parkay Margarine. Later he was part of Hanna-Barbera's commercial wing. Known in the animation world as one of the art's most accomplished teachers, in 1973 Canadian animator Richard Williams brought <mask> to his London studio in Soho Square to deliver a series of lectures on animation acting and technique that subsequently became famous among animators.Some of <mask>'s final work was on the characters King Nod and Phido, the vulture, in Williams' film The Thief and the Cobbler. He also animated the Camel with Wrinkled Knees in William's Raggedy Ann and Andy: A Musical Adventure. In 1991 Disney Company chief Roy E. Disney, the nephew of Walt, contacted <mask> and they ended the long feud. <mask>'s former rivals, the pro-Walt animators Frank Thomas and Ollie Johnston, gave <mask> a warm and moving eulogy at his funeral service. He was interred in the Forest Lawn Memorial Park (Hollywood Hills). Family life and legacy
His first wife (1937–1940) was Marge Champion, a dance model in Snow White and the Seven Dwarfs. His second wife was Dina <mask>, an artist and a Holocaust survivor.He had two daughters with Dina, L. Michele <mask> and Karin Wendy <mask>. His third wife until his death was actress Barbara Perry. His step-daughter from Barbara is Laurel James. <mask> died of kidney failure on March 4, 1992. In the late 1980s, a British television documentary titled Animating Art was broadcast, celebrating <mask>'s life and work. The documentary was produced and directed by Imogen Sutton (Richard Williams' wife), and features extensive interviews with <mask> and his then employer, Williams. <mask> was posthumously named a Disney Legend in 2007.The Academy Film Archive holds a small collection of personal films belonging to <mask>. The archive has preserved a number of <mask>'s home movies from this collection, including one of the 1938 Academy Awards. Filmography

Notes

References
Kinney, Jack, Walt Disney and other assorted characters - An unauthorised account of the early years at Disney's, Harmony Books, New York, 1988

External links

 Dina <mask> - Daily Telegraph obituary. Retrieved January 2010
  Retrieved July 2012
 <mask> remembered at FLIP animation magazine Retrieved February 2013

1907 births
1992 deaths
Animators from Nebraska
Jewish American artists
Walt Disney Animation Studios people
Burials at Forest Lawn Memorial Park (Hollywood Hills)
Deaths from kidney failure
Artists from Omaha, Nebraska
Military personnel from Omaha, Nebraska
Warner Bros. Cartoons people
Terrytoons people
Disney controversies
Animation controversies
Animation controversies in film
United States Marine Corps personnel of World War II

masks:
Arthur Harold Babitsky
Art Babbitt
Babbitt
Art
Art Babbitt
Babbitt
Babbitt
Babbitt
Babbitt
Babbitt
Babbitt
Babbitt
Babbitt
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Babbitt
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Babbitt
Babbitt
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Babbitt
Babbitt
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Art Babbitt


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<mask> (22 July 1852 – 3 May 1927) was an American architect and psychologist. In 1881, <mask> married Julia Robbins Gillman, who died prematurely in 1888. He had one daughter with Gillman, who also predeceased him. <mask> was largely a loner. His lack of familial contact led him to focus greatly on his work in architecture and his other interests. He died and was buried in Woodbury, Connecticut in 1927. Early life

<mask> was born on July 22 in 1852 in New York City to <mask> and <mask>.Related to the famous Rutgers family of New York City and New Jersey, <mask> had a privileged upbringing. He had a privileged childhood and attended the finest New York private schools as a child. He then continued his education and Columbia College. <mask> studied architecture as both an undergrad and graduate student. He graduated from Columbia College with master's degree in architecture in 1876. At this time in <mask>'s life, psychology wasn't a concern to him. He began practicing architecture, his lifelong career, two years after graduating in 1878.His most famous designs include Rudyard Kipling's house Naulakha in Dummerston, VT, the Congregational Church in Colorado Springs, and the Old Buildings of Brearley School in New York. He was most known for his designs of country houses. <mask>'s accomplishments in the world of architecture did not go unnoticed. He was elected to be a Fellow of the American Institute of Architects, and was eventually given the honor of becoming president of the Institute's New York Chapter. <mask> was also active with the Art Commission for the City of New York, where he served as the executive secretary. Contributions to psychology

Aside from his devoted career in architecture, <mask> became fascinated by psychology and philosophy, and began studying paths where the two subjects intersected. <mask> pursued these subjects without any formal training in psychology or philosophy, whatsoever; rather, they were merely interests to him.He developed a wide range of interests in topics including intelligence, sensation, consciousness, emotion, religion, instinct, synesthesia and dreams. <mask> began writing about these topics but they largely went unnoticed until the publishing of his first book. His first major appearance came with the publishing of his book Pain, Pleasure, and Aesthetics in 1894, known as his most famous and influential work. In this book, <mask> rejected the structuralist ideals of physiological and anatomical evidence pointing to pleasure and pain sensations. He further criticized the work of Goldsheider, who discovered pressure spots, cold spots, and heat spots on the surfaces of skin. <mask> believed that Goldsheider was too quick to cite physiology for his findings. In Pain, Pleasure, and Aesthetics, <mask> further went on to argue that beauty is a matter of the hedonic effect, characterized by pleasure.He believed that no single characteristic was common among all beautiful things except for the ability to please. William James, now known as one of the most influential American philosophers, praised Rutgers’ book endlessly. James described the work as "epoch-making" and "full of shrewd and original psychology." James and many others believed that <mask> had made a great contribution to psychology in this book. Soon after the publishing of this famous book, he wrote a series of lectures on aesthetics, which he delivered as an honorary lecturer at Columbia University, his alma mater. Rutgers also lectured at Harvard University, the Nineteenth Century Club of New York City, the Contemporary Club of Philadelphia, and Yale Art School. In 1904, he gave a principle address on aesthetics before the St. Louis International Congress of Arts and Sciences.<mask>'s views on aesthetics were a combination of sensational aspects, proposed by Lotze, emotional aspects, discussed by James and Mill, and intellectual factures, focused on by Kant and Ladd. <mask> combined all of these aspects into his own system that held pain and pleasure as the basis for all esthetic experiences and judgments. He wrote on topics including the nature of emotion, desire, pleasure, pain, and evolution. His published articles and books in addition to Pain, Pleasure, and Aesthetics are Aesthetic Principles, in 1895, Instinct and Reason, in 1898, The Relation of Aesthetics to Psychology and Philosophy, in 1905, Human and Other Types of Consciousness, in 1905, War and the Ideal of Peace, in 1915, Mind and Conduct, in 1919, and The Beautiful, in 1924. Though <mask> never held an academic position in the field of psychology, he became a figure that many psychologists looked to. He was influential of Alexander Bain, Mary Calkins, Josiah Royce, and Edward Titchener (Wright, 2010). At the height of his fame in the field of psychology, he was elected the 16th president of the American Psychological Association in 1907.<mask> began sharing his opinions and concerns more heavily once he had a larger audience. In 1909, <mask> wrote a paper in response to Titchener's book Lectures on the Elementary Psychology of Feeling and Attention. Titchener and <mask> shared views in psychology, however disagreed about the nature of psychology and the importance of sensations. In <mask>'s paper, he argued against Titchener's idea that pains and pleasures are sensational. <mask> believed that they are instead a mental quality. He felt as though Titchener was far too focused on sensations and emotional states resulting from pain and pleasure. While many admired <mask>, he was highly critical and argumentative about others’ views.He repeatedly argued with psychologists who sough physiological explanations for psychological events, pegging these individuals as too dependent on natural sciences. <mask> was also critical of behaviorists. He claimed that behaviorists were truly confused in believing that behavior should have been the target of psychology. <mask> repeatedly chastised behaviorists claiming to be the only real psychologists. Understandably, many individuals who viewed psychology from a physiological or behaviorist perspective grew to dislike him. <mask> went on to attack functional psychology and claim that it wasn't a real branch of psychology. <mask> <mask> was bold and firm in his opinions.This led to him having many admirers but also many who disliked him greatly. As time passed, his popularity decreased significantly. American psychology was undergoing rapid changes. In 1913, <mask> wrote an article "Is Psychology Evaporating?" in which he angrily blamed other psychologists for losing sight of the purpose of psychology. Many were tired of hearing <mask>'s complaints and attacks. His ideas were losing interest rapidly and he refused to change his conceptions of psychology.Despite his great interests in theories on education and music, <mask> ignored any advancement on the subjects. He published his last book, The Beautiful, in 1924. This was a continuation on his initial book Pain, Pleasure, and Aesthetics and Aesthetic Principles, that had brought him so much fame 30 years before. Many psychologists saw this book as a sad attempt by <mask> to come back to fame. D.W. Prall accused <mask> of having little understanding of the realities of aesthetics in The Beautiful. He described it as unwelcome and an unfortunate ending to what began as a promising contribution to psychological theory. In many ways, <mask> was the cause of his own demise in the world of psychology.<mask> continued to restrict psychology to his own specific views and argued with anyone who disagreed with him. The world of psychology lost interest in him. He death went unnoticed by the world of psychology, so much so that the American Psychological Association did not even publish an obituary for its past president. <mask>'s Views on War

<mask>'s discussion on war fell during the First World War. Rutgers absolutely hated war. He was deeply fearful of a German victory. When America finally entered war, he became extremely patriotic.Amidst his fear and concerns of war, <mask> began writing on how a pacifist might fit into a world at war in his article The Pacifist at War, published in The Atlantic Monthly in May, 1918. In this article, <mask> described war as the greatest of all evils. He explained his confliction in being a patriotic pacifist. Against his prior beliefs, <mask> stated that pacifists needed to lay aside the thought of peace and instead devote all energies to anything that might yield victory. Though it was against his original pacifistic beliefs, he encouraged other pacifists to make a sacrifice in going against their beliefs in an effort to take a step towards long-term peace. <mask> believed that once this massive war came to an end, true peace would be obtained. Until that point, pacifists must join in support of their country.Contributions to Psychology After Death

