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<mask> (8 November 1942 – 7 November 2009) was a British journalist and political activist, and a member of the Central Committee of the Socialist Workers Party. He was an editor of International Socialism and Socialist Worker. Life
Born <mask> into a working-class family, he attended Leeds University (where he joined the Socialist Review Group in 1961) and the London School of Economics (LSE) where he began (but did not complete) a doctorate under the supervision of Ralph Miliband. He was instrumental in publishing the magazine of the LSE Socialist Society, The Agitator, and was a leading member of the International Socialists (as the SRG had become) by 1968. He was involved in the Vietnam Solidarity Campaign and outraged many leftists when, at a meeting in the Conway Hall, he denounced Ho Chi Minh for murdering the leader of the Vietnamese Trotskyist movement, Tạ Thu Thâu, in 1945 after crushing the workers' rising of that year in Saigon. His main role in the IS (from 1977 the Socialist Workers Party, or SWP) was as a theorist and he produced numerous books and articles on a wide variety of topics. Almost all his writing appeared in the publications of the IS and SWP or has been published by related publishing houses, such as Bookmarks.He was first editor of Socialist Worker in 1976-77 and returned to the role after a break in 1982, remaining in the post until 2004, when he started editing the SWP's theoretical quarterly International Socialism Journal. <mask>'s work on the May 1968 events in France and other student and workers' uprisings of the late 1960s, The Fire Last Time, was recommended by rock band Rage Against the Machine in their album sleeve notes for Evil Empire. <mask> died on 7 November 2009, following a cardiac arrest while lecturing at the Socialist Days conference of the Center for Socialist Studies (CSS) in Cairo, Egypt. He is buried in Highgate Cemetery, London, a few yards from Karl Marx's tomb and adjacent to his comrade Paul Foot. (2008)
Zombie Capitalism: Global Crisis and the Relevance of Marx (London, 2009)
Selected Writings (2011)

Articles
"Party and Class"
"Gramsci Versus Reformism"
"The 'workers's' government" (with Tim Potter)
"The State and Capitalism Today"
"The Summer of 1981 – a post-riot analysis"
"Women's Liberation and Revolutionary Socialism"
"Base and Superstructure"
"From Feudalism to Capitalism"
"The Myth of Market Socialism"
"Engels and the origins of human society"
"The Prophet and the Proletariat"
"Analysing Imperialism"
"The workers of the world"
"Anti-capitalism: Theory and Practice"
"Spontaneity, strategy and politics"
"Gramsci, the Prison Notebooks and philosophy"
Trotsky and the New Stalinism

References
Notes

Sources

  Available online here
  Available online here
  Available online here

External links

<mask> Internet Archive
<mask>’s Back Pages (Blog containing notes, position papers and old articles)
International Socialism Journal
<mask>rman on Ho Chi Minh, 1969, from The Left in Britain, 1956–68, edited by David Widgery
"Taking Apart the West". Richard Seymour reviews Harman's People's History of the World in New Statesman, July 2008. Obituaries and posthumous articles on <mask>rman
<mask> Harman (1942-2009: Links to obituaries, sites, articles, videos etc.+ books online, on Modkraft.dk
<mask>: A life in the struggle by Ian Birchall, International Socialism, 125, (2010)
Obituary by John Molyneux, The Independent, 19 November 2009. RIP <mask>, The Third Estate Blog, 7 November 2009
Obituary by Alex Callinicos, Socialist Worker, 9 November 2009. Obituary by Michael Rosen, The Guardian, 9 November 2009. <mask> and 1968 by John Rose
Another Side of <mask> by Joseph Choonara, International Socialism, 125, (2010)
A whiff of teargas by Andy Durgan, International Socialism, 125, (2010)
Tribute by Panos Garganas
'A thinker and a polemicist' by Larry Elliott
"Obituary: <mask> 1942-2009", Alex Callinicos, Socialist Worker 14 November 2009
<mask>, 1968 and the historic Open Letter to the Polish Communist Party by John Rose, International Socialism, 158 (2018). <mask> and the critique of political economy by Alex Callinicos, International Socialism, 165 (2020). 1942 births
2009 deaths
Alumni of the London School of Economics
Alumni of the University of Leeds
British anti-capitalists
British economics writers
British Marxist historians
British Marxists
British newspaper editors
British Trotskyists
Burials at Highgate Cemetery
Marxist theorists
British Marxist writers
Socialist Workers Party (UK) members

masks:
Chris Harman
Christopher John Harman
Harman
Harman
Chris Harman
Chris Harman
Chris Ha
Chris Ha
Chris
Chris Harman
Chris Harman
Chris Harman
Chris Harman
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<mask> (27 May 1899 – 29 Aug 1932) was a Canadian poet, novelist, story writer, columnist, and reviewer, "known primarily for his realistic narratives set in rural Canada ...  Knister was a highly respected member of the Canadian literary community during the 1920s and early 1930s, and recent criticism has acknowledged him as a pioneer in establishing a distinctively modern voice in Canadian literature." Life

Born at Ruscom (now part of Lakeshore), Ontario, near Windsor, Knister attended Victoria College at the University of Toronto, but had to drop out after catching pneumonia. At the age of eighteen he began to take a serious interest in literature, writing his first poems and short stories. While in Toronto he contributed articles on Miguel de Cervantes and Robert Louis Stevenson to Acta Victoriana, the college literary magazine. He worked on his father's farm until 1923. In 1919 Knister began writing and publishing stories and poems about Canadian farm life. He worked in 1922 and 1923 as a book reviewer for the Windsor Border Cities Star and the Detroit Free Press.He moved to Iowa in 1923 to become associate editor of literary magazine The Midland ("the most important magazine America had produced," according to H.L. Mencken) in Iowa City for a year. During the same time he took courses in creative writing at Iowa State University. By 1924 Knister was a taxi driver in Chicago, as well as a reviewer for Poetry magazine and the Chicago Evening Post. "In 1926 he moved to Toronto, where he freelanced; his work appeared in the Toronto Star Weekly and Saturday Night." In Toronto he became acquainted with writers Morley Callaghan, Mazo de la Roche, Merrill Denison, and Charles G.D. Roberts. Knister had work published in the Paris literary magazine This Quarter in 1925.In 1926, Knister put together a collection of nature poetry, Windfalls for Cider. Toronto's Ryerson Press accepted the book for publication, but later had to cancel because of the company's finances. <mask> married Myrtle Gamble in 1927. They had one daughter, Imogen, born in 1930. In 1928, Knister edited the anthology Canadian Short Stories. The Encyclopedia of Literature in Canada (2002) calls the book a "trend-setting anthology." Knister published his first novel, White Narcissus, in 1929.The book is still in print as part of McClelland & Stewart's New Canadian Library series of classic Canadian literature. Knister was fascinated with John Keats, the 19th century English Romantic poet who had died young. He accumulated "letters and stacks of books about Keats," according to his daughter, and enrolled his wife as a research assistant to help him go through it all. "Apparently, she was to use her reading time on this only, and he frowned upon her spending time reading women's magazines." The Knisters spent eight months researching Keats's life: the result was a 200,000-word, 700 page non-fiction novel, My Star Predominant. In 1931, Knister moved to Montreal, Quebec. There he became acquainted with the poets of the Montreal Group – with poet Leo Kennedy he began planning an anthology, similar to his Canadian Short Stories, of Canadian modernist poetry (an idea that eventually resulted in the landmark New Provinces in 1936).He also got to know poet Dorothy Livesay and novelist Frederick Philip Grove. Grove read My Star Predominant, and encouraged Knister to enter the manuscript in the Graphic Publishers' Canadian Novel contest. (Knister's daughter later said that her mother had encouraged him to enter the novel.) Knister cut the book to 120,000 words, mailed it off, and forgot about it. My Star Predominant won the $2,500.00 first prize in the 1931 cross-Canada contest. However, "owing to the failure of the firm of publishers which offered the prize," the novel was not published. In 1932, Ryerson Press, which had picked up the rights to My Star Predominant, offered Knister a job as an editor.Before he was to begin working there, Knister drowned in a swimming accident on Lake St. Clair while on a picnic with his family. (In a memoir published in the 1949 Collected Poems of <mask>, Livesay maintained that Knister had committed suicide. His wife and daughter strongly disputed that allegation.) My Star Predominant was published in 1934 in Canada by Ryerson and also in England. Knister's daughter, Imogen Givens, wrote a 5,000-word memoir of him, "<mask>: Man or Myth?". The memoir, which made extensive use of her mother's diary, was published in the journal Essays on Canadian Writing (No. 16, Fall-Winter 1979–80).In 2007, Alberta poet Micheline Mayler published Full Depth: The <mask>er Poems, an account of Knister's life and death written as a series of poems. Knister is buried in Port Dover, Ontario. His poem "Change" is inscribed on his tombstone. Dorothy Livesay has claimed that "Knister seemed to epitomize the struggle of a generation" ("Memoir" xxxvii). The struggle of his generation of writers was to bring Canadian poetry into the Twentieth Century. Like E.J. Pratt, W.W.E.Ross, Arthur Stringer (whose Open Water was the first book of modernist free verse by a Canadian), and others, Knister was a "Transitional modern" whose poetry, fiction, and criticism showed the effects of the many forces which were changing Canadian poetry and Canadian society. Writing
Besides his four novels, Knister wrote roughly one hundred poems, almost as many short stories and sketches, and dozens of critical works, including essays, editorials, and book reviews. "To his own writing and criticism, Knister brought a mind attuned to new literary developments." Fiction
After 1925 Knister devoted less time to poetry and more to fiction. Two of his novels, White Narcissus and My Star Predominant, were published in his lifetime. Although he was known and respected by writers such as Morley Callaghan, Mazo de la Roche, Sir Charles G.D. Roberts, and A.J.M. Smith, Knister was never a popular success."Farm work provided him with realistic details for his stories and his first novel, White Narcissus (1929)." Set in rural Ontario, "The novel concerns a writer, Richard Milne, who returns home in order to make a final attempt to convince his childhood sweetheart, Ada Lethen, to marry him. Ada feels it is her duty to stay at home because for years, as a consequence of a quarrel, her parents have communicated only through her.... While the novel is usually and justly considered a work of realism, it has also been suggested that it contains elements of romanticism, and that the lyricism of some passages approaches prose-poetry." Knister's fiction provides us with some important clues for a clearer understanding of his verse. In My Star Predominant Knister has Keats give voice to ideas about poetry which are really his own. The novel shows Keats going through a process of growth as an artist.He progresses from sentimentality to a desire for direct contact with life and from ignorance to self-knowledge. He says that "a man's knowledge of his faults, so they do not paralyse his endeavors, is a good thing" (p. 160) and he recalls that as a boy he would have granted artists exemption "from the common tribulations of mankind" (p. 267). Although Knister did not write poetry in the manner of Keats, it is plausible to assume that he went through a similar series of changes. In 2006 Black Moss Press published There Was a Mr. Cristi, a previously unknown novel discovered by Knister's daughter Imogen. In it, Knister tells the tale of a woman who leaves her husband in 1930s Ontario, and moves to Toronto to open a boarding house. "What follows is a fascinating tale of life in the 1930s in a house that is inhabited by all these bizarre characters. In the background is the 'tall and dark and good looking' Mr. Cristi, and we begin to wonder if we will ever come to know him.He is shrouded in mystery as the characters in this rambling old house come alive vividly for us." "Of Knister's many short stories, probably the best known is 'Mist-green oats', about a young man's break with his life on the family farm. His stories recurrently focus on some form of psychological initiation." For example, "The First Day of Spring," which "dramatizes the moment when an adolescent farmboy moves from imagining love's pleasures to learning about its possible horrors (a baby's murder, or at least a savage accident) and his naiveté gives way to a need for order." Poetry

