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 Oregon. The film also had appearances by his Packers teammates Brett Favre and Mike Holmgren as janitors, and Keith Jackson as an assistant coach. M.C. Hammer plays a park ranger.In an interview with ABC's 20/20, <mask> made comments about gays and lesbians. <mask> became an ally of organizations opposed to homosexuality; he appeared in a newspaper advertising campaign to convince gays and lesbians that they could "cease" their homosexuality. As a result, CBS withdrew a five-year, $6-million contract for being a part of The NFL Today because of his statements calling homosexuality a sin. Both the Green Bay Packers and the NFL objected to the ads, since <mask> had appeared in his football uniform without the consent of the team or the league. Later versions of the ad removed the uniform. Death and legacy

On the morning of December 26, 2004, <mask> was rushed from his home in Cornelius, North Carolina, to a nearby hospital in Huntersville, North Carolina, where he was pronounced dead. <mask> had succumbed to cardiac arrhythmia.According to the Mecklenburg County Medical Examiner's Office, the most likely cause was the cardiac and pulmonary sarcoidosis <mask> had lived with for years. It was also stated that sleep apnea, from which <mask> was known to suffer, may have contributed to his death. His grave site is located at Glenwood Memorial Park, Mooresville, North Carolina. <mask>'s widow, Sara, in conjunction with the Sleep Wellness Institute, founded the Reggie White Sleep Disorders Research and Education Foundation, dedicated to all people having access to treatment for sleep disorders, regardless of their socio-economic status. Accolades

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 retirements

During the 2005 season, the Philadelphia Eagles, the Green Bay Packers, and the University of Tennessee retired <mask>'s number 92 jersey. The University of Tennessee retired <mask>'s jersey at a halftime presentation on October 1, 2005, during their game against Ole Miss, the third such retirement in the modern era of football at the school; a commemorative sign was also unveiled in the south end of Neyland Stadium. During a halftime presentation at Lambeau Field on September 18, 2005, <mask> became the fifth Green Bay Packer to have his number retired by the franchise.On December 5, 2005, the Philadelphia Eagles retired his jersey in a halftime ceremony during the Eagles' Monday Night Football game with the Seattle Seahawks, which were coached by Mike Holmgren, <mask>'s former coach in Green Bay. <mask> became the first player in NFL history to have his number officially retired by multiple teams. The Packers and the Eagles also wore a helmet decal honoring <mask> for the remaining games in the season. Hall of Fame
<mask> was posthumously elected to the Professional Football Hall of Fame on his first ballot on February 4, 2006. He was enshrined at a ceremony on August 5, 2006, in Canton, Ohio. <mask>'s widow, <mask>, delivered her husband's acceptance speech at the ceremony. She was introduced by their son, <mask>, who also released the first copies of his autobiography, In His Shadow: Growing Up With <mask>'', during the Hall of Fame weekend in honor of his father.Jeremy thanked the "God of Abraham, Isaac, and Jacob" in his introduction, echoing <mask>'s dedication to his faith. <mask> was elected to the Wisconsin Athletic Hall of Fame in 2005,

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 and the Philadelphia Sports Hall of Fame in 2007. Named streets
The official sign hanging for <mask> Boulevard took place on Monday, December 8, 2008, at 2 p.m. at the intersection of 20th and Carter Street in Chattanooga, Tennessee. <mask>'s mother, Thelma <mask>, along with other family and friends, were on hand to witness the change to <mask> Boulevard. The official name change was approved by the Chattanooga City Council on November 4, 2008. <mask> White Way in Green Bay, Wisconsin, is off Lombardi Avenue near Lambeau Field. See also