The awareness of <mask>'s contributions is reflective of the end of his life. His work has almost completely vanished from today's psychological systems. Theories on pain were debated years after <mask>'s death, however his pleasure-pain theory on pain was completely forgotten. Benjamin (1984) views <mask>'s legacy to psychology as his system and theories on aesthetics, which proved to be no legacy at all. Though the study of aesthetics is still popular today, it is primarily from an arts and philosophy perspective, with no attention paid to <mask>'s work. <mask> is now known as the forgotten APA president. Stout, Bain, Titchener, Angell, and Calkins took great interest in <mask>'s theories, even incorporating it into their own theories on physiology.However, <mask>'s refusal to accept the role of nerves in pain resulted in his views becoming outdated and irrelevant. New scientific discoveries pushed his ideas further into history. As these theorists continued in their careers, the influence of <mask> decreased to a point of vanishing. Works
 Pain, Pleasure, and Æsthetics (1894)
 Æsthetic Principles (1895)
 Instinct and Reason (1898)
 The Relation of Aesthetics to Psychology and Philosophy (1905)
 Human and Other Types of Consciousness (1905)
 Consciousness (1909)
 War and the Ideal of Peace (1915)

References

External links

1852 births
1927 deaths
American non-fiction writers
Columbia College (New York) alumni
Architects from New York City
Presidents of the American Psychological Association

masks:
Henry Rutgers Marshall
Marshall
Marshall
Henry Rutgers Marshall
Henry Perry
Cornelia Marshall
Henry
Marshall
Marshall
Marshall
Henry
Marshall
Marshall
Marshall
Marshall
Marshall
Marshall
Marshall
Marshall
Henry
Marshall
Henry
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Marshall
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Marshall
Marshall
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Henry
Marshall
Henry Rutgers
Marshall
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Henry
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<mask> (1947 – date of death unknown), known as The High Priestess of Blood, was a Mexican serial killer and cult leader responsible for orchestrating several murders which involved the drinking of the victims' blood. The murders were committed in Yerba Buena, San Luis Potosí, during the early 1960s. <mask> was convicted of two of the murders and sentenced to 50 years in prison; authorities ascribed eight murders to Solís and suspected she was involved in as many as 15. She is regarded as one of the few documented instances of a sexually-motivated female serial killer, showing organized, visionary, and hedonistic characteristics. Psychiatric profile
<mask> came from a poor and most likely dysfunctional, family in Tamaulipas, where she was supposedly born in 1947. She is said to have began prostituting herself at an early age, a trade in which she worked in unison with her brother Eleazar, a pimp, before joining the Hernández Brothers' sect in 1963. After this, Solís developed a serious theological psychosis, causing her to experience major religiously-oriented delusions of grandeur, coupled with a myriad of sexual perversions expressed in consuming the blood of her victims, sadomasochistic tendencies, fetishistic practices and pedophilia.The Hernández Brothers' sect
In late 1962 or early 1963, brothers and petty scammers Santos and Cayetano Hernández, devised a ploy to help them acquire wealth fast. They travelled to the isolated community of Yerba Buena, an impoverished and mostly illiterate village of about 50 inhabitants, to whom they proclaimed themselves as prophets and high priests of "the powerful and exiled Inca gods". They proclaimed that "the Inca gods, in exchange for worship and tributes, would grant them hidden treasures in the caves of the mountains surrounding the town (a place where they also performed their rites); and that they would soon come to claim authority over their ancient kingdom, and punish the non-believers." Despite the brothers' ignorance of both Inca and pre-Hispanic mythology, which indicates that the Incas inhabited Peru and not Mexico, they managed to convince the inhabitants of Yerba Buena of their absurdities. The Hernándezes then founded a relatively large sect, demanding economic and sexual tributes from adult members (both male and female); ingesting drugs during orgies and even selling some of their subordinates into sexual slavery. The cult was run without issues for some time, but at one point the believers began to grow skeptical when the "high priests" failed to have their promises fulfilled. To remedy this, the Hernándezes went to Monterrey in search of prostitutes who wanted in on the farce, eventually coming into contact with <mask> and her brother, who agreed to participate.In a later ritual, <mask> was presented as the reincarnation of the goddess Cōātlīcue through a flashy smoke screen trick, which convinced the sect's followers of her authenticity. Perhaps to the two brothers' detriment, <mask> eventually came to believe that she truly was a reincarnated goddess, and took command of the entire cult. Crimes
By the time <mask> took control, two of her followers, fed up with the sexual abuse, expressed their desire to leave. Fearing the repercussions, other members informed <mask> and the Hernández brothers of this, with the former decreeing that the "heretics" be sacrificed. In response, the two unfortunates were lynched by fellow members. Blood ritual
After these first two murders, <mask>' crimes gradually escalated in violence and brutality. As she was bored with simple orgies, she began to demand human sacrifices and devised a "blood ritual": the sacrificed (who was always a dissenting member) was brutally beaten, burned, cut and mutilated by all members of the cult, before being left to bleed to death.The blood was then deposited in a chalice mixed with chicken blood and narcotics (mostly marijuana or peyotes), from which <mask> drank, before passing it along to the brothers and finally to other members. This supposedly gave them supernatural abilities, and at the end of the ritual, the victim's heart was ripped out. Basing their beliefs of Aztec mythology, <mask> and the Hernández brothers proclaimed that blood is the only food the gods can ingest, and that their goddess needed to drink it to preserve her eternal youth. The carnage lasted six continuous weeks, during which 4 people died and had their hearts extracted post-mortem. Last victims
One night in May 1963, a 14-year-old local, Sebastián Guerrero, was wandering around the caves where the sect was performing their rites. Drawn by the lights and noises coming from one of the caves, he went to investigate; to his horror, he watched as the cult was in the process of killing yet another victim. Terrified, he ran for more than 25 kilometers to the town of Villa Gran, where the nearest police station was located.Exhausted and in a state of shock, Guerrero failed to give any other description than seeing a "group of murderers, seized by ecstasy, gathered to drink human blood". His claims were met with ridicule by the officers, who took them as the delusions of a mentally-ill or drugged boy. On the following morning, one investigator, Luis Martínez, offered an escort home for Guerrero, as well as to check where he had seen the "vampires". After their departure, Martínez never returned to work. Apprehension and conviction
Dismayed by the disappearance of both Guerrero and their colleague, the police started to take the case seriously, and contacted the army for assistance. On May 31, 1963, both police officers and soldiers conducted a joint crackdown in Yerba Buena, arresting <mask> and Eleazar <mask> at a farm in the town, where they were under the influence of marijuana. Santos Hernández would later be killed while resisting arrest, while his brother, Cayetano, had already been killed by a delusional cult member, Jesús Rubio, who later claimed that he had wanted to take a part of the high priest's body to protect himself.Many of the cult members, who had barricaded themselves inside the cave, were killed in shootouts as well. In subsequent investigations, the dismembered corpses of Sebastián Guerrero and Luis Martínez were found near the farm where the <mask> siblings were residing, with Martínez's heart having been removed. In later searches, investigators found the mutilated corpses of six more people while examining the caves. For these two killings, both <mask> and Eleazar were sentenced to 50 years imprisonment. Their guilt couldn't be proven in the other murders, since the surviving cult members refused to testify against them. As for the rest of the cult members, taking into account mitigating factors such as their illiteracy and impoverished circumstances, each was given a 30-year prison term. Years later, some of the former members began giving interviews about the horrors they had experienced while in the sect.In popular culture
 A Belgian rock band named itself after <mask>. See also
List of serial killers by country

Bibliography

References

1947 births
Crimes involving Satanism or the occult
Mexican female murderers
People from Tamaulipas
Mexican people convicted of murder
Mexican female serial killers
People convicted of murder by Mexico
Mexican rapists
Vampirism (crime)
Satanists
Living people