Knister's imagist nature poetry includes "such poems as 'The Hawk,' 'Boy Remembers in the Field,' 'Lake Harvest,' 'A Row of Stalls,' and 'The Plowman,' which vividly depict rural experience and the Canadian landscape. In both his poetry and his fiction Knister presented sharply realistic portrayals of everyday images and events in order to illustrate their exceptional qualities, and communicated these impressions in a conversational language style." Also read the hokku-like "Reverie: The Orchard on the Slope," the metaphysical "Change", and the whimsical "The Quiet Snow."Though the nationalist in him sometimes warned against Americanization, King was also a prime example of the increasing importance of American literature as an influence on Canadian writers in the Twenties. Knister served his literary apprenticeship in the American midwest and his poetry, like Carl Sandburg's, was regional and realistic. The American poet for whom Knister showed the highest regard was Edwin Arlington Robinson. In "A Great Poet for Today" Knister praised Robinson for his ability to create characters as well as any novelist and for his skill in adapting his form to suit the character he is describing. Robinson's style he said, "is clear and apparently casual, fitting the matter as well-made garments fit a form. It is a sinuous idiom which allows the freest expression to the foibles and intricacies of characters" (p. 413). Although the forms of Knister's poetry were derived from the Imagists, he also owed a good deal to A.E.Housman and to the English Georgians. Aside from Robinson, "Housman was the poet for whom Knister had the highest praise." The qualities which Knister lauded in the work of the British poet are also central to his own verse. Knister commented upon the

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 characters Housman had chosen. He said that "doubtless for centuries there had subsisted this soul-loving, life-loving, inarticulate but artlessly downright yeoman, the backbone of English armies and, in later stages, for all his rootedness in England, particularly rural England, the basis of such large things as colonization and world exploration," (p. 419). Of course, Knister's characters were also simple farmers, "soil-loving, life-loving, inarticulate." Knister also commented upon Housman's portrayal of a youth's discovery of life's complexities and "of the inevitability of love and death" (p. 421).In his own poetry Knister explored the differences between the world of the child and that of the adult. The moment when the boy crosses from innocence to knowledge is central to a number of his stories as well. Another side of A Shropshire Lad which received his approval was its realism. Knister claimed that it is this realism which accounted for the book's continued popularity. He contrasted Housman's realism with the artificiality of contemporaries:
there was the contrast with the reigning artificial Yellow Book school of the nineties, then in the ascendancy with Wilde, Yeats, Symons, Le Gallienne as high- priests ... Housman arrived on this flower plot scene with his lad made of the stuff of eternal human clay, with the high spirits, the wistfulness, the flesh and blood, dreams and passions known to the English scene for centuries and crying out for portrayal ... Here, in fine, was life, and the public which loved poetry was not long in discovering it. (p. 425)

Despite these general similarities it is difficult to find specific echoes of Housman in Knister because their styles are so different.One can also trace the effects of the Georgians upon Knister. Like Housman, many of them wrote about the country life and the people who lived close to the land. Once again it is easy to see how Knister shared general characteristics, but difficult to perceive specific similarities because of his imagist style. Two Georgians who seem to have especially influenced Knister are Edward Thomas and Edwin Muir, both of whom often describe farm life. Poet Anne Burke says of Knister: "Like Edwin Arlington Robinson whom he reviewed as 'A Great Poet of Today' his work is exemplified by simple straightforward stanzas about modern life and aims at the starkness of absolute truth. Note 'Wind's Way,' 'Reply to August,' 'Night Whistling,' 'Moments When I'm Feeling Poems,' 'Autumn Clouds,' and others. The complexity of Knister's work, like that of Robert Frost, has been overlooked because of its surface simplicity, bucolic tone, and emphasis on exactly what the poet felt.Knister on his Ontario farm resembles the adolescent Frost especially A Boy's Will, 1913 and North of Boston, 1914. "<ref name=burke>Anne Burke, Introduction to "Some Annotated Letters of A.J.M. Smith and <mask>," Canadian Poetry: Studies/Documents/Reviews No. 11 (Fall/Winter 1982), Canadian Poetry, UWO, Web, Apr. 3, 2011.</ref>

In 2003 After Exile, the first reprint of Knister's verse in over 20 years, was released by Toronto's Exile Editions. The book presents dozens of poems never before in book form, plus 30 new poems, and selected prose pieces and letters. Critical Writing
Like his contemporaries in the McGill movement Knister was a rebel, and his criticism showed his dissatisfaction with the state of Canadian poetry and the Canadian literary milieu.The most important point raised in Knister's critical writings, one which is applicable to his own verse, was his rejection of the sublime in the language and thought of poetry. In general Canadian taste favoured a style of writing which was "a refreshing haven of genuine romanticism to which the reader may retreat when he seeks an antidote to the intellectual tension imposed by the future progeny of 'The Wasteland' and 'Spoon River' " Knister, however, valued plough horses above winged ones, and in the foreword to the Collected Poems he set out his objectives as a poet. His primary aim was to make his poems 'real' and to escape the false tone which made most Canadian poetry of his day an inaccurate portrayal of life. In order to do this he intended to drop all attempts at idealistic sublimity and instead simply present the images of things as accurately as possible. "We would feel differently about many other common things if we saw them clearly enough" (vii–viii). One more complaint which Knister had against Canadians was that they were 'colonials'. He ably described their cultural colonialism when he wrote of the "ideal Canadian litterateur" as
a man who has been educated as an English gentleman, though certain New England Universities will pass; in addition he should know about Canada as accurately and sympathetically as possible from the point of view of an omniscient tourist who, after all, knows better things.We want not so much to be different as to have had different experiences about which we can talk at tea as suavely as anybody. It amounts in fact to our wanting to be American or English with an added background which will lend chic. Verse written by someone with such an outlook could not help but be unrealistic in its treatment of Canadian subjects. One need only look in issues of The Canadian Magazine from the period to find such poetry in abundance. Knister also attacked the conservatism of Canadian taste, especially as it was reflected in the magazines. Arthur Stringer, in his opinion, was forced to become a writer of murder mysteries because the Canadian reading public refused to accept the innovative poetry in Open Water. Another example he cited was Pratt, whose poem "The Witches Brew" could not find a Canadian publisher until after it had appeared in The London Mercury.Knister himself was unable to find a Canadian magazine which would print his work:
My poems and stories were so Canadian and came so directly from the soil that Canadian editors would have nothing to do with them. The injustice was perhaps, trifling; the quite modest merits of my efforts were adequately rewarded by the audience, fit though few, of the "little" magazines [sic]. But they weren't morally subversive, nor eccentric mannered, these attempts. It seems gruesomely significant that not a Canadian editor would have anything to do with them. ("Canadian Literati," 162)

Implicit in his comments was the conviction that this conservatism was a direct result of colonialism and the dulled appetite for sublimity. His bitter feeling that he was one of a generation of writers who were being ignored is obvious. Although many of Knister's contemporaries were equally unhappy with the state of Canadian poetry, only he dared to attack established writers by name.In "Canadian Letter" Knister dismissed Carman, Maclnnis, Leacock, Roberts, and D.C. Scott with the comment that "their contributions were made at a time when any impulse in a backwater would have been valued" (p. 381). Elsewhere he compared Lampman's style to "one of those rambling, barrack-like houses once common to New England and our own eastern landscapes," formerly stylish but now outdated. Just as the smaller bungalow had replaced the large family home, so too would the more compact verse replace nineteenth- century styles. The tone of these attacks is disturbing. Leacock, Lampman, Roberts, and the others he mentioned do not deserve to be relegated to some literary trash heap. We must remember that at this time Roberts and the others had the status of literary giants and that one dramatic way for a newcomer to get attention has always been to play the part of the iconoclast. This, probably, was what Knister was doing in his excessively fierce criticism.Knister was not, however, a mere fault-finder. He was prepared to offer a solution to the problems he perceived. In his opinion, Canada needed a little magazine "devoted to creative work ... perhaps only a few pages every month, yet chosen for vital quality ... which should give a voice to what is actually being lived among us" ("Canadian Letter," p. 379). Through this medium, he hoped, a distinctively Canadian voice would be heard. Publications

Poetry
 Collected Poems of <mask>er. Dorothy Livesay ed. Toronto, Ryerson, 1949.Windfalls for Cider: The poems of <mask>. Joy Kuropatwa ed. Windsor, ON: Black Moss, 1983. After Exile complete poems compiled by Gregory Betts (Exile, 2003)

Prose
 White Narcissus. London, UK: Cape, 1929. Toronto: Macmillan, 1929. Toronto: McClelland & Stewart New Canadian Library, 1962, 1990.My Star Predominant. Toronto: Ryerson, 1934. Selected Stories of <mask>. Michael Gnarowski ed. Ottawa. U of Ottawa P, 1972. "Canadian Literati."<mask>. Journal of Canadian Fiction, No. 14 (1975), 160. <mask>: Poems, Stories and Essays ed. David Aronson (1975)
 The First Day of Spring. Stories and Other Prose. Toronto, Buffalo: U of Toronto P, 1976. ,
 There Was a Mr. Cristi (Windsor: Black Moss, 2006)
 Boy Remembers in the Field (2006)
 Grapes (2006)
 Hackman's Night.Windsor: Black Moss, 2007. Soil in Smoke (unpublished)
 Turning Loam (unpublished)

Edited
 Canadian Short Stories. Toronto: Macmillan, 1928. Freeport, NY: Books for Libraries P, 1971. Fonds
 The <mask>er papers. Bruce Whiteman comp. Hamilton, ON: Mills Memorial Library, McMaster U, 1981.<mask> fonds. Rev. ed. Toronto: Victoria University Library, 2006. Except where noted, bibliographic information courtesy of Online Guide to Writing in Canada. References

Further reading
 <mask>: An Annotated Bibliography, ed. Anne Burke (1981)."Chronological History of <mask>," Bonita O'Halloran. Canadian Literature. No. 23 (Winter, 1965), 45–52. "<mask>," Leo Kennedy. Canadian Forum'', 12 (1932), 459–61. External links

 The <mask>er Collection at the Victoria University Library at the University of Toronto
 <mask>er at University of Toronto Libraries

1899 births
1932 deaths
Canadian modernist poets
Canadian male poets
Canadian male novelists
Canadian male short story writers
University of Toronto alumni
20th-century Canadian poets
20th-century Canadian male writers
20th-century Canadian novelists
20th-century Canadian short story writers
Deaths by