Crescent Rising
List of athletes who came out of retirement

References

External links

1961 births
2004 deaths
100 Sacks Club
20th-century American clergy
20th-century Baptist ministers
African-American Baptist ministers
African-American players of American football
All-American college football players
American football defensive ends
American football defensive tackles
Anti-same-sex-marriage activists
Baptist ministers from the United States
Baptists from North Carolina
Baptists from Tennessee
Burials in North Carolina
Carolina Panthers players
College Football Hall of Fame inductees
Deaths from heart disease
Green Bay Packers players
Leaders of the Fellowship of Christian Athletes
Memphis Showboats players
National Conference Pro Bowl players
National Football League Defensive Player of the Year Award winners
National Football League players with retired numbers
People from Cornelius, North Carolina
Philadelphia Eagles players
Players of American football from Knoxville, Tennessee
Players of American football from North Carolina
Pro Football Hall of Fame inductees
Sportspeople from Chattanooga, Tennessee
Tennessee

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<mask> (born December 6, 1985) is an American mixed martial artist who competed in the Heavyweight division of the Ultimate Fighting Championship. He trains predominantly with the Combat Sports Academy and the American Kickboxing Academy in California. <mask> has also competed in the Super Fight League in India, Jungle Fight in Brazil, and Dynamite!! 2010 in Japan. In addition to his mixed martial arts career he had a role in the 2010 film Never Back Down 2: The Beatdown as well as minor roles in both film and television. <mask> has also appeared on the front cover of Muscle & Fitness magazine. <mask> was born in Evansville, Indiana but grew up in Raleigh, Illinois and Eldorado as the third son of a coal miner father and nurse mother.Duffee played many sports growing up, including baseball, football, track, bull riding, soccer, and basketball. Duffee also began training in boxing but was not very devoted to it as he was playing other sports. A standout football player, he was signed on to play college football but his career was derailed from an injury. <mask> then moved to Atlanta, Georgia when he was 18 years old and continued boxing, before watching a UFC event and shifting his training to mixed martial arts. He was working on a degree from the University of Georgia before leaving to train mixed martial arts full-time. As of February 2016, he is pursuing a degree in business from the University of Georgia. Mixed martial arts

Early career
Duffee won his first three fights against Mike Walbright, Mark Haniger and Josh Bennett.<mask> then agreed to fight UFC and PRIDE FC veteran, Assuério Silva in the main event of Jungle Fights 11. <mask> dominated the fight and won by knockout in the second round. Ultimate Fighting Championship
<mask> was set to make his UFC debut against Mostapha al-Turk at UFC 99 until the UFC pulled <mask> from the fight. <mask> was replaced by Mirko Filipović. He was next announced by the UFC to face fellow UFC newcomer Mike Russow. However, <mask> was then pulled from that match and

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texts: instead was matched up against Tim Hague at UFC 102. <mask> set the record for the fastest KO in UFC heavyweight history (0:07) after flooring Hague with a stiff jab and rendering him unconscious with follow-up ground and pound.After the finish, he celebrated to the camera by saying "That was an appetizer, I want to eat now Dana, let me eat!" <mask> was expected to face Paul Buentello at UFC 107 but pulled out due to a back injury. <mask> fought Mike Russow at UFC 114 in which he lost via KO in the third round. Prior to the fight <mask> went on record to say that he was being overhyped by the MMA world, while his opponent was very much underrated. After dominating the first two rounds by utilizing his boxing, <mask> looked to be on his way to a unanimous decision win, when, from out of nowhere, Russow caught <mask> with two straight right hands followed by a hammerfist that prompted the referee to stop the fight as <mask> laid unconscious on the canvas. Joe Rogan stated that the nature of the knockout was "like something out of a movie" and was "one of the greatest comebacks in UFC history". Russow broke his left ulna while deflecting <mask>'s punches at the end of round 1.After the fight it was revealed that <mask> fought with a torn MCL as well as Shingles of the eye. <mask> was expected to face Jon Madsen on October 23, 2010 at UFC 121, but <mask> was once again forced off the card due to injury and replaced by Gilbert Yvel. On September 7, 2010, <mask> was surprisingly released from the UFC for unknown reasons. It is rumored that Duffee requested financial aid in order to pay for a knee surgery which he couldn't afford, but when UFC said that he must pay for it himself there was a dispute between the two parties. <mask> spoke publicly about MMA fighters being underpaid and how he needed to take a second job just to pay for his training. Dana White later said in an interview with Ariel Helwani that Duffee had an attitude problem and that it seemed to him that "he doesn't want to be in the UFC, he doesn't