masks:
Magdalena Solís
Solís
Magdalena Solís
Magdalena
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Magdalena
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<mask> (October 14, 1929 – January 6, 2007), was an Acadian Canadian champion boxer. Early life
From a family of fourteen children, <mask>e grew up in Baie-Ste-Anne, a small Acadian fishing village on Miramichi Bay on the Atlantic coast. Like many others of his generation, he left school at an early age to work on a fishing boat. In his spare time, Durelle liked to box and while still working in the fishery, he began prize fighting on weekends. Career
Billed as The Fighting Fisherman, Durelle began his professional career in 1948, boxing at various venues around the province of New Brunswick. By August 1950, <mask> showed only one defeat in twenty three starts, the lone blemish a loss by disqualification, to Billy Snowball. Over time he was gaining a reputation as a tough opponent with a hard punch.A large fan following in Chatham, one in Newcastle and as well in Fredericton resulted in a groundswell of popularity as his victories eventually made him one of the top ranked middleweight fighters in Canada. Championship years
In May 1953, Durelle won the Canadian middleweight championship. He defended his title, winning 8 straight bouts. He moved up in weight class to fight in the light heavyweight division. Light Heavyweight
In his first fight against a heavier and stronger opponent, he defeated the Canadian champion to take the light-heavyweight title. The following year, he fought outside his native Canada for the first time, going to Brooklyn, New York to fight Floyd Patterson, an up-and-coming American Golden Gloves champion. Outpointed in 8 rounds by the man who soon became the heavyweight champion of the world, Durelle's strong performance in a losing cause against Patterson gained him wide respect in the international boxing world.In New York City in March 1957, Durelle broke into the top ten world rankings with a 10-round decision over Angelo Defendis. In May he won the British Empire light-heavyweight championship and the following month fought the top-ranked contender in the world, Tony Anthony. In a fight most experts say he won handily, Durelle was given only a draw against the heavily favored Anthony but it elevated him to the number 3 ranking in the world. He became a much talked about sports personality in his native country after he beat the German champion, Willi Besmanoff. In 1958, he defeated Clarence Hinnant, regarded by many as one of the best all around boxers of the time. The victory provided Durelle with the opportunity for his first chance to fight for a world title. Light Heavyweight Title Fight
<mask> <mask>'s light-heavyweight championship fight against the great Archie Moore on December 10, 1958 at the Forum in Montreal, Quebec, is one of the most memorable fights in boxing history.Listed as a 4-to-1 underdog, the bout made <mask> Durelle a legend in Canada, gaining him near cult status for his performance. In one of the first fights broadcast coast-to-coast on American television, Durelle stunned boxing patrons by knocking the champion down 3 times in the first round. Under boxing rules today (except those of the World Boxing Council), the fight would have been stopped after three knockdowns in one round and <mask> Durelle would have been world champion. Also, he missed an opportunity when, after the first knockdown, he stood over Moore watching for several seconds before returning to his corner. As a result of his delay, the referee had to wait to begin the count, and Moore made it to his feet at the count of nine. Durelle would have likely won if he went to his corner. Durelle swarmed all over the champion for four more rounds and knocked him to the canvas again in round five but Moore held on and eventually wore Durelle down to retain his world championship with an eleventh-round knockout.The fight was the talk of the boxing world and members of the Canadian press voted it the sporting event of the year. In an interview in 1994, Archie Moore, upon recounting the fight still hailed as classic, had this to say: "As the fight wore on and I got stronger, I thought to myself that this fella was the toughest man I'd ever fought. I turned professional in 1936 and fought until 1965--229 bouts. And I still think Durelle was the toughest man I ever faced." From Boxing to Wrestling and back
Six months later, in June 1959, at Durelle's home village of Baie-Ste-Anne, thirty-five fishermen died when they were swept out to sea by 40-foot tidal waves that pounded the wharf. Distraught at the loss of friends and relatives, in August he lost in a world title fight rematch with Archie Moore by a third-round knockout. In November of that year he lost in 12 rounds to the Canadian heavyweight champion, George Chuvalo.Durelle fought only a few more times, before taking up professional wrestling in 1961. He returned to boxing in 1963 winning twice more before retiring permanently. He continued to earn a living at wrestling, primarily in eastern Canada but on occasion with Stu Hart's Stampede Wrestling, in Calgary, Alberta. Later life and death
Despite his size and brutal profession, Durelle is often referred to as a modest and gentle man (his nickname was "doux", meaning "soft"). However, in the 1970s an event profoundly impacted him and his family when, in a bar that he owned and operated, he shot and killed a man who had attacked him. Charged with murder, he was defended by a young lawyer by the name of Frank McKenna and was acquitted on the grounds of self-defence. The trial received massive and sustained publicity and McKenna eventually went into politics and was elected premier of the province of New Brunswick.Retired in his native village, a small museum with souvenirs of his twenty-year boxing career was built attached to his home where he and his wife of more than fifty years greeted fans who still showed up to see the New Brunswick boxer. In an article for ESPN.com about the most memorable matches in boxing history, current-day referee Mills Lane said: "I don't think you'll ever see a fight like <mask>-Moore again...That fight transcended what great fights are." Durelle incurred a stroke on December 25, 2006, and died at age 77 on January 6, 2007, at the Moncton Hospital in Moncton, New Brunswick. He also had Parkinson's disease prior to this. His funeral was held on January 11, 2007, from Ste-Anne Roman Catholic Church in Baie-Ste-Anne, New Brunswick. In 2003, Ginette Pellerin of the National Film Board of Canada made a French film documentary on his life called Durelle. Awards and recognition
Inducted into the New Brunswick Sports Hall of Fame in 1971
Inducted into the Canadian Sports Hall of Fame in 1975
Inducted into the Canadian Boxing Hall of Fame in 1989

References

Fraser, Raymond.The Fighting Fisherman : The Life of <mask> Durelle  Doubleday & Company  (1981 – rereleased 2005)

External links
Obituary for <mask> <mask> from Bell's Funeral Home in Miramichi, New Brunswick, Canada

Website for <mask> Durelle

1929 births
2007 deaths
Acadian people
Canadian male professional wrestlers
Light-heavyweight boxers
Professional wrestlers from New Brunswick
Sportspeople from New Brunswick
New Brunswick Sports Hall of Fame inductees
People from Northumberland County, New Brunswick
Canadian male boxers
Stampede Wrestling alumni

masks:
Yvon Durelle
Yvon Durell
Yvon
Yvon
Durelle
Yvon
Yvon
Durelle
Yvon
Yvon
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Yvon


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Jorge Luis Alcantar Bolly (born April 30, 1984), is a Mexican second-generation luchador (professional wrestler). He is currently signed to WWE, where he performs on the NXT brand under the ring name <mask>, as the leader of Legado Del Fantasma. Before his WWE career, Alcantar worked as El Hijo del Fantasma for Lucha Libre AAA Worldwide (AAA) from 2013 to 2019. In AAA, he won the AAA Fusión Championship, the AAA Latin American Championship, the 2017 Copa Antonio Peña, and is the longest-reigning AAA World Cruiserweight Champion in history. He previously worked for Consejo Mundial de Lucha Libre (CMLL) from 2008 to 2013. In CMLL, he held the CMLL World Middleweight Championship, as well as the CMLL World Trios Championship twice (with Héctor Garza and La Máscara). Alcantar has also worked under the ring name King Cuerno for the U.S.-based Lucha Underground promotion from 2014 to 2019.Through AAA's promotional partnerships, Alcantar also worked on several shows for Impact Wrestling, while under AAA contract. His father is luchador El Fantasma, who is the head of the Mexico City Boxing and Professional Wrestling commission. His cousin wrestles under the name "Fantasma Jr.", while his uncle worked under the name "Ángel de la Muerte". Professional wrestling career
Alcantar began his professional wrestling career in 2000, as the masked ring character "Top Secret". While working under the Top Secret name he wore a black mask with gold trim around the eye openings. In 2003, Alcantar adopted a new mask and name as he became "El Hijo del Fantasma" (), revealing  to the wrestling world that he was the son of El Fantasma. After the name change he began wearing a mask that closely resembled that of the comic book character The Phantom, just like his father did before him.His first documented match as El Hijo del Fantasma saw him team up with his father and his cousin, who adopted the ring name "Fantasma Jr.". They defeated Los Oficiales (Guardia, Oficial, and Vanguardia) at an International Wrestling Revolution Group (IWRG) show on December 14, 2003. Consejo Mundial de Lucha Libre (2008–2013)
Alcantar was brought to Consejo Mundial de Lucha Libre (CMLL) in 2008, after he left IWRG in 2004. During his time in CMLL, he won the CMLL World Trios Championship on two occasions, teaming with Héctor Garza and La Mascara. The three were first teamed up to participate in a tournament for the vacant CMLL World Trios Championship. Despite never having teamed before, the trio made it all the way to the finals, and then defeated Blue Panther, Dos Caras Jr., and Místico in the finals to win the tournament and the championship. On August 5, 2008, they lost their title to Último Guerrero, Negro Casas, and Atlantis.They had a rematch where Garza, La Mascara, and Hijo del Fantasma regained their title on January 18, 2009. On July 21, 2009, Hijo del Fantasma defeated Averno to win the CMLL World Middleweight Championship. After the match, Averno showed respect to Fantasma by congralutating him and celebrating the victory. On February 14, 2010, after only one successful title defense since July 2009, Hijo del Fantasma lost the Middleweight title to Negro Casas. In March 2010 signs of dissention amongst the Trios champions began showing as Garza walked out on the team during a trios match mistakenly thinking that one of his teammates had attacked him. Following the walk out Garza kept insincerely insisting that he was still a tecnico and that there was no tension on his team. Further doubts about Garza's allegiance arose when he teamed up with the Rúdo Pólvora to win the 2010 Gran Alternativa tournament.When Garza, La Máscara and Hijo del Fantasma were booked for a CMLL World Trios defense the following week, Garza complained that his partners agreed contesting to the match without asking him, but swore that he would still be professional about it. During the title defense on the May 7, 2010 Super Viernes Garza attacked both Hijo del Fantasma and La Máscara, allowing La Ola Amarilla (Hiroshi Tanahashi, Shigeo Okumura and Taichi Ishikari) to win the CMLL World Trios Championship, turning full blown rudo in the process. On October 28, 2012, Hijo del Fantasma unsuccessfully challenged Dragón Rojo Jr. for the NWA World Historic Middleweight Championship. El Hijo del Fantasma was paired up with rudo El Felino for the 2013 Torneo Nacional de Parejas Increibles ("National Incredible Pairs Tournament"), a tag team tournament teaming rudos with tecnicos. The team lost to La Máscara and Averno in the first round despite Averno and La Máscara being longtime rivals. Lucha Libre AAA Worldwide (2013–2019)