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<mask> (August 10, 1906 – April 9, 1993) was a rated Jewish Middleweight boxer from Newark, New Jersey. In 1930, he moved up a weight class and challenged Maxie Rosenbloom for the Light Heavyweight Championship of the World in Madison Square Garden, though he lost the bout. During his career as a Middleweight in the 1920s, he was more in his element and competed well against competitive middleweight contenders. In May 1930, Bain was still ranked seventh in the world among Middleweights by Ring Magazine and stayed in the top ten from May to October of that year. After his retirement from boxing, he had a career in Hollywood. Actor Anthony Quinn patterned the raspy voice and mannerisms of his character Mountain Rivera in Columbia Pictures' 1962 movie Requiem for a Heavyweight on Bain who worked on the production as an adviser. The film was considered one of America's greatest boxing movies of that era.Early life and boxing career

Brought to America as a child, Bain was born in St. Petersburg, Russia on August 10, 1906. Perhaps wary of the political climate of the period, he gave Cambridge, Massachusetts, where he lived as a child, as his birthplace during his boxing career in the 1930s. Bain reputedly started boxing at age 12 as a flyweight and worked his way up. With such an early start to his career, he competed in nearly every weight class at one time. He fought extensively in Newark from 1923 to 1925, garnering an impressive fight record, but gaining little national exposure while fighting few ranked opponents. Later boxing career

Bain fought 1934 World Middleweight Champion Vince Dundee twice, 1927–29 World Welterweight Champion Joe Dundee, and on November 4, 1929, Middleweight contender Phil Krug. He fought highly ranked middleweight contender "KO" Phil Kaplan, losing to him in a fifth-round knockout on February 27, 1928, in Philadelphia.He met rated black Middleweight Jack McVey on several occasions. Bain beat McVey, the "Pride of Harlem" due to a disqualification by McVey in the fifth round in Laurel Garden, in Newark, New Jersey, on July 12, 1926, though Bain was losing the bout prior to the call. On March 24, 1930, Bain drew with Middleweight McVey, in ten rounds at Laurel Garden in Newark. He had previously defeated McVey on December 17, 1928, in Newark in ten rounds. On March 28, 1930, Bain defeated Brooklyn based Middleweight boxer Pal Silvers in ten rounds in one of his first fights in Madison Square Garden. Bout with Maxie Rosenbloom, October, 1930

In one of his most significant fights, on October 22, 1930, Bain faced Light Heavyweight Champion Maxie Rosenbloom in Madison Square Garden as a legitimate contender for the World Light Heavyweight Championship. The referee was Lou Magnolia.According to the Pittsburgh Post-Gazette, the Light Heavyweight Class did not have a large supply of competitors skillful enough to face Rosenbloom at the time and Bain had little experience moving up from Middleweight. It was one of Bain's few bouts in the Garden before a large audience. After Rosenbloom battered out a technical knockout of Bain in the eleventh round before a crowd of around four thousand, a source noted that Rosenbloom "outclassed the New Jersey youngster from the first round." He was again an unsuccessful contender for the Light Heavyweight Championship of the World against Dave Maier on January 15, 1932, in Chicago Stadium, when he was TKO'd in the first round. Bain had, however, won his first fight in the elimination tournament against Harry Fuller on December 18, 1931. Final boxing years, and move to heavyweight class
Bain even fought a few competitive heavyweights in his career, though perhaps it was ill-advised. He fought future World Heavyweight contender Tony Galento, in Dreamland Park on September 30, 1931, losing in a fourth-round TKO.<mask>'s New Jersey Hall of Fame bio noted that Bain was outweighed by as much as fifty pounds and the fight resulted in hospitalization and injuries that sped Bain's retirement from boxing. Galento would become a Heavyweight World contender fighting Joe Louis on June 28, 1939, in Philadelphia, actually knocking Louis to the mat in the bout, but losing in a fourth-round TKO. It is possible Bain's loss to Galento, which cost him seven weeks of hospitalization, made him a more likely model for Anthony Quinn's character "Mountain" Rivera in Quinn's classic boxing movie Requiem for a Heavyweight. The movie's plot centered on a Heavyweight's tragic loss to a stronger opponent on the poor advice of an ambitious manager. He fought ex-Middleweight champion Al McCoy for the Montreal Athletic Commission World Light Heavyweight title in Montreal on October 24, 1935. McCoy knocked out Bain in the second round, in what marked Bain's final descent as a top contender. Retirement from boxing and partial filmography
Fully retiring from boxing around 1939, Bain pursued his career in Hollywood full-time.He found work in Warner Brother's 1937 boxing film Kid Galahad as an adviser, along with dozens of other boxing greats including Joe Glick, Willie and Phil Bloom, Jack Perry, and Bain's old nemesis Maxie Rosenbloom. Bain was next cast in MGM's successful 1938 boxing movie, The Crowd Roars. The move featured actor Robert Taylor as "Kid McCoy", a boxer who kills an opponent in the ring. Over fifty boxers were called to work in a background gymnasium scene with Taylor in the foreground. The boxers included Larry Williams, fellow Jewish boxers Maxie Rosenbloom, Abe Hollandersky, Phil Bloom and Joe Glick, as well as Jimmy McLarnin, Jack Roper, and Tommy Herman. Bain appeared in Paramount Studio's 1940 Golden Gloves along with boxers Baby Joe Gans and Joe Glick. He also appeared as an extra in Warner Brother's 1940 Leather Pushers and probably contributed to the authenticity of the boxing scenes in the movie.In 1941, he was cast in Warner Brother's Knockout as a boxer with fellow boxers Jack Herrick, Billy Coe, and Joe Gray. Actor Arthur Kennedy played a boxer attempting an ill-advised comeback on the advise of actor Anthony Quinn as an unscrupulous manager. The plot had similarities to Bain's future  collaboration with Quinn in Requiem for a Heavyweight. In Columbia Pictures' 1962 Requiem for a Heavyweight, Anthony Quinn told the press that he modeled his character Mountain Rivera on Bain using the same rough voice and mannerisms. Considered one of the better boxing pictures ever made, Bain worked as a technical adviser and had a small role in the movie as well. The film was based on the Emmy award-winning teleplay written by Rod Serling which debuted on television in October 1956. Serling also did the writing for the 1962 movie.In later years, he was associated with actor Robert Wagner. He retired to Florida in 1984 and died in Ormond Beach on April 9, 1993. He was 86. His daughter Riselle Babette Bain was an actress and singer best known for the role of young Miriam in Cecil B. DeMille's 1956, The Ten Commandments. Honors
Bain was inducted into the New Jersey Boxing Hall of Fame on October 17, 1976. References

External links

Requiem for a Heavyweight (1962 film) at IMDb

Jewish boxers
American people of Russian-Jewish descent
Jewish American boxers
Middleweight boxers
Light-heavyweight boxers
American male boxers
Boxers from Newark, New Jersey
1906 births
1993 deaths
20th-century American Jews

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<mask> (2 September 1941 – 25 December 2015), known mononymously as <mask>, was an Indian actress active between 1960 and 1981. She is regarded as one of the greatest actresses in Indian cinema. Popularly known as "The Mystery Girl" for playing mysterious women in films directed by Raj Khosla,  <mask> ranked as the highest-paid actress in the country from mid-1960s to early 1970s. Born in Karachi, <mask> and her family migrated to Bombay during post-partition riots when she was 7 year-old. She aspired to become an actress since her childhood, and completed her education from Jai Hind College. After making an unnoticed appearance in Shree 420 (1955), <mask> became the protègè of the director Sashadhar Mukherjee, who enrolled her in his acting school and then provided her with her first starring role, in the romantic comedy Love In Simla (1960), where her distinctive hairstyle became a rage and came to be known as "Sadhana Cut". Following the success of Love In Simla, Shivdasini went on to establish herself with several hits, including the comedies Parakh (1960) and Asli-Naqli (1962), the war film Hum Dono (1961) and the adventurous Ek Musafir Ek Haseena (1962).Shivdasini followed this initial success with her greatest commercial successes—the romances Mere Mehboob (1963), Rajkumar (1964) and Arzoo (1965); the mystery dramas Woh Kaun Thi? (1964) and Mera Saaya (1966); and the drama Waqt (1965); she earned Filmfare nominations for her performances in Woh Kaun Thi and Waqt. Her health deteriorated in latter half of 1960s due to hyperthyroidism, which forced her to take a brief break from work. Shivdasini returned to acting in 1969 and starred in two consecutive box-office hits—Ek Phool Do Maali and Intaqam—but her subsequent films were unpopular with audience. In 1974, the actress made her directorial debut with the crime thriller Geetaa Mera Naam, and later withdrew from acting. Her final screen appearance was in the delayed release Ulfat Ki Nayee Manzeelein (1994). In 2002, she received the IIFA Lifetime Achievement Award for her contributions to Indian cinema.Shivdasini was married to Love in Simla director R.K. Nayyar in 1966. Their marriage lasted for 30 years and ended when Nayyar died in 1995. Shivdasini never re-married after his death and lived alone for most of her life. Her health had begun to decline after her diagnosis with thyroid disease in 1966. She was diagnosed with brain tumor that led her to her ultimate death at 74 on 25 December 2015 in her flat at Mumbai. Early life
<mask> was born <mask> <mask> in a Sindhi Hindu family in Karachi, British India on 2 September 1941. She was an only child.<mask> was named after her father's favourite actress-dancer <mask> Bose. Her father was the elder brother of actor <mask>, father of actress Babita. The family migrated from Karachi during the post-Partition riots and settled in Mumbai. Her mother home-schooled her until she was 8 years old, after which she studied at Auxilium Convent, Wadala and Jai Hind College. Although they encountered difficult times, <mask> was allowed to watch as many as two films. <mask> was inspired to become an actress and Nutan was said to have been her inspiration. Career