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 like being in the UFC." He also said that he could work his way back into the organization via fighting in smaller leagues.Following his release <mask> said that he couldn't understand his release and has never been told why, although he harbors no bitterness towards the UFC president or the company. DREAM
After his release from the UFC, <mask> Went to DREAM, a promotion based out of Japan, was unable to secure an opponent for former Strikeforce Heavyweight Champion Alistair Overeem in DREAM's first Heavyweight Championship bout at Dynamite! !, <mask> had his manager throw his name in the mix of potentials for the bout. Less than one week before the event, he was officially named to take on Overeem in the title fight, leaving him very little time to prepare, but an opportunity to fight a big name in the sport. As the bout started <mask> charged in very aggressively flurrying punches to no avail, and the veteran Overeem stayed calm and landed a knee that rocked <mask> then followed by punches that put Duffee out cold at 19 seconds of the first round. <mask> said after the fight that he respected Overeem's ability but felt that if he had sufficient time to train and prepare that it would have been a completely different outcome. Overeem brought <mask> in for his training camp in preparation for his UFC debut vs. Brock Lesnar in late 2011 in order for <mask> to help him with his takedown defense.<mask> was scheduled to face Nick Gaston on July 16, 2011 at DREAM 17, but an injury sustained fighting Tyler East 2 weeks prior to fighting Duffee forced Nick Gaston to withdraw from the event. Dream was unable to find a replacement. Super Fight League
In February 2012 <mask> signed an exclusive four-fight deal with Super Fight League, India's first professional Mixed Martial Arts fighting league launched and owned by Raj Kundra & Sanjay Dutt. He faced fellow UFC veteran Neil Grove on the SFL's second show held on April 7, 2012. He won via TKO after just 34 seconds in the first round, following up a right-hook that

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 dropped Grove with heavy ground-and-pound. After the fight he thanked his training partners at the American Kickboxing Academy and credited them with helping him through a rough training camp, and stated that he is looking to fight again as soon as possible, adding that he "missed this". Shortly after his win, with SFL taking a 4-month break until their next event it was revealed that Duffee would be allowed to fight outside of the organization that summer if he could find fights.<mask> was appealing to promoters on Twitter for fights in both MMA and Professional Boxing but none came to fruition by the time of SFL's next event. <mask> was originally announced to fight at SFL 4 on September 29 against former UFC title contender Jeff Monson but after the event was pushed back twice the SFL decided to change the structure of their shows, with weekly events replacing monthly events. <mask> and SFL agreed his departure in September and he returned to free agency. Though frustrated by his fight with Monson falling out, the departure was amicable. Return to UFC
<mask> made his UFC return against Phil De Fries on December 29, 2012 at UFC 155, as a replacement for Matt Mitrione. Despite fighting with a respiratory infection he won the fight via first-round TKO, weathering an early ground exchange before finishing De Fries on the feet. The performance earned Duffee Knockout of the Night honors.Injury, Parsonage–Turner syndrome diagnosis and return
After the De Fries fight it emerged that <mask> had fought with an undisclosed injury sustained during his training camp and would be ruled out for much of 2013. He returned to training after successfully rehabbing the injury in September. However, 3 weeks into his return to the gym, after waking up with severe pains and numbness in his arm Duffee was diagnosed with an unknown affliction which was later revealed to be Parsonage–Turner syndrome. Despite initially being told by doctors that he would not be able to return for at least two years, <mask> returned to training after