On October 18, 2013, El Hijo del Fantasma made a surprise jump to Lucha Libre AAA Worldwide (AAA), debuting at the Héroes Inmortales VII event as the newest member of El Consejo, a rudo stable made up of former CMLL wrestlers. In his debut, he made it to the finals of the Copa Antonio Peña, before losing to La Parka.On December 8 at Guerra de Titanes, Fantasma teamed with El Consejo stablemates Silver King and El Texano, Jr. to unsuccessfully challenge Los Psycho Circus (Monster Clown, Murder Clown and Psycho Clown) for the AAA World Trios Championship. On August 17, 2014, at Triplemanía XXII, El Hijo del Fantasma won a ten-way elimination match to unify the AAA Fusión and AAA Cruiserweight Championships, becoming the first AAA World Cruiserweight Champion. On September 20, 2015, Fantasma became the new leader of the La Sociedad stable. On March 19, 2017, El Hijo del Fantasma lost the World Cruiserweight Championship to Johnny Mundo. On October 1, 2017, at Héroes Inmortales XI, Fantasma won the 2017 Copa Antonio Peña tournament, which meant he also earned the vacant AAA Latin American Championship. He subsequently became involved in a long running storyline with Texano Jr., initially over the Latin American champions, with a steel cage match at Guerra de Titanes that El Hijo del Fantasma won by disqualification. After the match, it was announced that the two would face off in a Luchas de Apuestas at the Rey de Reyes show.On March 4, 2018, at the Rey de Reyes show, El Hijo del Fantasma defeated Texano Jr., forcing the latter to have all his hair shaved off as a result. In the weeks following Rey de Reyes AAA announced that El Hijo del Fantasma, Psycho Clown, L.A. Park and Pentagón Jr. would all risk their masks in a Poker de Aces () match at Triplemanía XXVI.In the build-up to Triplemanía XXVI, El Hijo del Fantasma turned rudo once more, forming a faction known as Los Mercenarios ("The Mercenaries") with Texano Jr., Rey Escorpión, and La Máscara. At Triplemanía XXVI, held on August 26, 2018, L.A. Park defeated El Hijo del Fantasma in the Poker de Aces match. After his loss, El Hijo del Fantasma was forced to unmask and reveal his real name, Jorge Luis Alcantar Bolly, to everyone watching. On December 12, 2018, El Hijo del Fantasma fought Drago in the AAA Latin American Championship. Drago defeated El Hijo del Fantasma to win the Championship in one of the featured matches of Guerra de Titanes. On March 20, 2019, Fantasma announced his departure from AAA.Lucha Underground (2014–2019)
In September 2014, Hijo del Fantasma began working for Lucha Underground under the ring name "King Cuerno" (Spanish for "King Antler" or "King Horn"), a "big game" hunter. King Cuerno started a feud with Drago and, on January 21, 2015, King Cuerno defeated Drago in a Last Man Standing match. On February 4, 2015, King Cuerno attacked Johnny Mundo, initiating a feud between them. The rivalry concluded on the March 11, 2015 episode when Mundo and King Cuerno wrestled in a steel cage match, which was won by Mundo. On November 14, 2015, King Cuerno defeated Fénix to win the Gift of the Gods Championship. He lost the title back to Fénix in a ladder match on November 21. At Ultima Lucha Dos, King Cuerno was defeated by Mil Muertes in a deathmatch.He was not seen in season three of the series until the finale Ultima Lucha Tres, where he attacked Mil Muertes and stole the gauntlet that was contested for by Muertes, Jeremiah Crane and Brian Cage. The storyline started at the end of season 3 and continued into season 4, with King Cuerno and Muertes receiving a double disqualification on September 12, 2018. A week later the feud between King Cuerno and Muertes distracted both wrestlers from their match, allowing Pentagón Dark (previously known as Pentagón Jr.) to successfully defend the Lucha Underground Championship against the two. The rivalry between the two ended inconclusively in a match where Pentagón Dark defeated King Cuerno, Mil Muertes and El Dragon Azeca Jr. on September 26, 2018, which was the last time the two faced off in the Lucha Underground Championship. He was released from his contract on March 26, 2019. Impact Wrestling (2017–2018)
On July 2, 2017, El Hijo del Fantasma and Drago represented AAA at Impact Wrestling's Slammiversary XV show; the team lost to The Latin American Xchange (Santana and Ortiz), who successfully defended the Impact Wrestling World Tag Team Championship and GFW Tag Team Championship in a match that also included the teams of Laredo Kid with Garza Jr., and Naomichi Marufuji with Taiji Ishimori. At Bound for Glory in 2017, Team AAA (El Hijo del Fantasma, Pagano and Texano) lost to Team Impact (Ethan Carter III, Eddie Edwards and James Storm) in a six-man tag team match.On November 6, 2017, Hijo del Fantasma unsuccessfully challenged Eddie Edwards for the GHC Heavyweight Championship. At Impact Wrestling Redemption, Fantasma competed in a six-way match which was won by Brian Cage. WWE

Signing and debut (2019–2020)
On August 14, 2019, Alcantar signed a contract with WWE. During one of the first weeks while training at the WWE Performance Center, Alcantar suffered a knee injury that prevented him from wrestling for several months. He made his in-ring debut under his real name for NXT on February 15, 2020, teaming with Raul Mendoza to defeat Lewis Howley and Sam Stoker on a show in Fort Pierce, Florida. On April 12, 2020, Alcantar was announced as a participant in the interim Cruiserweight Title tournament under his El Hijo del Fantasma ring name representing Group B in the tournament. He lost to Isaiah "Swerve" Scott but defeated Jack Gallagher and Akira Tozawa thus making it to the finals.Legado Del Fantasma (2020–present)

In the finals Fantasma defeated Drake Maverick to become Cruiserweight Champion for the first time, as well as winning his first championship in WWE. The following week, Fantasma joined forces with the masked men, who had previously attacked him during the tournament and who revealed themselves to be Raul Mendoza and Joaquin Wilde. The group (later named (Legado del Fantasma) would attack Maverick, leading to Fantasma unmasking himself and adopting the new ring name of <mask>, establishing himself as a heel in the process. <mask> then began feuding with Isaiah "Swerve" Scott, facing him on the August 26 episode of NXT and NXT TakeOver 31, retaining the title both times. At NXT: Halloween Havoc, <mask> would defeat Jake Atlas in a non-title match. At NXT: New Years Evil, <mask> would defeat Gran Metalik to retain his Cruiserweight Title. <mask> would then face Curt Stallion on the February 3 episode of NXT for the Cruiserweight Title and <mask> would win the match.<mask> would then enter a brief feud with Karrion Kross which came to ahead on the February 24 episode of NXT in a no disqualification match in which, <mask> would lose. On March 10, it was announced that Jordan Devlin, the original Cruiserweight Champion, who was unable to defend his title due to the COVID-19 pandemic, would appear on NXT the following week to challenge <mask>, deciding who was the undisputed Cruiserweight Champion in the process. This culminated on April 8, when <mask> defeated Devlin in a ladder match at NXT TakeOver: Stand & Deliver. On the April 13 episode of NXT, he issued an open challenge, where he lost his title to Kushida, ending his reign at 321 days. After <mask> failed to regain his title from Kushida in a two out of three falls match on the May 11 episode of NXT, he and the other members of Legado del Fantasma would begin feuding with NXT North American champion, Bronson Reed and NXT Tag Team champions, MSK which would lead to a winners take all six man tag team match at NXT Takeover: In Your House where Legado del Fantasma would be unsuccessful in winning the titles. Shortly after, <mask> would then start feuding with Hit Row and on the August 24 episode of NXT, Legado Del Fantasma would defeat Hit Row in a six man tag team match with the help of a debuting Elektra Lopez. On the October 12 episode of NXT 2.0, <mask> would face Scott for the NXT North American title, but would be unsuccessful.After the match, Carmelo Hayes would cash in his NXT Breakout Tournament opportunity and win the North American title from Scott. Films
El Hijo del Fantasma has appeared in the following films:

El Fantasma Vs La Maldición de la Pirámide ("The Phantom Vs The Curse of the Pyramid") (2007)
El Fantasma Vs La Aldea de los Zoombies ("The Phantom Vs The Village of the Zombies") (2007)
El Fantasma Vs El Secreto de la Urna Maldita ("The phantom vs the secret of the cursed urn") (2008)

Personal life

Jorge Luis Alcantar Bolly was born on April 30, 1984, in Mexico City, Mexico. His father was a professional wrestler, known as the enmascarado "El Fantasma". His uncle was also a professional wrestler, known as  Ángel de la Muerte () and his cousin has worked under the names Ángel de la Muerte Jr. and then Fantasma Jr. In 2007, it was revealed that Alcantar was a student at Universidad Anahuac, working on a degree in International Relations at that time. Alcantar was accompanied by his son for the Triplemanía XXVI match and was seen in the ring afterward as Alcantar was forced to remove his mask. His son was also seen at the end of his WWE Cruiserweight Championship  unification ladder match, which Alcantar won, at NXT TakeOver: Stand & Deliver night 2 where he was given his father's mask and one of the title belts.Lawsuit against Lucha Underground
On February 6, 2019, it was reported that Alcantar had filed a lawsuit in California against El Rey Network and the production company Baba-G who were behind Lucha Underground. The lawsuit claimed the Lucha Underground contract "Illegally restricted" wrestlers from working in their "lawful profession" by restricting them from working for other companies while under contract with Lucha Underground, which only paid per match. Alcantar's lawyer also revealed that he had filed a class action lawsuit against Lucha Underground over the contracts that he claims are not legal under Californian law. The class action lawsuit also included Ivelisse Vélez, Joey Ryan and Melissa Cervantes looking to invalidate their contracts. The lawsuit led to Alcantar and others being released from their Lucha Underground contracts prior to it expiring. Championships and accomplishments
Lucha Libre AAA Worldwide
AAA Fusión Championship (1 time)
AAA Latin American Championship (1 time)
AAA World Cruiserweight Championship (1 time)
Copa Antonio Peña (2017)
Copa La Polar (2017)
Consejo Mundial de Lucha Libre
CMLL World Trios Championship (2 times) – with Héctor Garza and La Mascara
CMLL World Middleweight Championship (1 time)
Torneo Generación 75
CMLL Trio of the year: 2009 (with Héctor Garza and La Máscara)
Lucha Underground
Lucha Underground Gift of the Gods Championship (1 time)
Pro Wrestling Illustrated
PWI ranked him #63 of the top 500 singles wrestlers in the PWI 500 in 2015
Toryumon Mexico
Yamaha Cup (2010) – with Angélico
WWE
NXT Cruiserweight Championship (1 time)
Interim NXT Cruiserweight Championship Tournament (2020)

Luchas de Apuestas record

Footnotes

References

External links

1984 births
Living people
Mexican male professional wrestlers
Masked wrestlers
Professional wrestlers from Mexico City
NXT/WWE Cruiserweight Champion

masks:
Santos Escobar
Santos Escobar
Escobar
Escobar
Escobar
Escobar
Escobar
Escobar
Escobar
Santos Escobar
Escobar
Escobar
Escobar
Escobar