Early career
<mask> aspired to be an actress since childhood.Her father helped her enter films. In 1955 she played a chorus girl in the song "Mur mur ke na dekh mur mur ke" in Raj Kapoor's Shree 420. When she was 15 years old, she was approached by some producers who had seen her act in a college play. They cast her in India's first Sindhi film titled Abaana (1958), where she played the role of Sheila Ramani's younger sister. A photograph of her publicising Shree 420 appeared in the movie magazine Screen. It was then that Sashadhar Mukherjee, one of Hindi cinema's leading producers at that time, noticed her. She joined Mukherjee's acting school along with her debutant co-star Joy Mukherjee, Sashadhar's son.R.K. Nayyar, who had previously worked as assistant director on a few films, directed this film. He also created her trademark look, called the Sadhana cut, inspired by British actress Audrey Hepburn. The Filmalaya Production banner thus introduced Joy, <mask> and her iconic hairstyle in their 1960 romantic film Love in Simla. The film was declared a hit at the box office and was listed in the top 10 films of 1960. During this period she would again work under the same banner opposite Joy in Ek Musafir Ek Haseena. Stardom
Besides Love in Simla, <mask> was signed by acclaimed director Bimal Roy for his satirical film on Indian democracy, Parakh. She portrayed a simple village girl in this multi-award-winning film.The film was a semi hit at box office and is known for the song "O Sajna Barkha Bahar Aai" sung by Lata Mangeshkar. Major breakthrough
 1961: Hum Dono - In this 1961's hit film, Hum Dono, she played the love interest of Dev Anand. This black-and-white film was colourised and re-released in 2011. Rediff.com in the film's review writes about <mask>: "Her eyes, expressive and captivating, do most of the work, while she balances out her submissiveness with a firm tongue." The duet "Abhi na jaao chhodkar" from the film Hum Dono is regarded as "the most romantic song" by actor Shah Rukh Khan and director Sanjay Leela Bhansali. Author Amit Chaudhuri in an essay comparing cultures, says that <mask>'s curious expressions in the song denote listener's peculiar ecstasy while in other cinemas it would mean sex or love. 1962: Asli-Naqli - In 1962, she was again paired with Dev Anand in Asli-Naqli by director Hrishikesh Mukherjee.The film has two hit songs "Tujhe Jeevan Ki Dor Se", sung by both Mohammed Rafi and Lata Mangeshkar and "Tera Mera Pyar Amar", sung by Lata Mangeshkar. The same year saw director-screenwriter Raj Khosla cast her opposite Joy Mukherjee in Ek Musafir Ek Hasina. She had debuted with Joy Mukherjee with the film Love in Shimla in 1960. Khosla would again work with <mask> to make a suspense thriller trilogy. 1963: Mere Mehboob - This film was the highest grossing Indian film of 1963. The film stars <mask>, Rajendra Kumar, Ashok Kumar, Nimmi, Pran, Johnny Walker and Ameeta. In this film, <mask> played her first role in the technicolour film.The film Mere Mehboob was directed by H. S. Rawail. The song "Mere Mehboob Tujhe" was shot in the University Hall and in a couple of places, one gets to see the University. The song became very popular upon release. The opening scene of the film shows the famous residential hall and the associated hall "Victoria Gate". The film was the blockbuster of 1963, and ranked in the top 5 films of the 1960s. 1964: Woh Kaun Thi - In 1964, she played a double role in the first of the suspense-thriller trilogy; Woh Kaun Thi?. This white-sari-clad performance opposite Manoj Kumar earned her first Filmfare nomination as Best Actress.Through this role she got to be part of Lata Mangeshkar – Madan Mohan’s songs "Naina barse" and "Lag jaa gale". Rediff.com called her a show-stopper "with an intriguing Mona Lisa-like smile". The film was a box office hit. Raj Khosla cast her in two more successful mystery films; Mera Saaya (1966) and Anita (1967) thus making her famous as the "Mystery girl". 1965 : Arzoo- Arzoo was a box office success, with <mask>, Rajendra Kumar and Feroz Khan in lead roles. The film had songs like "Ae Phoolon ki Rani" sung by Mohammad Rafi and " Aji rooth kar ab" , sung by Lata Mangeshkar. 1966: Mera Saaya - Mera Saaya was a box office success, a courtroom drama film, again saw her playing a double role, now opposite Sunil Dutt.The film was the third film directed by Raj Khosla with <mask>. The song "Jhumka gira re" sung by Asha Bhosle and composed by Madan Mohan saw <mask> perform dance steps choreographed by Saroj Khan. Khan was then an assistant to dance director B. Sohanlal. The song became so popular that excited audience in cinema halls used to throw coins at the screen, and is one of the most requested songs on the radio. The film also had the classic songs "Mera Saaya Saath Hoga" and "Nainon Mein Badra Chhaye", both voiced by Lata Mangeshkar. 1965: Waqt- In this 1965 drama film, <mask> appeared alongside Sunil Dutt. For her performance in this hit film, <mask> got her second Filmfare nomination as Best Actress for the role of Meena, in Yash Chopra's directorial saga Waqt (1965).She stood out in Bollywood's first ever ensemble cast by bringing out the fashion of tight churidar-kurtas. The song has hit Hindi songs such as "Aye Meri Zohra Zabeen", sung by Manna Dey, "Hum Jab Simat Ke", sung by Mahendra Kapoor and Asha Bhosle, "Waqt Se Din Aur Raat", sung by Mohammed Rafi and "Aage Bhi Jaane Na Tu", sung by Asha Bhosle. The film proved to be 1965's "blockbuster hit". 1967: Anita - In this 1967 suspense film, <mask> appeared alongside Manoj Kumar with whom she had starred in lead role in the blockbuster film Woh Kaun Thi. This was the last film of the suspense-thriller trilogy of Khosla-Sadhana partnership. 1969: Inteqam - This film was directed by R.K. Nayyar, and stars <mask> and Sanjay Khan in lead roles and supported by Ashok Kumar, Jeevan, Rajendra Nath, Rehman, Helen and Anju Mahendru. The film features the first cabaret number song "Aa Jaane Jaan", also a rarity through her career.The film was a success at box office and marked the return of <mask> after her brief illness, and her husband directed the film. Her other notable works in the 1960s include performances in Gaban (1966) and Budtameez (1966). <mask> and Shammi Kapoor worked together in 4 films Rajkumar, Budtameez, Sachaai and Chhote Sarkar of which the first 3 were box office hits and the pair got good audience acceptance. 1964: Rajkumar - Rajkumar stars <mask>, Shammi Kapoor, Pran, Prithviraj Kapoor, Om Prakash and Rajindernath. The film was a box office success and has the hit songs "Aaja Aai Bahar", sung by Lata Mangeshkar, "Tumne Pukara Aur Hum Chale Aaye", sung by Mohammed Rafi and Suman Kalyanpur, "Tumne Kisi Ki Jaan Ko" and "Is Rang Badalti Duniya Mein", both sung by Mohammed Rafi. 1969: Sachaai - Sachaai stars <mask>, Shammi Kapoor , Sanjeev Kumar, Helen, Johnny Walker and Pran. This film was a box office hit with songs like " Sau baras ki zindagi", sung by Mohammed Rafi and Asha Bhosle " Ae dost mere maine duniya dekhi hai" , sung by Mohammed Rafi and Manna Dey and " Mere gunaah maaf kar" sung by Mohammed Rafi.1969: Ek Phool Do Mali - This Indian Hindi film of 1969 stars <mask> and Sanjay Khan in lead roles and has hit songs such as "Ye Parda Hata Do", sung by Asha Bhosle and Mohammed Rafi, "Aulad Walo", sung by Asha Bhosle and Mohammed Rafi, "O Nanhe Se Farishte" sung by Mohammed Rafi, "Saiyan Le Gayi Jiya", sung by Asha Bhosle and "Tujhe Suraj Kahoon Ya Chanda" sung by Manna Dey. End of acting career

<mask> had health issues due to her thyroid, which she got treated in Boston. After returning from the US, she starred in the successful movies Intaquam (1969), Ek phool do mali (1969), Sachaai (1969), Dil Daulat Duniya (1972) and Geeta Mera Naam (1974). In Intaquam she played the role of a woman who revengefully lures the son of her own boss who cheated her, to be put behind the bars for a crime he did not commit. In 1974, her directorial venture Geeta Mera Naam was released. Produced by her husband, the film had herself playing the lead actress along with Sunil Dutt and Feroz Khan. It was also Saroj Khan's first film as an independent dance director.The film did "above average" business at the box office. After that, she retired from acting, as she did not want to be cast as a side-actress or do character roles. Later, she and her husband formed a production company. She also produced the movie Pati Parmeshwar, starring Dimple Kapadia in 1989. Personal life
<mask> married her Love in Simla director Ram Krishna Nayyar on 7 March 1966. Their love blossomed on the film set. But as she was very young then, her parents opposed it.They were married for nearly thirty years, until his death in 1995 from asthma. The couple had no children. In 2013, she stated that she doesn't keep in touch with her first cousin Babita but does keep in touch with actresses such as Asha Parekh, Waheeda Rehman, Nanda and Helen Jairag Richardson. She suffered from eye problems due to hyperthyroidism. After her retirement from acting, she refused to be photographed. Living in Santacruz, Mumbai, she rented an apartment building owned by singer Asha Bhosle. Fashion icon
<mask> introduced the fringe hairstyle in the Indian film industry in her first film Love in Simla.R.K. Nayyar, director of the film and her future husband, suggested the fringe style in order to make her forehead look narrower. <mask> says: "They tried to stick a strip near the hair-line, but it didn’t work out." Nayyar then suggested she go for the fringe style as was then sported by the Hollywood actress Audrey Hepburn. The fringe soon became popular and a fashion fad in the 1960s. The style was copied by girls in India and is still known by the same name. The look suited the role of naughty, pretty, glamorous Sonia that she played. But when <mask> went on the shoot for Bimal Roy's Parakh, Roy was disappointed to see her modern look.She had to stick her fringe back in order to match the simple village girl she played here. In 1963, when she signed to play a role of a simple Muslim girl from Aligarh in Mere Mehboob, <mask> undid her famous "Sadhana cut" to fit the bill. She had centre-parted her hair and wore it in a plait, which was immediately discarded by the director H.S. Rawail. He said that the audience wanted to see her signature "Sadhana cut" and demanded it. Many years later, the Bollywood actress Deepika Padukone sported the same fringe in her films Om Shanti Om (2007) and Chandni Chowk To China (2009). <mask> is also credited with bringing into fashion the tight churidar-kurta.She went with this concept of gracefully changing the traditional loose salwar kameez to her director Yash Chopra for the 1965 film Waqt. Chopra felt insecure and thought that it would not be accepted. But <mask>, with the help of her fashion designer Bhanu Athaiya showed him a sample, which he liked. The trend lasted well into the 1970s and can be seen, adopted by many actresses. In a song sequence of "Phir Milenge Chalte Chalte" for Rab Ne Bana Di Jodi (2008), actress Bipasha Basu dressed herself in a white churidar-kurta and also frolicked with the famous fringe as a tribute to <mask>. In 2014, <mask> made a rare public appearance walking the ramp in a pink sari at a fashion show to support the cause for cancer and AIDS patients. She was escorted by her relative, actor Ranbir Kapoor.Accolades

Death
During her later years, <mask> was involved in court cases and suffered from illness. She had undergone an emergency surgery due to a bleeding oral lesion in December 2014 at the K J Somaiya Medical College. <mask> died on 25 December 2015 in Hinduja Hospital, Mumbai after being hospitalised with high fever. Although the illness she briefly suffered from was officially undisclosed, <mask> was cremated at Oshiwara crematorium in Mumbai, Maharashtra. Bollywood stars such Anushka Sharma, Karan Johar, Madhur Bhandarkar, Lata Mangeshkar and several others expressed their sorrow at the loss. Filmography

References

External links

1941 births
2015 deaths
Actresses in Hindi cinema
20th-century Indian actresses
Sindhi people
Actresses from Karachi
Deaths from cancer in India
Indian women film directors