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 six months and in September 2014 announced that he was ready to fight. <mask> returned from his extended hiatus to face Anthony Hamilton on December 6, 2014, at UFC 181. He won the fight via knockout in the first round. <mask> faced Frank Mir in the main event at UFC Fight Night 71 on July 15, 2015.He lost the fight by 1st-round knockout after being dropped by a left hook. <mask> was expected to face Mark Godbeer on March 4, 2017, at UFC 209. However, <mask> pulled out of the fight in mid-February for undisclosed reasons, later revealed to be a shoulder injury. After suffering setbacks in his shoulder rehabilitation, but ultimately recovering from the injury and returning to training, <mask> then suffered a knee injury. In August 2018, during the surgery to repair his ACL, the doctors discovered that he needed a surgery in his other knee as well. Subsequently, in December 2018, he underwent another surgery for the other knee and during the recovery, was infected with MRSA. After battling the infection, <mask> relocated to Las Vegas in order to rehabilitate and continue training at the UFC Performance Institute.Return to competition after shoulder rehabilitation

After a four-year hiatus, <mask> returned to face Jeff Hughes on September 14, 2019 at UFC Fight Night 158. The bout ended in the first round as a No Contest due to an accidental eye poke that rendered Duffee unable to continue. In May 2021, <mask> returned to training after successfully rehabbing further shoulder and knee surgeries, as well as a positive COVID-19 diagnosis. Acting
In 2011 <mask> made his film debut in the Michael Jai White-produced Never Back Down 2: The Beatdown, portraying Tim Newhouse, a talented MMA fighter who lives in relative poverty and has to deal with losing his father. He also had a cameo in Batman v Superman: Dawn of Justice in a fight scene. Championships and accomplishments

Mixed martial arts
Ultimate Fighting Championship
 Third Fastest knockout (0:07 seconds) in UFC Heavyweight division history. Knockout of the Night

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<mask> (August 2, 1871 – September 7, 1951) was an American painter and etcher. He is considered to be one of the founders of the Ashcan school of American art. He was also a member of the group known as The Eight. He is best known for his urban genre scenes and ability to capture the essence of neighborhood life in New York City, often observed through his Chelsea studio window. <mask> has been called the premier artist of the Ashcan School, and also a realist painter who embraced the principles of Socialism, though he himself disassociated his art from his politics. Biography
<mask> was born in Lock Haven, Pennsylvania, on August 2, 1871, to <mask>, a man with artistic leanings who made an unsteady income in a succession of jobs, and <mask>, a schoolteacher from an affluent family. <mask> grew up in Philadelphia, Pennsylvania, where he lived and worked until 1904, when he moved to New York City.He and his two sisters (Elizabeth and Marianna) were encouraged to draw and paint from an early age. In the fall of 1884 he enrolled at the prestigious Central High School in Philadelphia, where his classmates included William Glackens and Albert C. Barnes. In the spring of 1888, his father experienced a mental breakdown that left him unable to work, and <mask> became responsible, at the age of sixteen, for the support of his parents and sisters. He dropped out of school in order to work full-time as an assistant cashier at Porter and Coates, a bookstore and seller of fine prints. His duties were light, allowing him many hours to read the books and examine the works in the store's print department. It was there that <mask> created his earliest surviving works, among which

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texts: are pen-and-ink copies after Dürer and Rembrandt. He also began making etchings, which were sold in the store for a modest sum.In 1890, the offer of a higher salary persuaded <mask> to leave his position to work for A. Edward Newton, a former clerk for Porter and Coates who had opened his own stationery store. At Newton's, <mask> designed greeting cards and calendars and continued to work on his etchings. In that same year he also attended a night drawing class at the Spring Garden Institute, which provided him his first formal art training. He soon left Newton's business in quest of greater freedom as a freelance commercial artist, but this venture produced little income. In 1892, he began working as an illustrator in the art department of The Philadelphia Inquirer. Later that same year, <mask> began taking evening classes at the Pennsylvania Academy of the Fine Arts under the guidance of the realist Thomas Anshutz. Among his fellow students was his old schoolmate William Glackens.In 1892, <mask> met Robert Henri, a talented painter and charismatic advocate of artistic independence who became his mentor and closest friend. Henri encouraged <mask> in his graphic work and eventually convinced him to turn to painting. They shared a common artistic outlook and in the coming years promoted a new form of realism, known as the "Ashcan school" of American art. In 1893, <mask> and Henri founded the short-lived Charcoal Club together, whose members would also include Glackens, George Luks, and Everett Shinn. Towards the end of 1895, <mask> decided to leave The Philadelphia Inquirer to work in the art department of The Philadelphia Press. His schedule was now less rigid,