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<mask> (November 24, 1923 – July 16, 1957) was an American jazz baritone saxophonist. The first and greatest bebop baritonist, Chaloff has been described as 'the most expressive and openly emotive baritone saxophonist jazz has ever witnessed' with a tone varying 'between a light but almost inaudible whisper to a great sonorous shout with the widest but most incredibly moving of vibratos.' Musical education
<mask> was the son of the pianist and composer <mask> and the leading Boston piano teacher, <mask> (known professionally as <mask>). He learned the piano from the age of six and also had clarinet lessons with Manuel Valerio of the Boston Symphony Orchestra. At the age of twelve, after hearing Harry Carney, Duke Ellington's baritonist, he taught himself to play the baritone. <mask> later explained to Leonard Feather in an interview: 'Who could teach me? I couldn't chase [Harry] Carney around the country.'Although he was inspired by Carney and Jack Washington, Count Basie's baritone player, Chaloff did not imitate them. According to his brother, Richard, 'he could play (baritone) like a tenor sax. The only time you knew it was a baritone was when he took it down low. He played it high....He had finger dexterity, I used to watch him, you couldn't believe the speed he played. He was precise. He was a perfectionist. He would be up in his bedroom as a teenager.He would be up by the hour to one, two, three in the morning and I'm trying to sleep and he'd go over a phrase or a piece until it was perfect...I used to put the pillow over my head, we had battles.' From the age of fourteen, <mask>, was sitting in at Izzy Ort's Bar & Grille a famous live music venue on Essex Street in Boston. <mask> remembered: 'He didn't have a permit to work but he was pretty tall and he went down to see Izzy Ort...and played for him and Izzy liked the sax...and he hired my brother to work nights....My mother used to pray on Sundays that that he'd make it outa there....My brother sat in with bandsmen that were in their thirties and forties...and here he was fourteen, fifteen years old and he played right along with them, and he did so well that they kept him.' Big bands
In 1939, aged just sixteen, Chaloff joined the Tommy Reynolds band, playing tenor sax. This was followed by jobs in the bands of Dick Rogers, Shep Fields and Ina Ray Hutton. In July 1944, he joined Boyd Raeburn's short-lived big band, where he played alongside Dizzy Gillespie and Al Cohn, who became a lifelong friend. With Boyd Raeburn, in January 1945, he made his first recordings, including 'Interlude' (Dizzy Gillespie's 'A Night in Tunisia'), where his baritone can be heard in the opening section of the song.While with Boyd Raeburn, Chaloff first heard Charlie Parker, who became his major stylistic influence. Stuart Nicholson argues that, rather than imitating Parker, Chaloff was inspired by his example 'grasping more the emotional basis for Parker's playing and using it as a starting point for his own style.' <mask> said that his brother 'palled' with (Parker) in New York. Any time he had the chance he would pal with him. He would sit in with him at night....My brother used to say that he was up till 4,5,6, in the morning with the Bird.....All the beboppers found each other out'

Chaloff then joined the big bands of Georgie Auld and then Jimmy Dorsey, who featured him on a celebrated 1946 recording of "Perdido". Alongside his work in big bands, in 1946-7, Chaloff performed and recorded with several small bebop groups. These included Sonny Berman's' Big Eight, Bill Harris's Big Eight, the Ralph Burns Quintet, Red Rodney's Be-Boppers, and his own <mask>ff Sextette, which released two 78 records on the Savoy label.Three of the four tunes recorded were written and arranged by Chaloff while the fourth, 'Gabardine and Serge', was by Tiny Kahn. 'All four tunes are daredevil cute and blisteringly fast,' wrote Marc Myers. 'They showcase tight unison lines and standout solos by four of the six musicians, who are in superb form....(On 'Pumpernickel') Chaloff shows off his inexhaustible and leonine approach to the baritone sax.' <mask> became a household name in 1947, when he joined Woody Herman's Second Herd. This was known as the 'Four Brothers Band', after the reed section, comprising <mask>, Stan Getz, Zoot Sims, Herbie Steward, and a little later Al Cohn. He was featured on many Herman recordings, including "Four Brothers", Keen and Peachy", and had solo features in Al Cohn's "The Goof and I". and "Man, Don't Be Ridiculous."On the latter, he demonstrated 'an astonishing technical facility that was quite without precedent on the instrument.' In 1949, Leonard Feather included <mask> in his book Inside Be-Bop: 'Great conception and execution, good taste, clean tone and Bird-like style have made him the No.1 bop exponent of the baritone.' Drug addiction
By 1947, Chaloff, following the example of his hero, Charlie Parker, was a heroin addict. According to Gene Lees, Chaloff was the Woody Herman band's 'chief druggist as well as its number one junkie. <mask> would hang a blanket in front of the back seats of the bus and behind it would dispense the stuff to colleagues.' Whitney Balliett wrote that Chaloff had 'a satanic reputation as a drug addict whose proselytizing ways with drugs reportedly damaged more people than just himself.' Many musicians blamed him for the drug-related death of the 21-year-old trumpeter Sonny Berman on January 16, 1947.The trumpeter Rolf Ericson, who joined Herman's band in 1950, described the impact of drugs on the band's performances: 'In the band Woody had started on the coast...late in 1947, which I heard many times, several of the guys were on narcotics and four were alcoholics. When the band started a night's work they sounded wonderful, but after the intermission, during which they used the needle or lushed, the good music was over. It was horrible to see them sitting on the stage like living dead, peering into little paper envelopes when they weren't playing.' One night in Washington D.C., Woody Herman had a public row on the bandstand with Chaloff. Herman told Gene Lees: 'He was getting farther and farther out there, and the farther out he got the more he was sounding like a fagalah. He kept saying, ‘Hey, Woody, baby, I’m straight, man, I’m clean.’ And I shouted, ‘Just play your goddamn part and shut up! '....I was so depressed after that gig.There was this after-hours joint in Washington called the Turf and Grid....I had to fight my way through to get a drink, man. All I wanted was to have a drink and forget it. And finally I get a couple of drinks, and it’s hot in there, and I’m sweating, and somebody’s got their hands on me, and I hear, ‘Hey, Woody, baby, whadya wanna talk to me like that for? I’m straight, baby, I’m straight.’ And it's Mr. Chaloff. And then I remember an old Joe Venuti bit. We were jammed in there, packed in, and...I peed down <mask>'s leg. You know, man, when you do that to someone, it takes a while before it sinks in what's happened to him.And when <mask> realized, he let out a howl like a banshee.' Chaloff's bandmate, Terry Gibbs, told Ira Gitler stories of his chaotic behaviour: 'He'd fall asleep with a cigarette all the time and always burn a hole in a mattress. Always! In about twelve hotels. When we'd go to check out, the hotel owner – <mask> always had his hair slicked down even though he hadn't taken a bath for three years...the manager would say, 'Mr Chaloff, you burned a hole in your mattress and...' 'How dare you. I'm the winner of the down beat and Metronome polls. How dare you?'...the manager would always say, 'I'm sorry Mr Chaloff,'...Except one time when the band got off on an air-pistol kick....<mask> put a telephone book against the door and was zonked out of his bird...he got three shots at the telephone book and made the biggest hole in the door you ever saw. So when he went to the check out, the guy said, 'Mr Chaloff, it'll cost you. '...He 'how-dared' him a few times. Couldn't get away with it. He said 'Well listen, if I'm gonna pay for the door I want the door.' It was twenty four dollars. So he paid for the door.I happen to be standing close by. 'Hey Terry,' he said. 'Grab this,' and all of a sudden I found myself checking out....We're walking out of the hotel with a door.' Al Cohn described Chaloff's driving: 'I don't know how we kept from being killed. <mask> would always be drunk. He was quite a drinker. Everything he did, he did too much.So one time we're driving, after work. It's four o'clock in the morning, and he makes a left turn, and we're wondering why the road is so bumpy. Turned out he made a left turn into the railroad tracks, and we're going over the ties.' Zoot Sims also talked about Chaloff with Gitler: 'When <mask> was cleaned up, you know, straight, he could be a delight, really to be around, a lot of fun. He knew how to handle himself. He had that gift. He could get pretty raunchy when he was strung out, but he could also be charming.'In late 1949, when many big bands were folding for economic reasons, Herman broke up the Second Herd. Fronting a new small band in Chicago in 1950, Herman told Down Beat: 'You can't imagine how good it feels to look at my present group and find them all awake. To play a set and not have someone conk out in the middle of a chorus.' Count Basie's Octet
For part of 1950, <mask> played in the All Star Octet of Count Basie who, like Herman, had broken up his big band. The band comprised Basie, <mask>, Wardell Gray, Buddy DeFranco, Clark Terry, Freddie Green, Jimmy Lewis and Gus Johnson. The group recorded a handful of sides for Victor and Columbia and was also captured on airchecks. Return to Boston
In 1950, Chaloff returned to Boston, where he played in small groups in clubs like the High Hat, Petty Lounge and Red Fox Cafe.A 1950 performance at the Celebrity Club in Providence Rhode Island, was broadcast by WRIV, and has been released on CD as Boston 1950. Playing in small groups gave Chaloff the space to develop a new style of playing. In 1951, he talked about 'getting away from the fireworks that don't mean anything' that had been a part of his style up to that point and 'adding more colour and flexibility to his work.' His friend Al Cohn observed 'It wasn't until he left the big bands that he really started to develop as a soloist.' Chaloff was now a star, winning the Down Beat and Metronome polls every year from 1949-1953. Yet his drug use and heavy drinking made it difficult for him to keep steady work, and he gave up playing completely in 1952-3. Chaloff's come-back began in late 1953, when the Boston DJ Bob 'The Robin' Martin offered to become his manager.Helped by Martin, <mask> formed a new group which played at Boston's Jazzorama and Storyville nightclubs. His usual musical partners were Boots Mussulli or Charlie Mariano (alto), Herb Pomeroy (trumpet),and Dick Twardzik (piano). 'He didn't work a lot,' said Bob Martin, 'because the word was out. You had to talk somebody to give him a chance to play. When you got him a gig in a club or a hotel, he would usually mess it up. But when he did show...and got playing...it was,'Stand back, Baby!Jay Migliori, who played with Chaloff at Storyville, recalled, '<mask> was a wild character. We were working at Storyville and, if he was feeling good, he used to let his trousers gradually fall down during the cadenza of his feature, 'Body and Soul.'At the end of the cadenza, his trousers would hit the ground.' <mask> and Boots and The Fable of Mabel
In June and September 1954, Chaloff made two recording sessions for George Wein's Boston Storyville label, released as two 10" LPs. The first Serge and Boots was presented as a joint album with Boots Mussulli, with accompaniment by Russ Freeman (piano), Jimmy Woode (bass) and Buzzy Drootin (drums). Yet George Wein wrote on the sleevenote: 'An alternate title for this album could be '<mask> Returns'....Each selection in these six was chosen and arranged solely by <mask>.' There were five standards and a Chaloff original, 'Zdot', with an ending 'written by a wonderful pianist