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<mask>y (; born April 18, 1988) is an American conservative political commentator and author who served as the 33rd White House press secretary for the Trump administration from April 2020 to January 2021. She currently serves as an on-air contributor for Fox News. She began her media career as a producer for Huckabee on Fox News and later worked as a commentator on CNN. Early on in the 2016 Republican Party presidential primaries, she was a critic of Donald Trump, but over time became known as one of his staunchest defenders. In 2017, she was appointed national spokesperson for the Republican National Committee. She worked for Trump's 2020 presidential campaign as National Press Secretary from 2019 to 2020 and again as Senior Advisor from October 2020 to January 2021. On April 7, 2020, she was appointed as White House Press Secretary in the Trump administration, a position she held until Joe Biden's inauguration as 46th president.After the Trump administration, McEnany has been employed by Fox News as an on-air commentator. Early life
McEnany was born on April 18, 1988, in Tampa, Florida and was raised in Tampa. She is the daughter of commercial roofing company owner Michael and Leanne McEnany. McEnany attended the Academy of the Holy Names, a private Catholic preparatory school in Tampa. After graduating, she majored in international politics at Georgetown University's School of Foreign Service in Washington, D.C. and she studied abroad at St Edmund Hall, Oxford. While at Oxford, she was taught politics by future British Labour politician Nick Thomas-Symonds. After graduating from Georgetown, McEnany spent three years as a producer on the Mike Huckabee Show.From there, McEnany enrolled at the University of Miami School of Law, before transferring to Harvard Law School after completing her first (1L) year at the University of Miami. At the Miami School of Law, McEnany was a recipient of the Bruce J. Winick Award for Excellence, a scholarship awarded to students in the top 1% of their class. She completed her second and third years of law school at Harvard, and graduated from Harvard in 2016. Career
As a college student, McEnany interned for several politicians, including Tom Gallagher, Adam Putnam and George W. Bush, and later worked in the White House Office of Communications, where she wrote media briefings. Media roles
While in law school, McEnany appeared on CNN as a paid commentator. She supported Donald Trump in the 2016 presidential election. However, in early 2015, before becoming a Trump supporter, McEnany was highly critical of him, declaring on CNN and Fox Business that "Donald Trump has shown himself to be a showman" and it was "unfortunate" and "inauthentic" to call him a Republican.McEnany called his comments about Mexican immigrants "racist". According to Michael Marcantonio, a fellow summer associate at a law firm, she began supporting Trump after accepting Marcantonio's advice, which he gave to her over cocktails. In an interview with the New York Times, Marcantonio recalled telling McEnany, "Donald Trump is going to be your nominee," and that if "a smart, young, blond Harvard graduate" wanted "to get on television and have a career as a political pundit, you would be wise to be an early backer." On August 5, 2017, McEnany left her position at CNN. The following day, she hosted a 90-second webcast, Real News Update on Trump's personal Facebook page. She praised Trump throughout the segment, saying she had brought the "real news" to the American people. Former employer Mike Huckabee has called her a "meticulous researcher" and "extraordinarily prepared."Her rapid occupational success was noted by Van Jones, CNN commentator and liberal activist who worked with her at CNN. "I'm not trying to defend the messaging, but what I hope people can acknowledge is there's very few people in either party who can accomplish what Kayleigh has accomplished in such a short time... People keep taking her lightly, and they keep regretting it." Republican political strategist

McEnany has been closely associated with the Republican Party since she was in college. She was critical of the Obama presidency, and in 2012 posted several tweets questioning Barack Obama's birthplace, echoing the "birther" conspiracy theorist movement. In 2012, McEnany tweeted about Obama's half-brother Malik Obama, who lives in Kenya: "How I Met Your Brother – Never mind, forgot he's still in that hut in Kenya". In 2017, she responded to claims it was hypocritical of Trump to visit his golf course while president by mistakenly claiming that Obama rushed off to a golf game after the 2002 beheading of Daniel Pearl. Obama was a state senator at the time of Pearl's murder.McEnany later apologized for the comment, noting that Obama went golfing after the 2014 murder of another journalist, James Foley, who was beheaded by ISIS in Syria. Obama, who was vacationing on Martha's Vineyard at the time, admitted that he should have "anticipated the optics" of golfing immediately after making a press statement on Foley's death. On August 7, 2017, the Republican National Committee (RNC) appointed McEnany as its national spokesperson. In 2017, as RNC spokeswoman, McEnany supported Trump amid a bipartisan backlash in response to his comments about a white supremacist rally in Charlottesville, Virginia, in which he suggested that white supremacists and anti-racist counterprotesters shared blame for violence; in a tweet, McEnany wrote that the Republican Party supported Trump's "message of love and inclusiveness." In August 2019, McEnany told CNN's Chris Cuomo: "I don't believe the president has lied." In the weeks before her appointment as White House press secretary, McEnany praised Trump's handling of the COVID-19 pandemic, saying, "This president will always put America first, he will always protect American citizens. We will not see diseases like the coronavirus come here, we will not see terrorism, and isn't that refreshing when contrasting it with the awful presidency of Barack Obama?"The disease had been present in the United States for at least a month prior to McEnany's claim that the virus would not "come here"; in December 2020 Politico named McEnany's prediction one of "the most audacious, confident and spectacularly incorrect prognostications about the year". In March 2020, McEnany said Democrats were trying "to politicize" the coronavirus and that Democrats were almost "rooting for this outcome." In the weeks following, McEnany was criticized for her remarks. Author Grant Stern tweeted, "<mask> McEnany is coming to the White House with new 'alternative facts' about #coronavirus. The rest of the world calls them lies." McEnany responded that she was referring to Trump's travel ban. White House press secretary (2020-2021)
After Mark Meadows replaced Mick Mulvaney as White House chief of staff in April 2020, Meadows's first personnel change was hiring McEnany as White House press secretary on April 7, 2020, which was officially announced the next day.Stephanie Grisham, who had served in the role and as White House communications director since June 2019, became First Lady Melania Trump's chief of staff and spokesperson. Two months into her tenure, the Associated Press wrote of McEnany, she "has made clear from her first briefing that she's willing to defend her boss's view of himself as well as his most flagrant misstatements." In April 2020, McEnany defended Trump's assertion that the World Health Organization had shown a "clear bias towards China" and said that the WHO put Americans at risk by "repeating inaccurate claims peddled by China during the coronavirus pandemic" and "opposing the United States' life-saving travel restrictions." On May 1, 2020, as part of her first public press briefing and the first one by a White House press secretary in 417 days, McEnany was asked by an Associated Press reporter: "Will you pledge to never lie to us from that podium?" McEnany replied: "I will never lie to you. You have my word on that." On the subject of Trump's responses to the coronavirus pandemic, she claimed, "This president has always sided on the side of data".In response to allegations of Trump's sexual misconduct, McEnany said: "He has always told the truth." McEnany falsely claimed that the Mueller Report as part of the larger investigation into Russian meddling in the 2016 Presidential election had resulted in a "complete and total exoneration of President Trump," despite the report reading "Accordingly, while this report does not conclude that the President committed a crime, it also does not exonerate him." Amid reports on May 8, 2020, that the White House was "shelving" the release of COVID-19 re-opening guidelines, McEnany said that the guidelines had not been approved by Robert Redfield, the director of the Centers for Disease Control and Prevention (CDC). Following Associated Press reports that Redfield had previously cleared the release of the guidance, Redfield addressed the issue personally, saying that the documents were still in "draft form" and had been released for "interagency review", not for public dissemination. That same week, Obama, in a private phone call with members of his former administration, described the Trump administration's response to the coronavirus crisis as "an absolute chaotic disaster". McEnany responded the next day by providing a statement to CNN claiming that, to the contrary, the "response has been unprecedented and saved American lives." In May 2020, McEnany defended Trump's false accusation that Joe Scarborough had a person murdered, offering no evidence in support of the accusation.The same month, McEnany defended claims that Trump made about the dangers of vote by mail, repeating his inaccurate claims that vote by mail has a "high propensity for voter fraud." McEnany herself has voted by mail 11 times in 10 years. In June 2020, she defended the decision by the Trump administration to forcibly remove peaceful protestors using smoke canisters, pepper balls, riot shields, batons, officers on horseback and rubber bullets so that Trump could stage a photo op in front of St. John's Episcopal Church, Lafayette Square in Washington. She likened Trump's action to that of Winston Churchill walking the streets to survey bomb damage during World War II. When General Jim Mattis, former secretary of defense in the Trump administration, condemned Trump's action, McEnany described Mattis' comments as "little more than a self-promotional stunt to appease the DC elite." On September 9, 2020, news agencies released the audio recordings of interviews with Trump that former Washington Post journalist Bob Woodward had conducted in February and March 2020 for his book Rage, in which Trump acknowledged to Woodward that he was intentionally downplaying the severity of the SARS-CoV-2 coronavirus, which CNN had obtained ahead of the book's September 15, 2020 release. In the wake of this development, McEnany falsely asserted, "The president never downplayed the virus."In fact, Trump repeatedly and publicly downplayed the risk of the virus and the severity of the pandemic, and in a recorded March 19, 2020 interview with Woodward said, "I wanted to always play it down. I still like playing it down, because I don't want to create a panic." In response to McEnany's comment, Washington Post media critic Erik Wemple wrote that she had sacrificed her credibility; while Joe Lockhart, who served as White House Press Secretary during the Clinton administration, wrote her answers confirmed her as a "state propagandist". On October 5, 2020, McEnany tested positive for COVID-19. Even though she had interacted with individuals who had been diagnosed with coronavirus days prior, McEnany on several occasions spoke with the press while not wearing a mask before she ultimately tested positive for the coronavirus. Among McEnany's staff members to also test positive for COVID-19 was Chad Gilmartin, the cousin of McEnany's husband. 2020 presidential election and aftermath
While ballots were still being counted on election day, McEnany made an early false declaration of victory for Trump.After Joe Biden won the election and President Donald Trump refused to concede, McEnany spread false claims of fraud in the 2020 election. On November 20, 2020, McEnany falsely claimed Trump was not given an "orderly transition of power". Previously in 2016, within two days of Trump's victory, his opponent Hillary Clinton conceded to Trump, while then-President Obama had recognized Trump as president-elect and hosted Trump at the White House. Trump himself thanked Obama and his wife "for their gracious aid throughout this transition". Trump fired the leader of his transition team (Chris Christie), threw out months of transition planning, and rejected help from the Obama administration. <mask>'s comment was stated while Trump himself was refusing to recognize his opponent Joe Biden's victory as legitimate; Trump was also actively delaying the start of a transfer of power to president-elect Biden for two weeks. Following the 2021 storming of the United States Capitol, Randall Lane, writing for Forbes, warned corporations against hiring McEnany or other people "who lied for Trump", stating that "Forbes will assume that everything your company or firm talks about is a lie.We're going to scrutinize, double-check, investigate with the same skepticism we'd approach a Trump tweet. Want to ensure the world's biggest business media brand approaches you as a potential funnel of disinformation? Then hire away." After the White House

On March 2, 2021, McEnany joined Fox News as an on-air contributor. She was later named co-host of Outnumbered, alongside Harris Faulkner and Emily Compagno. Personal life
McEnany married Sean Gilmartin, a pitcher in Major League Baseball, in November 2017. The couple have one daughter, Blake, born in November 2019.Due to a BRCA mutation that put her at high risk of developing breast cancer, McEnany underwent a preventive double mastectomy in 2018. Books