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texts: allowing him more time to paint. Henri offered encouragement and often sent <mask> reproductions of European artists, such as Manet, Hals, Goya and Velázquez.In 1898, the socially awkward <mask> was introduced to Anna Maria (Dolly) Wall (born July 28, 1876), and the  two fell immediately in love. In entering into a relationship with her, <mask> accepted the challenges posed by her alcoholism and her sexual history, which included prostitution; although Dolly worked in a department store by day, <mask> had, in fact, met her in a brothel. They were married on August 5, 1901, providing <mask> with an affectionate partner who believed in him absolutely, but whose lapses and mental instability led to frequent crises. A particularly close friend in their New York years, who helped the couple to weather many of these crises, was the artist <mask> Yeats, the elderly father of poet William Butler Yeats. By 1903, <mask> had produced almost sixty oil paintings but had yet to establish a name for himself in the art world. In April 1904, he and Dolly moved to New York City and found quarters in Greenwich Village where he painted some of his best-known works, including McSorley's Bar, Sixth Avenue Elevated at Third Street, and Wake of the Ferry. He became increasingly prolific, but he sold little, and he continued to rely on his earnings as a freelancer for The Philadelphia Press, for which he continued to draw weekly puzzles until 1910.By 1905, he was supplementing this income by drawing illustrations for books (including Wilkie Collins' The Moonstone) and for such journals as Collier's Weekly, Good Housekeeping, Harper's Weekly, The Saturday Evening Post, and Scribner's.

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texts: <mask> participated in the landmark 1908 exhibition at the Macbeth Galleries of a group that included four other artists from the Philadelphia Charcoal Club (Henri, Glackens, Luks and Shinn) as well as three artists who worked in a less realistic, more impressionistic style, Maurice Prendergast, Ernest Lawson, and Arthur B. Davies. The group was afterward collectively known as "The Eight." The Macbeth Galleries exhibition was intended as a rebuke to the restrictive exhibition practices of the powerful, conservative National Academy of Design. <mask> organized a touring exhibition of the paintings from that show that traveled to several cities from Newark to Chicago and elicited considerable discussion in the press about less academic approaches to art and new definitions of acceptable subject matter. A doctor who was consulted in an effort to help Dolly overcome her drinking problem suggested a scheme to <mask>: he was to start a diary in which he would include his fondest thoughts of her, with the expectation that she would surreptitiously read it and be freed of her disabling fear that <mask> would leave her. Spanning the period from 1906 to early 1913, the diary soon grew beyond its initial purpose, and its publication in 1965 supplied researchers with a detailed chronicle of <mask>'s activities and interests and a portrait of the pre-war art world.<mask>'s growing discontent with what he called "the Plutocracy's government" led him to join the Socialist Party in 1910. <mask> also became active in Socialist projects at this time. <mask> became the art editor of The Masses with the December 1912 issue and contributed powerful anti-war and anti-capitalist

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texts: drawings to other socialist publications as well, such as the Call and Coming Nation. As <mask> was never entirely comfortable with propaganda, his work for these magazines did not always contain overt political content. His belief that "The Masses" was becoming too doctrinaire led to a dispute with fellow editors Max Eastman and Floyd Dell, causing him to resign his position with that journal in 1916. He was never an ally of the Communist Party in the United States, although he remained hopeful that the Soviet Union would succeed in creating an egalitarian society. Throughout his life, he identified with left-wing political causes and expressed vehement disapproval of the inequities of the American economic system.A pacifist, he also opposed the American entry into World War I. In 1913, <mask> painted a two-hundred-foot backdrop for the Paterson Strike Pageant, a controversial work of performance art and radical politics organized by activist <mask> and philanthropist Mabel Dodge. The play, a benefit staged for the striking silk mill workers of Paterson, New Jersey, took place in Madison Square Garden and incorporated over 1,000 participants. <mask> has been called "the premier artist of the Ashcan School who painted the inexhaustible energy and life of New York City during the first decades of the twentieth century". Also in 1913, <mask> participated in the legendary Armory Show. He served as a member of the organizing committee and also exhibited two paintings and five etchings. In that same year, the important collector Albert C. Barnes purchased one of <mask>'s paintings; this was only the fourth sale of a painting for <mask> (although it has often