masks:
Serge Chaloff
Serge Chaloff
Julius Chaloff
Margaret Chaloff
Madame Chaloff
Chaloff
Chaloff
Richard Chaloff
Richard Chaloff
Serge Chalo
Serge Chaloff
Chaloff
Chaloff
Serge
Serge
Serge
Serge
Serge
Serge
Serge
Chaloff
Chaloff
Chaloff
Serge
Serge
Serge
Serge


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 and teacher, <mask>, <mask>'s mother.'. On the second Storyville album, The Fable of Mabel, Chaloff played in a nine-piece band featuring Charlie Mariano, who composed three of the five originals, and Herb Pomeroy, who provided 'Salute to Tiny', dedicated to the drummer and arranger Tiny Kahn. The ambitious title piece was composed by Dick Twardzik, who described it on the sleevenote: The Fable of Mabel was introduced to jazz circles in 1951-52 by the <mask>ff Quartet.Audiences found this satirical jazz legend a welcome respite from standard night club fare. In this legend, Mabel is depicted as a woman who loves men, music and her silver saxophone that played counterpoint (her own invention which proved impractical). The work is divided into three movements: first, New Orleans; second Classical; and third, Not Too Sad An Ending. The soulful baritone solo by <mask> traces Mabel's humble beginnings working railroad cars in New Orleans to her emergence as a practising crusader for the cause of Jazz. During her Paris days on the Jazz Houseboat, her struggle for self-expression is symbolized by an unusual saxophone duet Charlie Mariano and Varty Haritrounian. Mabel always said she wanted to go out blowing. She did.'The sixth track, Al Killian's 'Lets Jump', was chosen by Chaloff, who said: 'Now that we've proven how advanced we are let's show the people that we can still swing.' Just a month after his second Storyville recording, Chaloff went through a personal crisis. In October 1954, with no money and unable to find heroin, he voluntarily entered the drug rehabilitation program at Bridgewater State Hospital. After being hospitalized for three and a half months. he was released in February 1955, finally drug free. Boston Blow-Up! In 1955, Bob Martin persuaded Capitol Records to record a Chaloff LP as part of their 'Stan Kenton Presents Jazz' series.<mask>'s come-back album, Boston Blow-Up! was recorded in New York City in April 1955. He was accompanied by Boots Mussulli (alto), Herb Pomeroy (tp), Ray Santisi (p), Everett Evans (b) and Jimmy Zitano (d). Pomeroy, Santisi and Zitano were already a tight unit, regularly playing at Boston's Stable Club, where they had recorded a live album Jazz in a Stable, on Transition the previous March. The Kenton connection came about through Mussulli, who had played in his orchestra in 1944-7 and 1952-4. Richard Vacca wrote that '<mask> still had his bad boy reputation, and the presence of the steady and reliable Mussulli, who had recorded his own 'Kenton Presents' LP in 1954, was a great relief to Capitol.' For the recording, he composed and arranged five new tunes, including 'Bob the Robin', dedicated to Chaloff's manager.Pomeroy arranged the standards. <mask> described the sessions: 'When I came back on the music scene, just recently, I wanted a book of fresh sounding things. I got just what I wanted from Herb and Boots. I think their writing shows us a happy group trying to create new musical entertainment by swinging all the time. Jazz has got to swing; if it doesn't, it loses its feeling of expression. This group and these sides are about the happiest I've been involved with.' The highlights of the album are Chaloff's powerful ballad features, "What's New?", and "Body and Soul". In the 1956 Metronome Yearbook, Bill Coss described the latter as 'an almost frightening example of <mask>'s form, moaning through a seemingly autobiographical portrayal of (his) Body and Soul', an enormously emotional jazz listening experience.' Jack Tracy gave Boston Blow-Up! five stars in his Down Beat review: '<mask>, for years one of music's more chaotic personalities, has made an about face of late and is again flying right. It is evident in his playing, which has become a thing of real beauty....Chaloff offers the best display of his talents ever to be put on wax. It swings, it has heart, it has maturity—it is the long-awaited coalescence of a great talent. 'Boston Blow-Up!s favourable reception brought more work for Chaloff, culminating in a performance at the Boston Arts Festival in June 1955.The show was reviewed in the Boston Herald: 'The ingenuity of Chaloff as a soloist is enormous, and his use of dissonance always conveys a sense of purpose and of form. In 'Body and Soul', he exhibited his capabilities vigorously, taking a deliberate tempo and treating the music with a lyric, delicate, tonal standpoint....the harmonies of the group are tense and the melodies resourceful and they play with a kind of controlled abandon.' In 1956, Chaloff worked his way across the country, usually working in an alto/baritone format. In Chicago, he played alongside Lou Donaldson. In Los Angeles, he played with Sonny Stitt, in a band which also included Leroy Vinnegar, the leading West Coast bassist. <mask>

<mask>'s Los Angeles appearance led to his recording a second Capitol LP there in March 1956. The drummer was Philly Joe Jones, who was in Los Angeles with the Miles Davis Quintet.Sonny Clark played piano, and Leroy Vinnegar was on bass. Chaloff described the making of the record, called Blue Serge, on the jacket blurb: 'My last record, Boston Blow-up! was one of those carefully planned things....But this time I was feeling a little more easy-going, and I decided to make a record just to blow. I picked out what I felt was the best rhythm section around and told them just to show up...no rehearsals...no tunes set...and trust to luck and musicianship....I'd never worked with these guys before except for jamming briefy with Joe Jones eight years ago, but I knew from hearing them what they could do....We were shooting for an impromptu feeling and we got it. It has more freedom and spark than anything I've recorded before. And I don't think there's a better recommendation than that when it comes to honest jazz.' Vladimir Somosko, Chaloff's biographer, described the results: 'The rapport of the group was as moving as the music, and the net effect was of every note being in place, flawlessly executed, as if even the slightest nuance was carefully chosen for maximum aesthetic impact.This is a level of achievement beyond all but the masters, and from an ensemble that was not even a working group it takes on an aura of the miraculous.' Stuart Nicholson analysed <mask>'s playing on "A Handful of Stars": 'Paraphrase becomes central to his performance of 'A Handful of Stars' where he scrupulously avoids stating the melody as written. At one point he plumbs the baritone for a bumptious bass note and soars to the top of the instrument's range in one breath, effortlessly concealing the remarkable technical skill required for such seemingly throw-away trifles. This sheer joy at music making seems to give his playing a life-force of its own.' Richard Cook and Brian Morton in The Penguin Guide to Jazz declared the album 'Chaloff's masterpiece' and described it as 'vigorous and moving... "Thanks for the Memory" is overpoweringly beautiful as Chaloff creates a series of melodic variations which match the improviser's ideal of fashioning an entirely new song. 'Stairway to the Stars' is almost as fine, and the thoughtful 'The Goof and I' and 'Susie's Blues' show that Chaloff still had plenty of ideas about what could be done with a bebopper's basic materials. This important session has retained all its power.'Spinal cancer
Chaloff continued to work on the West Coast, performing at the Starlite Club in Hollywood in May 1956. That month, while playing golf, he was struck down by severe back and abdominal pains, which paralysed his legs. Chaloff flew back to Boston, where an exploratory operation revealed that he was suffering from cancer of the spine. His brother Richard described his final illness: 'We took him down there [Massachusetts General Hospital] and they found he had lesions on his spine.....they operated and took most of the lesions away, and then he went on a series of X-ray treatments. Oh they were terrible. He must have had twenty or twenty-five in a row. And in those days they really gave you heavy doses of it.Then occasionally he got spots on the lungs'