References

External links

 Twitter

1988 births
American memoirists
American political commentators
American women television journalists
CNN people
Conservatism in the United States
Fox News people
Florida Republicans
Harvard Law School alumni
Living people
Political spokespersons
Walsh School of Foreign Service alumni
White House Press Secretaries
Writers from Tampa, Florida
Trump administration personnel
21st-century American women

masks:
Kayleigh McEnan
Kayleigh
McEnany


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<mask> is an Australian film director and producer. The recipient of the 2014 Screen Leader Award for Outstanding Leadership, Achievement and Service to the Screen Industry, <mask> is a respected Australian filmmaker. Since 1986 she has directed 13 feature films; her films being responsible for over 70 international awards and twenty-three Australian Film Institute (AFI) nominations, while garnering nine wins including Best Film and Best Director. Known for directing Australian classic films Malcolm and The Big Steal, some of <mask>'s other feature works include Rikky and Pete, Mr Reliable, Amy, Matching Jack, Fatal Honeymoon, and Oleg. She also directs films and high-end television movies in America. Her first feature in the US was Pure Luck starring Danny Glover and Martin Short. <mask> is married to Australian writer, producer, cinematographer David Parker.Early life and education

Tass was born in Florina, Macedonia, northern Greece before moving to live permananetly in Australia. Career

Tass has worked with many well-known and respected actors while directing and producing. These include:

Film director

Theatrical directing
Tass has an extensive history of theatre direction with a diverse range of works. She has directed improvised theatre, classic plays, contemporary pieces and musical theatre. Early works include productions of The Merchant of Venice, Macbeth, numerous plays by Euripides including  Medea, and by Aristophanes including Lysistrata, Chekhov's The Birds, Three Sisters, and Blood Wedding by Federico Garcia Lorca. In later work, Tass directed This Effing Lady by Maureen Sherlock at the Brunswick Ballroom (2021) and Wicked Sisters by Alma De Groen for Griffin Theatre in Sydney (2020). In 2019, she directed Masterpieces of the Oral and Intangible Heritage of Humanity by Heather McDonald, a Pulitzer Prize finalist, for Signature Theatre in the Washington DC area, and Fern Hill by Michael Tucker at 59E59 Theaters in New York City.Both productions were well received and their seasons booked out and extended. In 2018 <mask> directed David Williamson's Sorting Out Rachel for Sydney's Ensemble Theatre, followed by Marisa Smith's Sex and Other Disturbances for Portland Stage in Maine, USA; Fern Hill by Michael Tucker for New Jersey Rep; Ear to the Edge of Time by Alana Valentine for Sport for Jove at The Seymour Centre in Sydney. In 2016, <mask> directed the Ensemble Theatre production of Jane Cafarella's e-baby. It was the Sydney premiere of the play. <mask> directed Disgraced by Ayad Akhtar for the Melbourne Theatre Company (MTC), Extinction by Hannie Rayson for Red Stitch/GPAC, The Book Club for AKA in London and Melbourne, and Uncle Vanya by Chekhov (adapted by Annie Baker) for Red Stitch. Tass' 2002 production of The Lion, The Witch and The Wardrobe toured Australia and garnered her a Helpmann Award nomination for Best Director of a Musical.Tass directs theatre for major theatre companies in Australia, London and various places in the US, including New York and Washington DC. Lewis, adapted by David Parker (2002-2003) Malcolm Cooke & Associates and Billy May
 Miss Bosnia by Louis Nowra (1996) Melbourne Theatre Company
 Così by Louis Nowra (1994) Melbourne Theatre Company
 Summer of the Aliens by Louis Nowra (1992) Melbourne Theatre Company

Theatre reviews

 Masterpieces of the Oral and Intangible Heritage of Humanity
 DC Metro review
 Broadwayworld.com review
 MD Theatre Guide review
 Talkin' Broadway review

 Ear to the Edge of Time
  Arts Hub review

Filmography (direction)

Feature films
 Malcolm (1986)
 Rikky and Pete (1988)
 The Big Steal (1990)
 Pure Luck (1991)
 Stark (1993) (feature cut)
 Mr. She regularly lectures at the Victorian College of the Arts (Melbourne), and at Deakin University, where she is an Adjunct Professor. New York University - Film directing, specifically, Malcolm) 1987
 Melbourne University, Australia
 Victorian College of the Arts 2015-2021
 Filmmaking Summer School 2002-2020
 16th Street Actors Studio 2014, 2020, 2021
 Wuhan University 2017
 Yunnan University 2017
 Beijing Normal University 2016
 Beijing Film Academy 2016, 2017
 Chongqing University 2014
 Advanced Performers Studio, London 2009
 Deakin University, Australia 2006 – 2021 (where she is Adjunct Professor)
 Monash University, Australia 2013
 Australian Film, Television & Radio School 1995
 National Institute of Dramatic Art, Australia 2006
 Singapore Film Festival 1999
 Screen Directors Guild of New Zealand 2010

Tass continues to mentor young directors and actors from various educational institutions. Film festival juries
Tass has been appointed to many festival juries, such as:
 Hawaii Film Festival – for judging of main awards 1988
 St Tropez – Head of Jury 2008
 Asian Festival of First Films 2008
 Pune International Film Festival – Head of Hury 2012
 Directors' Guild of American (DGA) – Documentary jury 2021
 Cinefest Oz - Head of Jury 2021
 Australian Academy of Cinema and Television Arts (AACTA) – International Chapter juror annually

Professional associations
 Directors Guild of America (DGA)
 Australian Directors Guild (ADG) – member of the Board
 Screen Producers Association of Australia
 Australian Film Institute
 Australian Academy of Cinema and Television Arts (AACTA)

References

Further reading

External links

 Nadia Tass at Cascade Films

1956 births
Australian film producers
Australian television actresses
Australian film directors
Australian women film directors
Greek emigrants to Australia
Living people
People from Florina

masks:
Nadia Tass
Tass
Tass
Nadia Tass
Tass
Tass
Tassss


texts:
<mask> (6 October 1785 – 23 March 1869) was a German composer, singer, musicologist, and conductor. Originally destined by his parents for service in the church, like his older brother, he left theological studies because of his great interest in music. Given a scholarship by local nobility, he was able to formally study music, and then return to his hometown of Rudolstadt to perform and sing for twelve years. He spent three years in Hamburg before becoming an itinerant musician for seven years. His period of greatest income was as Kapellmeister in Braunschweig from 1832 to 1842. His career was then hampered by health difficulties, but he continued to compose, write musical treatises, and correspond with his fellow musicians until his death in 1869. He is most well-known for his vocal compositions, in particular, his works for students and for male voices.Early life and family
Born <mask> <mask> in Stadtilm, Schwarzburg-Rudolstadt, on 6 October 1785, he was the son of Johann Christian <mask> (1733–1816) and Sophia Marie (née Gölitz) Methfessel (1745–1818). Johann Christian was the local school teacher and Cantor in Stadtilm, while Sophia was the daughter of a Stadtilm church councilman. <mask>'s older brother <mask> (1771–1807) also became a song composer of note. He had two sisters, one of whom, Marie (1839–1927), married a clergyman. Education
From a very early age <mask> showed a strong proclivity towards music. At the age of twelve, he wrote music for church services and these compositions were utilized by his father in his position of Cantor. His father fervently desired that he become a theologian, a desire that was heightened when older brother Friedrich, having attained a theological degree, abandoned his church career in pursuit of music.After his confirmation he was sent to the Rudolstadt grammar school. Here he was further attracted to music by the music of the prince's chapel, as well as the town choir, the latter of which he immediately joined and soon became its leader. As part of his functions for this position he composed cantatas and motets for the choir. However, upon completion of his Rudolstadt studies he followed his father's wishes and attended Leipzig University from 1807 to 1809, studying theology and classical literature. He did not give up music during this time, as he joined the Gewandhaus as a singer. Karoline Luise von Schwarzburg-Rudolstadt became enamored with his voice, and proffered a scholarship which enabled <mask> to abandon his theological studies and travel to Dresden, where he studied singing under Francesco Ceccarelli for nearly two years. Music career

<mask> returned to Rudolstadt in 1810, and spent the next twelve years as a Kammersänger and chamber musician at the Rudolstadt court.He became a particular friend of Louis Spohr, and along with three other friends they wandered together in 1818 from town to town towards the music festival at Mannheim. At Mannheim the "Travelers" were given welcome as celebrities, Spohr in particular. Spohr, then at the height of his fame, was offered a private apartment but turned it down so he could be with his friend <mask>. <mask> turned down a position in Prague as Kapellmeister, to which he had been recommended by Carl Maria von Weber, but 1822 saw him relocated to Hamburg as a director of music, where he also added teaching to his duties. From 1825 to 1832 he was a traveling musician whose income was insecure, until such time as he decided to settle into stable employment. <mask> became Kapellmeister at Braunschweig in 1832, a position which he held until 1842. He married a singer, Louise Emilie Lehmann (1815–1854), in 1834.As Kapellmeister, one of his principal aims was to improve the quality of opera performances. In he also spent some of this time as a music teacher, including piano. He was forced to resign his position of Kapellmeister as he developed a severe hearing impairment. For the rest of his life Methfessel was self-employed as a composer, music critic, and writing on music theory, although he did receive a small pension from his previous court position. Later life
His wife's death in May 1854 was particularly hard on him. His sight became very weak, but his mind remained at full strength despite the loss of use of both ears and eyes. He was the composer-in-residence at the 1861 Great German Song Festival in Nuremberg, and the 1865 German Signing Association in Dresden.The city of Braunschweig held a celebration day honoring his 80th birthday on 6 October 1864. The University of Jena took the occasion to confer a Doctor of Philosophy upon him. Age and financial difficulties eventually compelled <mask> to leave Braunschweig in May 1868 and move to the village Heckenbeck of town Bad Gandersheim to live with his eldest daughter. That August he suffered a severe stroke, which removed his remaining hearing and sight, and left him with little ability to speak. However, by mid-September his heath improved such that he was again able to correspond with friends and even sing. <mask> died on 23 March 1869 in Heckenbeck, and he was buried in the village cemetery. Assessment

With his solo voice and choral compositions, <mask> was a key figure, not only of German folk singing in the 19th century, but of popular singing of the male voice in general.Many of his songs, in particular patriotic songs included in the five editions of "Allgemeinen Commers- und Liederbuch", were considered the model for student songs. His songs were described by his contemporaries as "fresh, singable, pleasant, and pleasing". The instrumental accompaniment for his songs have no independence to the melody, merely supplying simple harmonic support to the vocalist. He wrote several pieces of instrumental music, but the reputation of this output suffers in comparison to his vocal works. Methfessel was an "exquisite" singer, even preceding his formal training. In addition to his singing, he was a highly accomplished pianist and guitarist. He was a serious student of both theology and music, yet he was popular with his peers and society in general because of his personal integrity and his genial personality.Even upon the loss of his wife, his hearing, and his sight he was known for his cheerfulness. Works
Many of <mask>'s songs were scored for guitar accompaniment. A large part of his output is for a solo vocalist. His part-songs for male voices remained in the German choral repertoire long after his death. His setting of "Stadt Hamburg an der Elbe Auen" became the national song of Hamburg. The settings for his vocal pieces range from the sacred to the comic. His most resounding works celebrate patriotism, friendship, freedom, and love.In addition to his vocal works, he wrote instrumental music for guitar, organ, piano, and glass harmonica. Operas
The Prince of Basra