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texts: erroneously been counted as his first).For <mask>, exposure to the European modernist works on view in the Armory Show initiated a gradual move away from the realist urban themes he had been painting for the previous ten years. In 1914–15, during summers spent in Gloucester, Massachusetts, he painted landscapes en plein air in a new, more fluid and colorful style influenced by Van Gogh and the Fauves. Beginning in 1914, <mask> taught at the Art Students League, where for the next eighteen years he became a charismatic if eccentric teacher. <mask> also taught briefly at the George Luks Art School. His students respected him for his practical knowledge and integrity, but feared his caustic tongue; as a well-known painter who had nonetheless sold very few paintings, he advised his students, "I have nothing to teach you that will help you to make a living." He disdained careerism among artists and urged his pupils to find joy in the creative process alone. The summer of 1918 was the last he spent in Gloucester.For the next thirty years, he spent four months each summer in Santa Fe, New Mexico, where the desert landscape inspired a new concentration on the rendering of form. Still, the majority of his works were completed in New York. As a result of his time in the Southwest, he and Dolly developed a strong interest in Native American arts and ceremonies and, back in New York, became advocates of Indian artists. In 1922 he organized an exhibition of work by Native American artists at the Society of Independent Artists in New York. He also championed the work of Diego Rivera, whom he called "the one artist on this continent who is in the class of the old masters." The

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 Society of Independent Artists, which <mask> had co-founded in 1916, gave Rivera and José Clemente Orozco their first showing in the United States in 1920. In 1943, <mask> died of coronary heart disease.The next year, <mask> married Helen Farr, a former student forty years his junior with whom he had been romantically involved for a time in the 1930s. On September 7, 1951, <mask> died of cancer while vacationing in Hanover, New Hampshire. The following January the Whitney Museum of American Art presented a well-received retrospective of his career. Helen Farr <mask>, who became a noted philanthropist in her later years, oversaw the distribution of his unsold works to major museums throughout the country. Career

Training
<mask>'s training consisted of his study and reproduction of works by painters such as Rembrandt, a few classes at various institutions, mentorship by Robert Henri, and his work experience as an etcher and draughtsman. The high school that <mask> attended had a good art department, but it is not known whether he gained any training there. <mask> worked several jobs in draughtsmanship, etching, and commercial artwork before he attended the Pennsylvania Academy of the Fine Arts, where he studied briefly under Thomas Anshutz.The experience <mask> gathered from his various press jobs provided him with a certain amount of knowledge and allowed room for him to explore and expand in his free time. Henri's mentorship was significant in <mask>'s training because he encouraged him to paint more, and introduced him to the work of various artists, whose techniques, composition, and style <mask> studied. He sought additional guidance from Ruskin's The

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 Elements of Drawing and <mask>'s A Manual of Oil Painting. <mask> believed his study and mentorship at the Pennsylvania Academy of the Fine Arts, as well as his early Philadelphia experiences, to be his "college education." Early influences
At a young age, <mask> had been exposed to numerous books and reproductions through his uncle, Alexander Priestley, who held an extensive collection in his library. One major influence that he discovered was <mask>, an English caricaturist. When <mask> entered his position at The Philadelphia Press his newspaper drawings reflected the style of Leech, Charles Keene and George du Maurier.But by 1894 he had begun attracting attention with decorative illustrations in a new style related to the poster movement; these works combine the influences of European artists of the late nineteenth and early twentieth century, including Walter Crane, and reveal <mask>'s study of Botticelli and  Japanese prints. <mask>'s early paintings may have been influenced by Thomas Eakins as a result of his time studying under Anshutz. In 1893, <mask> and Glackens became regulars at a weekly "open house" at Henri's studio, where he encouraged the young men to read Whitman and Emerson and led discussions of such books as George Moore's Modern Painting and William Morris Hunt's Talks on Art. Henri believed in the need to create a new, less genteel American art that spoke more immediately to the spirit of the age, an outlook that found ready adherents in <mask> and Glackens. Style and the Ashcan School