Despite his illness, and the gruelling treatment, Chaloff continued to play live. In New York, on 18 June 1956, a wheelchair-bound Chaloff took part in a recording of Charlie Parker's "Billie's Bounce", for the Metronome All Stars album. He played alongside Zoot Sims, Art Blakey, Charles Mingus and Billy Taylor. <mask>'s final recording, on 11 February 1957, was for The Four Brothers... Together Again! a reunion album of Woody Herman's Four Brothers for Vik, a subsidiary of RCA Victor. The Four Brothers lineup was Zoot Sims, Al Cohn, Herbie Steward and <mask>, accompanied by Elliot Lawrence (piano), Buddy Jones (bass) and Don Lamond (drums).On the later recordings, Charlie O'Kane was brought in to play baritone on the section parts, so Chaloff could preserve his strength for the solos. Here his playing was as strong as ever, especially on "Aged in Wood", written as a solo vehicle for <mask> by Al Cohn. Richard Chaloff: 'He took a wheelchair down to make that recording, you know. They didn't think he was going to make it. I heard stories from people there. But when he stood up and played, you never knew he was a sick fellow. He played dynamic.If you listen to the record he sounds like the old <mask>. He pulled himself together. I don't know how he did it. But he had tremendous drive, tremendous stamina.' Don Gold reviewed the album in Down Beat: 'This last session before his death represents a fervent expression of a fatally ill man. It is a kind of significant farewell in the language he knew best.' Chaloff made his last live appearances at The Stable Club on Huntington Avenue in Boston the following May.Interviewed in 1993, Charlie 'the Whale' Johnson recalled <mask>'s final performances: 'I remember pushing <mask>'s wheelchair into The Stable for his last appearances there. He was in bad shape but could still really play, standing leaning on a pillar. However, he didn't have much stamina. He couldn't really finish the gig. I also had to go get pot and booze for him. He was still using these steadily, even in the hospital at the end.' On 15 July 1957, the dying Chaloff was admitted to Massachusetts General Hospital.According to <mask>, he took his horn and pet monkey with him: 'He still had the kinkajou monkey Mother got him to keep him company. And he had his horn. I was told they wheeled him into a vacant operating theatre so he could practise, and that was his last gig, his last public performance, solo baritone sax alone in an operating theatre. Nurses, doctors and even patients were standing outside and listening. He fought it to the end. Mother would visit him and urge him on, saying, 'You can beat it' and things. But that last day, they brought a priest to visit him, and the priest saw <mask> in bed looking so wasted, and the priest thought he was supposed to perform the last rites.<mask> woke up in the middle of it and really panicked, sliding away from him and yelling 'No! No! Get out!' But after that he seemed to give up. I think that's when he realized it was all over.' <mask>ff died the next day, at the age of 33. He is buried in the Forest Hills Cemetery, Jamaica Plain, Suffolk County, Massachusetts.Discography
 Boston 1950 Uptown Records, 1994
 Serge and Boots, Storyville LP 310 1954
 The Fable of Mabel Storyville LP 317 1955
 Boston Blow–Up! Capitol Records 1955
 Blue Serge Capitol Records1956
 Metronome All-Stars 1956 Verve 1956
 The Four Brothers... Together Again! Vik, 1957

References

Further reading
For a list of Chaloff's recordings, vid. Vladimir Simosko, <mask>, an Appreciation and Discography'', 3rd ed., rev., Montréal Vintage Music Society, 1991, . 1923 births
1957 deaths
American jazz baritone saxophonists
Bebop saxophonists
Count Basie Orchestra members
Jazz baritone saxophonists
American people of Russian-Jewish descent
Musicians from Boston
Deaths from spinal cancer
20th-century American musicians
20th-century saxophonists
Jazz musicians from Massachusetts
Deaths from cancer in Massachusetts
Neurological disease deaths in

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Margaret Chaloff
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<mask> bin <mask> (Arabic: , ; 1848–1919), also known as <mask>-<mask> or <mask>yah, was a Syrian writer and poet of the Nahda or the Arab Renaissance. She revived the tradition of literary salons in the Arab world and was the first Syrian woman to publish a collection of poetry. She may have been the first woman to write in the Arabic-language daily newspapers. Life

Background and education
<mask> was born in Aleppo, a city of Ottoman Syria (present-day Syria), to an old Melkite family of merchants known for their literary interests. Having earned wealth and standing in the 18th century, the family was well established in Aleppo, although they had gone through troubles: a relative of Maryana, <mask>, was killed by the walis troops in the midst of a Catholic–Orthodox clash in April 1818. Other Melkite Catholics were exiled from Aleppo during the persecutions, among them the priest <mask>. <mask>'s father, Fathallah, tried to defuse the sectarian conflict by writing a treatise in 1849, in which he rejected the Filioque.He had built up a large private library to give his three children Francis, Abdallah and Maryana a thorough education, particularly in the field of Arabic language and literature. As worded by Marilyn Booth, Maryana's mother was from "the famous al-Antaki family", related to Archbishop Demetrius Antachi. Aleppo was then a major intellectual center of the Ottoman Empire, featuring many thinkers and writers concerned with the future of the Arabs. It was in the French missionary schools that the <mask> family learnt Arabic with French, and other foreign languages (Italian and English). By providing their daughter with an education, at a time when Eastern Mediterranean women received none, Maryana's parents challenged the then widespread belief that a girl should not be educated "so she would not sit in the men's reception room", as quoted by Marilyn Booth. Thus, Fathallah put his five-year-old daughter in a Maronite school. Later on, Maryana was educated by the nuns of St. Joseph in Aleppo.She finally went to an English school in Beirut. In addition to her formal education in these schools, where she was exposed to French and Anglo-Saxon cultures, she was tutored by her father and brothers, especially on the subject of Arabic literature. The first biographies of Maryana mention that she excelled in French, Arabic and mathematics, and that she played the qanun and sang beautifully. Aleppine historian Muhammad Raghib al-Tabbakh wrote that she was unique in Aleppo, and that "people looked at her with a different eye". Although she had many suitors, she initially wished to remain single. However, she was persuaded to marry after her mother's death, and chose for husband Habib Ghadban, a scion of a local Christian family. They had one son and two daughters.Literary career

As early as 1870, <mask> started contributing articles and poems to journals—especially Al-Jinan and Lisan al-hal, both of Beirut. In her articles, she criticized the condition of Arab women, urging the latter—regardless of their religious affiliations—to seek education and express themselves on matters of concern to them. Her collection of poetry Bint fikr (A Daughter of Thought) was published in Beirut in 1893. <mask> was granted permission by the Ottoman government to print her book after composing a poem exalting Sultan Abdul Hamid II. In some of the several other panegyrics included in the collection, she also praised Ottoman governors of Aleppo. Her poetry was much more traditional in style than her brother Francis', as exemplified by the elegy she composed to lament his death; yet, she was at home with the poetry of French romantics, especially that of Alphonse de Lamartine and Alfred de Musset. Sami Kayyali said about Marrash:
The emergence of a woman writing in the press and composing poetry in this dark era was a significant event.Our recent history shows that it was rare for even men to read and write; her appearance in these dark nights was thus like a bright star in the center of the heavens. Her non-fiction works also include a history of late Ottoman Syria, [Tarikh] [Suriya] al-hadith, the first book on the subject. <mask>'s salon
<mask> was famous for the salon she held in the home she shared with her husband. She had travelled to Europe once, and was impressed by what she saw of life there. As related by Joseph Zeidan:Upon her return in Aleppo, <mask> <mask> turned her house into a gathering place for a group of celebrated writers who met there on a regular basis to cultivate each other's friendship and discuss literature, music, and political and social issues. However, according to Joseph Zeidan, there are no proofs supporting whether or not she created her salon after seeing similar ones in Europe; in any case, it did not start from scratch, since "most of the participants were regular visitors to her family's home, where they used to meet with her father and two brothers." The members of Maryana's salon included prominent Aleppine intellectuals of both sexes, in addition to politicians and members of the foreign diplomatic corps.<mask> was fully engaged in the intellectual discourse and would also entertain her guests by playing the qanun and singing. Antun Sha'arawi has described typical evenings spent at <mask>'s salon:
Wearing either all black or all white dresses ordered from Paris, <mask> hosted the mixed evening get-togethers in which literary topics as varied as the Mu`allaqat—a cycle of seven pre-Islamic poems—or the work of Rabelais were discussed. Chess and card games were played, and complicated poetry competitions took place; wine and 'araq flowed freely; participants sang, danced, and listened to records played on a phonograph. However, Heghnar Zeitlian Watenpaugh has presumed Sha'arawi's description to be partly apocryphal. Works
Bint fikr (A Daughter of Thought), 1893. [Tārīkh] [Sūriyā] al-ḥadīth (The History of Modern Syria). Writings published in periodicals:

Notes

References

Sources

External links

 Bint fikr (HathiTrust Digital Library)

1848 births
1919 deaths
Nahda
People from Aleppo
Syrian poets
Syrian women writers
Syrian Melkite Greek Catholics
20th-century Syrian writers
20th-century Syrian women writers
Syrian salon-holders
Syrian women poets
19th-century Syrian women writers
Arabic-language women poets
Arabic-language poets

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Maryana bint Fathallah
Nasrallah Marrash
Maryana al
Marrash
Maryana Marrash al Halabi
Maryana Marrash
Butrus Marrash
Jibrail Marrash
Maryana
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<mask> (born 24 October 1967) is an Australian film and stage actress. Early life
Born in Sydney, New South Wales, <mask> attended Wenona School in North Sydney until 1983 then moved to Pymble Ladies' College, where she graduated in 1985 with her Higher School Certificate. Known at school for her fine singing voice, <mask> was cast as Nancy in Oliver! then in Godspell (both a co-production with Shore School) and later in Brigadoon (a co-production with Knox Grammar School), sharing the stage with Hugh Jackman, who was a student at Knox at the time. Career