Oratorios
Das befreite Jerusalem

References

1785 births
1869 deaths
German male classical composers
German opera composers
Male opera composers
Oratorio composers
People from Schwarzburg-Rudolstadt
19th-century German male musicians

masks:
Albert Methfessel
Albert Gottlieb
Methfessel
Methfessel
Albert
Frederick Methfessel
Albert
Methfessel
Methfessel
Methfessel
Methfessel
Methfessel
Methfessel
Methfessel
Methfessel
Methfessel


texts:
<mask> (; 521–549), courtesy name Zihui (子惠), formally Prince Wenxiang of Bohai (勃海文襄王), later further posthumously honored by Northern Qi as Emperor Wenxiang (文襄皇帝) with the temple name Shizong (世宗), was the paramount official of the Xianbei-led Chinese Eastern Wei dynasty, a branch successor state of the Northern Wei. He was <mask>'s oldest son, and because his father wielded actual power during Emperor Xiaojing's reign, <mask> also received increasingly great authority, and after his father's death in 547 took over the reign of the state. He was considered capable but frivolous and arrogant, as well as lacking in sexual discretion. In 549, he was assassinated by his servant Lan Jing (蘭京), and his younger brother <mask> took over the control over the Eastern Wei regime. Background
<mask> was born in 521, when his father <mask> was still a courier of documents between the Northern Wei capital Luoyang and the old capital Pingcheng (平城, in modern Datong, Shanxi). His mother Lou Zhaojun was from a wealthy family, but <mask>'s own household was poor. In 525, the ambitious <mask> joined the agrarian rebellion led by Du Luozhou (杜洛周) but subsequently became convinced that Du was not a successful leader, and sought to flee from Du's camp with his associates Wei Jing (尉景), Duan Rong (段榮), and Cai Jun (蔡雋).(Wei and Duan were also his brothers-in-law.) Lady Lou and her children (<mask> and a daughter) fled as well, riding a cow. During this flight, <mask> repeatedly fell off the cow, and <mask> considered killing him with an arrow, but Duan repeatedly saved him. The next known incident involving <mask> was in 531, when <mask>, then a Northern Wei general, rebelled against the members of Erzhu Rong's clan (who had dominated the political scene after they defeated Emperor Xiaozhuang in revenge of Emperor Xiaozhuang's killing of Erzhu Rong), and when an agrarian rebel leader, <mask> (高敖曹), a very distant relative of <mask>'s, refused to follow <mask>, <mask> sent <mask> to visit <mask> and showing respect due to the granduncle persuading <mask> of <mask>'s sincerity. During <mask>'s lifetime
<mask> defeated the Erzhus in 532 and entered Luoyang victoriously, and he made Yuan Xiu the Prince of Pingyang emperor (as Emperor Xiaowu). As a result of <mask>'s victory, the 11-year-old <mask> received high ranking titles, even though he appeared to carry no actual responsibility by this point in either the imperial administration or his father's army. With his father having been created the Prince of Bohai, <mask>, as his oldest son, also carried the title the Heir Apparent of Bohai.In 534, Emperor Xiaowu, in a dispute with <mask> over the control of power, fled to the domain of the independent general Yuwen Tai, leading to a split of Northern Wei, as <mask> then made Yuan Shanjian the Heir Apparent of Qinghe emperor (as Emperor Xiaojing), and the areas under <mask>'s control became known as Eastern Wei, and the areas under Yuwen's control became known as Western Wei. <mask> moved the Eastern Wei capital from Luoyang to Yecheng. In 535, <mask> found out that <mask> had been conducting an affair with <mask>'s concubine Lady Zheng Dache (鄭大車). In anger, he caned <mask> 100 times and put him under arrest, and he seriously considered making <mask> (高浟), his son by his concubine Lady Erzhu Ying'e (Erzhu Rong's daughter) heir apparent to replace <mask>. <mask> sought help from <mask>'s friend Sima Ziru (司馬子如), who persuaded <mask> to change his mind by reminding him the contributions that <mask>'s mother Princess Lou had made, and also subsequently by forcing the witnesses to the affair between <mask> and Lady Zheng to recant. Still, Princess Lou and <mask> were forced to repeatedly bow and crawl on the ground to beg <mask>'s forgiveness, and <mask> allowed <mask> to remain heir apparent. In 536, the 15-year-old <mask>, who was then with his father at his military headquarters of Jinyang, requested permission to become in charge of the Eastern Wei imperial government at Yecheng.<mask>an initially refused, but <mask>an's assistant Sun Qian (孫搴) spoke on <mask>'s behalf, and finally, <mask>an agreed. <mask> soon arrived at Yecheng and took over the imperial administration. He became known as a harsh but capable enforcer of laws, in comparison to his father's policy of relaxed enforcement. He also abolished the seniority-based system of promotion that had caused the imperial administration to stagnate, seeking out capable individuals and promoting them quickly. Around this time, <mask> also married Emperor Xiaojing's sister the Princess Fengyi as his wife. In 540, she bore him a son, <mask> (高孝琬). The emperor personally went to his mansion to congratulate him, and the officials all sent expensive gifts.(<mask> initially declined, stating that <mask> was the emperor's nephew, and therefore the emperor should be congratulated first, but eventually did accept.) In 543, the actions of <mask> and his trusted assistant, Cui Xian (崔暹), would lead to the rebellion of the general <mask> (高仲密). <mask>mi had earlier married Cui's sister as his wife, but later abandoned her, and this led to hatred between <mask>mi and Cui. Cui, therefore, found many reasons to pick fault with selections of officials that <mask>mi had made, and <mask> agreed with Cui. Further, on one occasion, when <mask> saw <mask>mi's new wife Li Changyi (李昌儀), he was stunned by her beauty and tried to rape her. Lady Li escaped and informed <mask>mi about the incident. Therefore, when <mask> became the governor of Northern Yu Province (北豫州, roughly modern Zhengzhou, Henan), he surrendered the capital of Northern Yu Province, the key garrison Hulao (虎牢), to Western Wei.(<mask>, blaming Cui for <mask>mi's rebellion, initially wanted to kill Cui or at least to severely cane him. However, <mask>, displaying the influence that he had on his father by this point, was able to persuade <mask>, through <mask>an's assistant Chen Yuanda (陳元達), that punishing Cui would undermine <mask>'s authority, and therefore <mask>an never did punish Cui.) In the ensuing battles over the control of the Hulao and Luoyang region, both Yuwen Tai and <mask>an nearly died. After Eastern Wei forces finally captured Hulao later that year, and Lady Li was delivered to Yecheng, <mask> made her one of his concubines. In 544, <mask>, believing that the officials Sima Ziru, Sun Teng (孫騰), <mask> (高岳, <mask>an's cousin), and <mask> (高隆之), were becoming too powerful and too corrupt, transferred major portions of those officials' responsibilities to <mask>. <mask> further showed off his authority by acting imperiously toward those officials. For example, when Sun once visited him and showed insufficient respect, he had his guards throw Sun on the ground and pound him with sword hilts.<mask> also installed his assistant Cui Jishu (崔季舒, Cui Xian's uncle) as Emperor Xiaojing's secretary, to keep watch on Emperor Xiaojing. Later in 544, <mask>, wanting to stamp out corruption within the imperial administration, empowered Cui Xian and Song Youdao (宋遊道) to investigate high-level officials for corruption. Cui and Song each made several accusations against high-level officials, and <mask> had, in particular, Sima Ziru stripped of all titles and offices, and Yuan Tan (元坦) the Prince of Xianyang stripped of his offices. In order to show that Cui, in particular, was empowered to carry out investigations, <mask> had Cui intentionally show disrespect to himself in public with impunity, so that the officials would be even more apprehensive of Cui. In late 546, <mask> became seriously ill, and he summoned <mask> back to Jinyang to entrust the matters to him. At that time, <mask> was apprehensive that the general Hou Jing, who commanded the provinces south of the Yellow River, would rebel, and <mask>an left him a list of officials that he could trust, and specifically instructed him to make Murong Shaozong (慕容紹宗) the commander of the army against Hou if Hou rebelled. <mask> died in spring 547, but <mask>, also pursuant to <mask>'s instructions, did not announce <mask>'s death in public; rather, he returned to Yecheng, pretending that <mask> was still alive.As regent
Also in spring 547, Hou Jing, unsure whether <mask>an was still alive but believing that <mask> had died, rebelled, first surrendering the 13 provinces he commanded to Western Wei, and then to Liang Dynasty. <mask> initially sent Han Gui (韓軌) against Hou, and Han had some successes against Hou's forces but was forced to withdraw when Western Wei forces arrived, taking four of Hou's provinces in exchange for supporting Hou. Subsequently, Hou broke with Western Wei, and Western Wei forces withdrew. Meanwhile, Emperor Wu of Liang commissioned his nephew Xiao Yuanming the Marquess of Zhenyang with a large force to try to aid Hou. <mask>, after finally revealing <mask>an's death, put Murong Shaozong in charge of the army. He also made peace overtures to Hou, promising to keep him in command of the southern provinces if he would submit. Hou refused.Meanwhile, <mask> also had a threat from within. <mask>, once <mask>an died, began to show contempt for Emperor Xiaojing, and once, when Emperor Xiaojing rebuked him for public disrespect, <mask> ordered Cui Jishu to punch Emperor Xiaojing three times. Emperor Xiaojing, fearful of what might come next, formed a conspiracy against <mask>. In winter 547, the plot was discovered, and <mask> put the emperor under arrest and executed his coconspirators. Late in 547, Murong Shaozong crushed Xiao Yuanming's army at Hanshan (寒山, in modern Xuzhou, Jiangsu), capturing Xiao Yuanming. When Xiao Yuanming was delivered to <mask>, <mask> treated him with respect, intending to try to use Xiao Yuanming as a pawn against Hou. By spring 548, Murong Shaozong had crushed Hou's army as well, and Hou fled to Liang, seizing the Liang border city of Shouyang (壽陽, in modern Lu'an, Anhui) as his base of operations.<mask> then began negotiating peace with Liang's Emperor Wu, intending to create instability in the relationship between Emperor Wu and Hou. Hou, eventually coming to believe that Emperor Wu would betray him and turn him over to Eastern Wu to exchange for Xiao Yuanming, rebelled in fall 548, eventually capturing the Liang capital Jiankang and holding Emperor Wu and then his successor Emperor Jianwen of Liang as puppets. Once Hou did so, he made an overture of peace to <mask>, but <mask> did not respond. Meanwhile, <mask> was trying to recapture the provinces that Western Wei had taken from Hou. Also in 548, he sent <mask> and Murong Shaozong to siege Changshe (長社, in modern Xuchang, Henan), but Changshe, defended by the Western Wei general Wang Sizheng (王思政), would not fall easily, and during the battle, Western Wei forces were able to kill Murong Shaozong and another major general, Liu Fengsheng (劉豐生). In summer 549, <mask> himself commanded reinforcements and arrived at Changshe. He intensified the siege, and soon, Changshe fell, and he captured Wang, whom he treated with respect.After Changshe fell, Western Wei forces also withdrew from the three other provinces that they had captured, and Eastern Wei by this time had recaptured all of the lands that Hou had initially taken. Death
Meanwhile, <mask> was beginning to confer with his associates on how he could seize the throne. In fall 549, he was in a meeting with Chen Yuankang, Cui Jishu, and Yang Yin, discussing the procedure for doing so. One of the attending servants was Lan Jing (蘭京), a son of the Liang general Lan Qin (蘭欽), whom he had captured in battle and had repeatedly refused to release despite both Lan Qin's and Lan Jing's pleas to allow Lan Qin to ransom his son. During the meeting, Lan Jing delivered a meal to <mask> and the others at the meeting. When Lan Jing stepped out, <mask> made the comment, "Last night, I dreamed that this slave was using a sword to hit me. I should kill him."Lan Jing overheard the comment, and he reentered the room and killed <mask> with a knife, despite Chen's attempts to protect <mask>. Family
Parents
 Father : <mask>, Prince Xianwu of Qi (齊獻武王), posthumously granted the title  of Emperor Shenwu (神武皇帝)
 Mother: Empress Wuming (武明皇后), of the Lou clan (婁氏), personal name Zhaojun (昭君)
 Consorts and issue
 Empress Wenxiang (文襄皇后), of the Yuan clan  (元氏), sister of Emperor Xiaojing of Eastern Wei
 <mask> (高孝琬) (b. 3 , 11 . History of Northern Dynasties, vol. 6 . Zizhi Tongjian, vols. 155, 157, 158, 159, 160, 161, 162.Northern Wei regents
Northern Qi
521 births
549 deaths