As someone who painted city crowds and tenement rooms, shop girls and streetwalkers, charwomen and hairdressers, <mask> is one of the artists most closely

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texts: identified with the Ashcan School. Yet it was a term <mask> despised. He came to feel that it homogenized too many different painters, concentrated viewers' attention on content rather than style, and presupposed a muckraking intent.His wariness was not misplaced: exhibitions of Ashcan art in recent decades often stress its documentary quality and importance as part of an historical record, whereas <mask> felt that any artist worth anything had to be appreciated for his skilled brushwork, color, and composition. Unlike Henri, <mask> was not a facile painter and labored over his work, leading Henri to remark that "<mask>" was "the past participle of 'slow.'" (When Glackens and <mask> were at The Philadelphia Inquirer, Glackens usually got the reportorial assignments because he was more adept than <mask> in making quick sketches.) His methodical approach towards sketching carried over to his painting. "<mask>'s approach to making urban realist art was based on images seen and remembered (and sometimes written down) rather than sketched in the street, even though his autographic handling of paint and print media conveys the look of a rapid drawing. The effect is conceptual rather than perceptual, which <mask> denigrated as "eyesight painting." This was a major characteristic of his style, consistent with the Ashcan School's goal of presenting a subject to the viewer with all the immediacy of a snapshot.<mask> tended to observe city dwellers interacting in an intimate setting. A student of his wrote, he "concerned himself with what we call genre: street scenes, restaurant life, paintings of saloons, ferry boats, roof tops, back yards, and so on through a whole

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texts: catalogue of commonplace subjects." Like Edward Hopper, <mask> often used the perspective of the window in his painting, in order to gain a tight focus, but also to observe his subject undetected. He wrote in his diary, in 1911; "I am in the habit of watching every bit of human life I can see about my windows, but I do it so that I am not observed at it ... No insult to the people you are watching to do so unseen." <mask>'s attention to isolated incidents within the urban environment recalls the narrative techniques used in the realist fiction and Hollywood films he enjoyed. <mask> was described as an "early twentieth-century realist painter who embraced the principles of Socialism and placed his artistic talents at the service of those beliefs." Yet whenever <mask> was asked about the social context of his paintings or about his fervent Socialism, he said that his paintings were made with "sympathy, but no social consciousness ...I was never interested in putting propaganda into my paintings, so it annoys me when art historians try to interpret my city life pictures as 'socially conscious.' I saw the everyday life of the people, and on the whole I picked out bits of joy in human life for my subject matter." In the late 1920s, just as the market for his city pictures was finally reaching a point at which he might have made a comfortable living, <mask> changed his technique and abandoned his characteristic urban subject matter in favor of nudes and portraits. This independence was entirely typical of him, to the dismay of his dealer, Charles Kraushaar. Rejecting as superficial the spontaneous painterly technique of Manet and Hals—and also of Robert Henri and

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 George Luks—he turned instead to the underpainting and glazing method used by old masters such as Andrea Mantegna. It was an eccentric choice. The resulting paintings, which often made unconventional use of superimposed hatchings to define the forms, have never attained the popularity of his early Ashcan works.Legacy

<mask>'s paintings are represented in almost all major American museums. Among his best-known works are Hairdresser's Window (1907) in the collection of the Wadsworth Atheneum, The Picnic Ground (1907) in the collection of the Whitney Museum of American Art, The Haymarket (1907) in the collection of the Brooklyn Museum, Yeats at Petitpas in the collection of the Corcoran Gallery of Art, McSorley's Bar (1912) in the collection of the Detroit Institute of Arts, The 'City' from Greenwich Village (1922) in the collection of the National Gallery of Art, and The White Way (1927) in the collection of the Philadelphia Museum of Art. In 1971, his painting Wake of the Ferry (1907) was reproduced on a U.S. postage stamp honoring <mask>. His students included Peggy Bacon, Aaron Bohrod, Alexander Calder, Reginald Marsh, Barnett Newman, Minna Citron, and Norman Raeben. In 1939, he published a book of his teachings and aphorisms, Gist of Art, which remained in print for over sixty years. In American Visions, the critic Robert Hughes praised <mask>'s art for "an honest humaneness, a frank sympathy, a refusal to flatten its figures into stereotypes of class misery ... He saw his people as part of larger totality, the carnal and cozy body of the city itself."In American Painting from the Armory Show to the Depression, art historian Milton Brown called <mask> "the