Early years
<mask> studied for a Bachelor of Arts degree at the University of New South Wales. While at university, she began modelling. Represented by Cameron's Management, she worked in both print and television media.She also took regular singing lessons with  Australian vocal coach Bob Tasman-Smith. In 1987, <mask> was cast as the lead in the pilot of television series All The Way alongside Ben Mendelsohn, Robert Mammone, Rowena Wallace and Martin Sacks. During this time, she came to the attention of casting agent Liz Mullinar, who had cast Judy Davis in My Brilliant Career and Nicole Kidman in Dead Calm. Following advice from Mullinar, <mask> auditioned for the National Institute of Dramatic Art (NIDA) and was accepted. Opting out of both her arts degree and All The Way, <mask> attended NIDA in 1988. She graduated in December 1990. 1991 to 1995
In 1991, <mask> was awarded "Best Newcomer Award" from the Sydney Theatre Critics Circle, which recognized her chameleon-like ability and her consistently high-calibre work in theatre productions Child Dancing (as Julie-Ann), The Master Builder (as Kaja), Twelfth Night (as Viola) and Rebecca (as Mrs de Winter).During rehearsals for Rebecca, director George Ogilvie allowed <mask> time off to audition for a new Australian Independent feature film called Romper Stomper set to star Russell Crowe. She was subsequently cast in the film and went on to win Best Actress award at the Film Critics Circle of Australia. Russell would later say "Jacqui's range as an actor disappears over the horizon. And I'm not sure it can actually be defined. When I first saw her, in the play Rebecca, I saw an actor whom I thought was blowing me on the skin from the inside. She is an actor who is both delicate and magical." In her "nothing short of stunning" film debut in Romper Stomper, <mask> was described as "especially shining in her courage, truth and skill."The role garnered her attention overseas, where she won Best Actress at the 1992 Stockholm International Film Festival for her "stark and non-sentimental portrayal of a young woman whose life has turned into a desperate chase for all she has lost: love, serenity, identity. Her character plays an essential part in creating the inexorable force and impact of the film." Over the next couple of years, she came to be regarded as one of Australia's most promising young actresses of stage and screen, showcasing a "phenomenal emotional range". In 1994, <mask> starred alongside David Wenham, Geoffrey Rush and Richard Roxburgh in Shakespeare's Hamlet, directed by Neil Armfield, for Belvoir St Theatre, Sydney. This sellout production was a critical, award-winning success with <mask>'s performance "so exquisitely pitched it could have shattered glass". "<mask>'s fragile Ophelia, dressed in cottontails and a tail-coat, turning the stage into a mind-state of shattered glass. Her presence awesomely palpable because of its sheer intangibility."The production went on to tour to Melbourne but <mask> was unable to continue due to other work commitments. (Cate Blanchett took over the role of Ophelia for the tour). <mask>'s performance in Hamlet was followed by her role as Joan of Arc in Bernard Shaw's Saint Joan, directed by Gale Edwards for the Sydney Theatre Company at the Sydney Opera House. This was the first time Saint Joan had been staged in Australia since the Zoe Caldwell production in 1962. Regarded as one of "the most revealing tests of an actress", and as "the female Hamlet", Edwards' production was both a critical and box office sensation with <mask>'s performance unanimously acclaimed: "This play stands or falls on the performance of St Joan and <mask> is simply superb." "From the moment she enters, she sets the stage ablaze. <mask> is a Joan to make the theatrical heavens rejoice... <mask> offers us Joan in all her innocence, ignorance, joyful goodness that seems to light her from within and, almost until the end, a youthful sense of fun.Her slight stature can seem waif thin, piteously vulnerable; but raging into battle she's tough and sturdy, a young woman of intense and convincing action. Always in focus, like an unwavering flame, is <mask>'s Joan the Maid" and "Here is a Joan with such fortitude and faith that seems hardly possible to exist within such a delicate frame. <mask>'s waif-like image conceals remarkable strength, and an almost inexhaustible supply of emotion. It is a Joan to inspire the tamest among us to stand up as individuals, and listen to the voices inside of us. Shaw himself would have been reluctantly impressed." Described by head of NIDA, John Clarke, as "A chameleon" "one of the most talented actresses we have produced... she's an absolute dynamo, a powerhouse," <mask> had fast earned a reputation as one of the most versatile actresses of her generation, taking on varied and often difficult roles. Equally adept in drama or comedy, she was described as the "Judy Davis of her generation (or funnily enough, the green eyed American actor Meg Ryan)" In 1992, Ben Elton cast her as the lead role of "Rachel", the feisty environmentalist, in the television adaptation of his hit novel Stark.The mini-series was a BBC/ABC comedy, was directed by Nadia Tass and co-starred Ben Elton and Colin Friels. <mask> received an Australian Film Institute Award nomination for Best Actress in a Miniseries for the role. The same year (1993), she scored a Best Actress in a Feature Film nomination for her comedic turn in the indie comedy, This Won't Hurt a Bit, playing Vanessa Presscott, a nerdy English ingénue with a speech impediment. In 1994, <mask> reunited with director George Ogilvie (who had directed her in Rebecca and Twelfth Night) to play the lead role of Dancy Smith in the adaptation of Kylie Tennant's famous depression-era drama The Battlers. The mini-series co-starred Gary Sweet and played on the Seven Network. <mask> was nominated again for Best Actress in a TV Drama at the Australian Film Institute 1994 awards. That same year, <mask> was also nominated for Best Supporting Actress in the feature film Traps, directed by Pauline Chan.Playing the French girl living in Colonial Vietnam, <mask> got to showcase her versatility by speaking in both French and Vietnamese for the role. In 1995, <mask> made Australian Film Institute history by winning the Beyond Best Actress in a Leading Role for Angel Baby and the Beyond Best Actress Award in a TV Drama for Halifax f.p. : Lies of the Mind. She also won the Silver Logie for Most Outstanding Actress at the Logie Awards for her role in Halifax f.p. It was for playing the young lover Kate, opposite John Lynch's Harry in the Michael Rymer–helmed drama Angel Baby, that <mask> received international acclaim: The LA Weekly reviewed: "<mask> is a find. Whether using answers on the Wheel of Fortune as a kind of daily horoscope, or cringing in terror as the upright legs of chairs in an empty restaurant seem to whisper at her, she is blazingly equal to the extremes of animal panic and hyperconscious insight that are the north and south of this movie's humane compass." Angel Baby also featured actress Deborra-Lee Furness and Colin Friels.In 1996, <mask> was awarded Australian Star of the Year at the Australian Movie Convention. 1996 to 2003
<mask> ventured to the US, where she starred in the films Deep Blue Sea (1999) directed by Renny Harlin with Samuel L. Jackson, Thomas Jane and Michael Rapaport; Divine Secrets of the Ya-Ya Sisterhood (2002) with Sandra Bullock, Ashley Judd, Ellen Burstyn, Kiersten Warren and James Garner; Freak Weather, with Aida Turturro and John Carroll Lynch; Love from Ground Zero with Simon Baker and Pruitt Taylor Vince, as well as tele-movie When Billie Beat Bobby, starring Holly Hunter and Ron Silver. She starred in the UK independent films Eisenstein with Simon McBurney and Kiss Kiss (Bang Bang) with Stellan Skarsgård, Chris Penn and Paul Bettany. In 2001, <mask> was given a United States green card in March 2001 for "Person of Extraordinary Ability". She made her US theatre debut, starring as Rita in Willy Russell's Educating Rita, at the Williamstown Theatre Festival directed by Bruce Paltrow and co-starring Edward Herrmann. It was a huge success. "This production had the inexhaustible talents of <mask>, an utterly charming and irrepressible Australian, whose cockney accent was spot on and characterization was full-cocked.Bursting onto the stage like a fire-engine responding to a five-alarm conflagration, <mask> was a dynamo with enough energy to fill simultaneous performances of this and Pygmalion (a sure bet for her if the WTF wants to bring her back – and it should). Suffice to say, hers will surely be among the most memorable and reason enough to revive Rita." She was cast as a lead in the US television pilot for ABC called MEDS (later MDs), directed by Michael Hoffman and starring John Hannah. She played Dockdaisy in the National Actors Theatre / Complicite co-production of The Resistible Rise of Arturo Ui, by Bertolt Brecht. Directed by Simon McBurney this cast included Al Pacino, Steve Buscemi, Chazz Palminteri, John Goodman, Paul Giamatti, Billy Crudup, Lothaire Bluteau, Linda Emond, Tony Randall and Charles Durning. After this production, <mask> returned to Australia to star as Catherine in the Pulitzer Prize Winning play Proof by David Auburn. Directed by George Ogilvie and starring Barry Otto, this "tour de force from <mask>" broke all previously held box office records at the Sydney Opera House, Drama Theatre.Mckenzie followed the success of Proof by taking the lead role of Jude in the Australian feature film Peaches, starring Hugo Weaving and Emma Lung. Directed by Craig Monahan, the role garnered <mask> a Best Actress Award from the Film Critics Circle of Australia with her performance described as a "revelation": "never more so than in the scene where she sings 'The Carnival Is Over' across a pub counter." From Peaches, <mask> began work with Paul Cox (Man of Flowers, Innocence) in the feature film Human Touch starring as a young chorister estranged from her husband: "<mask> makes Anna's sensual awakening both sensual and real". 2004 to 2015
In 2004, <mask> made the switch to prime-time television in a role that would catapult her to international stardom. Cast as the lead female detective Diana Skouris in the US prime-time science fiction television series The 4400 from Executive Producer Francis Ford Coppola, <mask> was cast alongside Joel Gretsch (Taken, Minority Report) – an onscreen partnership oft likened to Mulder and Scully. Directed by Yves Simoneau with show runner Ira Steven Behr (Star Trek: Deep Space Nine), The 4400 was the highest-rated debut on US cable for 2004, earning a Primetime Emmy Award nomination for Best Mini-Series. The show ran on the USA Network for four seasons, ending in 2007.In 2006, <mask> also starred as Linda Landry in "Umney's Last Case" opposite William H. Macy – the third episode of Nightmares and Dreamscapes on TNT. In 2008, <mask> starred as psychiatrist Veronica Hayden-Jones in the 13-part series Mental on the Fox Network, which was filmed at Fox Telecolombia in Bogotá, Colombia. Starring Annabella Sciorra, this was the first American television series to be filmed in Latin America for international markets. <mask> guest starred in Desperate Housewives, Without a Trace, CSI: Miami, Hawaii 5-0 and the Australian TV series Rake. She was cast as Emma Waddell in the Jeremy Sims–directed feature film Beneath Hill 60 and starred in the 2010 season finale of NCIS: Los Angeles alongside former Deep Blue Sea castmate LL Cool J. In 2011,

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Jacqueline Susan McKenzie
McKenzie
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Jacqueline McKenzie
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Jacqueline McKenzie
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McKenzie
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