masks:
Gao Cheng
Gao Huan
Gao Cheng
Gao Yang
Gao Cheng
Gao Huan
Gao Huan
Gao Huan
Gao Cheng
Gao Cheng
Gao Huan
Gao Cheng
Gao
Gao Aocao
Gao Huan
Gao Huan
Gao Huan
Gao Cheng
Gao Aocao
Gao Aocao
Gao Huan
Gao Huan
Gao Huan
Gao Huan
Gao Cheng
Gao Cheng
Gao Huan
Gao Huan
Gao Huan
Gao Huan
Gao Huan
Gao Cheng
Gao Huan
Gao Cheng
Gao You
Gao Cheng
Gao Cheng
Gao Huan
Gao Huan
Gao Cheng
Gao Cheng
Gao Cheng
Gao Huan
Gao Huan
Gao Cheng
Gao Cheng
Gao Hu
Gao Hu
Gao Cheng
Gao Hu
Gao Cheng
Gao Cheng
Gao Xiaowan
Gao Cheng
Gao Xiaocheng
Gao Cheng
Gao Zhongmi
Gao Zhong
Gao Zhong
Gao Zhong
Gao Cheng
Gao Cheng
Gao Zhong
Gao Zhong
Gao Zhongmi
Gao Huan
Gao Zhong
Gao Cheng
Gao Huan
Gao Hu
Gao Cheng
Gao Hu
Gao Hu
Gao Cheng
Gao Huan
Gao Yue
Gao Hu
Gao Longzhi
Gao Cheng
Gao Cheng
Gao Cheng
Gao Cheng
Gao Cheng
Gao Cheng
Gao Huan
Gao Cheng
Gao Cheng
Gao Hu
Gao Huan
Gao Cheng
Gao Huan
Gao Huan
Gao Huan
Gao Hu
Gao Huan
Gao Cheng
Gao Cheng
Gao Hu
Gao Cheng
Gao Cheng
Gao Hu
Gao Cheng
Gao Cheng
Gao Cheng
Gao Cheng
Gao Cheng
Gao Cheng
Gao Cheng
Gao Cheng
Gao Cheng
Gao Yue
Gao Cheng
Gao Cheng
Gao Cheng
Gao Cheng
Gao Cheng
Gao Cheng
Gao Huan
Gao Xiaowan


texts:
<mask> (7 May 190318 May 1942) was a German ophthalmologist who served as "Truppenarzt" with the rank of "Unterarzt", corresponding to the rank of sergeant. He worked with Professor  in Münster during the 1930s and, with him, pioneered an electrical treatment for retinal detachment. Machemer suffered discrimination in Nazi Germany after his wife was deemed to be "half-Jewish". He joined the German army at the outbreak of the Second World War in the hope of winning a first class Iron Cross bravery medal. Machemer hoped this would allow his family to be reclassified as being of "German-blood". He fought in France and Russia, was wounded in action and won both the Iron Cross 1st Class and Iron Cross 2nd Class. Machemer was killed in action at the Second Battle of Kharkov on 18 May 1942, just four days after being notified of the first class award.His wife and children were granted German-blood status in March 1943. Machemer kept extensive written, photographic and film records of his wartime service and these have been published in a book and documentary film. Early life and career
<mask> was born on 7 May 1903 in Sprendlingen and spent much of his early life in Münster. He studied medicine at the Universities of Heidelberg, München and Freiburg. In 1929 in Freiburg, he worked on a doctorate (on amphibian development) under the supervision of Prof. Hans Spemann (later Nobel prize winner) and was promoted Nov. 1929 to  Dr. phil. nat. In December 1930, he, in addition, was promoted to Dr. med.at the University of Freiburg. He  afterwards worked at an eye clinic in Münster under Professor . Machemer dated Erna Schwalbe, who studied medicine at the university of Kiel, from 1929 and in June 1932 became aware that she might have Jewish ancestry, which may have been an issue due to the rise of the anti-Semitic Nazi Party. Erna's father wrote her a letter which confirmed her mother's ancestry, which he had tried to keep hidden. Erna immediately offered to separate from Machemer, but he refused to do so on the grounds that he loved her. They married in October 1932. Erna's mother divorced her father and moved to the Netherlands the following year, after the Nazis came to power.Machemer was described by medical historian George Gorin as "a capable retinal surgeon". In 1934 he pioneered, with Szily, a method of treating retinal detachment by use of an electric current to form a chorioretinal scar. Anti-Semitic discrimination escalated under the Nazis: Szily as a Jew, was forced from his position at the clinic and Machemer lost his job there. Erna was also forced to abandon her own medical studies. Machemer was unable to set up his own practice as the Association of Statutory Health Insurance Physicians refused to grant a permit because of his marriage. The Machemers considered divorce or emigration, but Szily found <mask> a position as assistant to ophthalmologist in Stadtlohn. The <mask> family (the couple had three sons) moved to Dufkampstrasse, in Stadtlohn in 1935.In October of that year the Nazis passed the Nuremberg Laws, these forbade marriage between those of "German blood" and those of Jewish ancestry. Under the new laws Machemer's wife was classified as "half-Jewish" and the family became subject to ever more stringent restrictions and discrimination. Machemer was not a supporter of the Nazi Party but was also not an opponent of the regime. Second World War
Machemer was 36 years old when the Second World War began with the German invasion of Poland on 1 September 1939. He was unlikely to be drafted due to his age but volunteered for service on the first day of the war. Machemer volunteered in an attempt to make use of a little-known exception in the Nazi racial laws: that the "non-Aryan" family of an Aryan could be classified as being of "German blood", if the man made a significant contribution to the Nazi state. Machemer became convinced that if he was awarded the Iron Cross, first class for bravery on the battlefield then he could secure the reclassification of his family.Machemer served during the 1940 invasion of France and the 1941 invasion of Russia, in which he served as an Unterarzt (medical officer aspirant) of the reconnaissance unit of the 16th Panzer Division. For his part in the latter operation he was awarded the second class Iron Cross. At one point he worked in a captured Soviet hospital, operating on captured Russian soldiers. Whilst in action Machemer was shot in the neck, but after checking it was not serious, returned to duty treating soldiers who had been shot through the lungs. He noted this in a letter home to his wife and Erna's reply was that he "shouldn't consciously put yourself in danger again, it seems to me like a challenge to fate". <mask> also wrote to Erna of his concern that he might be withdrawn from the front line and placed in a field hospital where he would be unlikely to be recommended for a bravery award. Machemer was of the opinion that he would not be recommended for the Iron Cross, first class unless he held the position of medical officer.This promotion had been previously denied to him due to his marriage to Erna. Machemer appealed the decision in March 1942 and, after sending a family tree and confirmation that Erna had no contact with her Jewish relations, was promoted to the rank of Oberarzt and approved for the Iron Cross, first class on 14 May 1942. Machemer records that he celebrated this decision with sparkling wine and, the next day had a hangover. Machemer was killed at mid-day 18 May, while on a trip to screen the battlefield for wounded soldiers. He was hit in head by shrapnel from a grenade during the Second Battle of Kharkov. Machemer was travelling in a car at the time, his companion was heavily wounded, but survived. <mask>, who was 39 when he died, recorded in his final diary entry of 18 May that he had slept well and was awaiting orders.In March 1943 Erna and her children were granted "German-blood" status, in what is believed to be the only known case of such an exemption. Legacy
As a scientist, he wished to document his and his company's way through wartime. His partly critical writings would have been unacceptable for promotion by the Nazi party and may have placed him at risk of arrest and he would not have been able to accomplish his mission. His collection included more than 160 letters, 2,000 photographs and five hours of film footage. Some of the records included depictions of dead German soldiers, dead civilians, burnt houses and dead horses. The majority of Machemer's reports and private letters were sent via "Feldpost" through the postal service. A few of the documents are known to be lost, since they were numerated.In particular, exposed photos and films, were carried home by comrades. Machemer's documents were kept by Erna and passed onto the couple's son, Hans. Hans worked with historian  to catalogue and assess the material and also produced a documentary film and a book, Wofür es lohnte, das Leben zu wagen ("What it was worth risking life for") published 2018 in German by Europa Verlag. Hardinghaus also produced a novel based on the story (Ein Held dunkler Zeit) telling the story of Wilhelm Möckel, a doctor with the 16th Panzer Division, and his wife Annemarie. Erna continued to live in Stadtlohn after the war, until she moved back to Münster in 1962. Erna died in 1970. Besides Hans the other sons were Peter and <mask> (1933–2009), also an ophthalmologist and sometimes called the "father of modern retinal surgery".<mask> appeared in the BBC documentary "Lost home movies of Nazi Germany" explaining his father's self-sacrifice, through film footage taken by <mask> himself. References

1942 deaths
German military personnel killed in World War II
Recipients of the Iron Cross (1939), 1st class
Recipients of the Iron Cross (1939), 2nd class
People from Münster
German ophthalmologists
1903 births

masks:
Helmut Machemer
Helmut Machemer
Helmut
Machemer
Helmut
Machemer
Robert Machemer
Hans Machemer
Helmut