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 outstanding figure of the Ash Can School." To his friend, the painter <mask> Yeats, and to art critic Henry McBride, he was "an American Hogarth." The lobby of the United States Post Office in Bronxville, New York, features a mural by <mask> painted in 1939 and titled The Arrival of the First Mail in Bronxville in 1846 commissioned by the Treasury Section of Fine Arts. The post office and mural were listed on the National Register of Historic Places in 1988. See also
American realism
Ashcan school

Notes

Sources
 Brooks, Van Wyck. <mask>: a Painter's Life. New York: E.P.Dutton & Co, 1955. Hills, Patricia, "<mask>'s Images of Working-Class Women: A Case Study of the Roles and Interrelationships of Politics, Personality, and Patrons in the Development of Sloan's Art, 1905–16", Prospects 5 (1980): 157–96. Cambridge University Press. Loughery, <mask>. <mask>: Painter and Rebel . New York: Henry Holt, 1995. Further reading

 Coco, Janice M. <mask>'s Women: A Psychoanalysis of Vision.Newark: University of Delaware Press, 2004. .
 Hughes, <mask>. Excerpt from American Visions: The Epic History of Art in America. Hunter, Sam. Modern American Painting and Sculpture. New York: Dell, 1959. Kennedy, Elizabeth (ed.) The Eight and American Modernisms.Chicago: University of Chicago Press, 2009. Perlman, Bennard B (editor), introduction by Mrs. <mask>. Revolutionaries of Realism: The Letters of <mask> and Robert Henri. Princeton, New Jersey: Princeton University Press, 1997. .
 Leeds, Valerie Ann. The World of <mask>. Orlando, Florida: Mennello Museum of American Art, 2009. St. John, Bruce (ed.).<mask>'s New York Scene: From the Diaries, Notes, and Correspondence, 1906-1913.

masks:
John Butler
Sloan
John Sloan
John Sloan
John
John Sloan
John Sloan
John
John Sloan
John Sloan
John Sloan
John Sloan


texts:
 New York: Harper & Row, 1965. Zurier, Rebecca. Art for "The Masses": A Radical Magazine and Its Graphics, 1911-1917. Philadelphia: Temple University Press, 1988. (see index)

External links

 Sloan's Cats
 <mask> at Artcyclopedia
 <mask> at ArtNet.com
 <mask> at AskART.com
 Seeing the City: Sloan's New York, Delaware Art Museum
 <mask> at New Mexico Museum of Art

1871 births
1951 deaths
American etchers
19th-century American painters
19th-century male artists
American male painters
20th-century American painters
Artists from Philadelphia
Artists from Santa Fe, New Mexico
Art Students League of New York faculty
Modern painters
Pennsylvania Academy of the Fine Arts alumni
Central High School (Philadelphia) alumni
Taos Society of Artists
Federal Art Project artists
20th-century American printmakers
People from Lock Haven, Pennsylvania
Society of Independent

masks:
John Sloan
John Sloan
John Sloan
John Sloan


texts:
<mask> (1916 in Barcelona – 1957 in Mexico City) was a Spanish playwright who lived and wrote in exile in Mexico after the Spanish Civil War and World War II. Life
<mask> “was educated first at local schools, then studied at the University Autonomous of Barcelona. At age Twenty she received her law degree, a rather uncommon occurrence for a woman at the time.”  She emigrated to France at the end of the Spanish Civil War (1936–1939). There she aided the resistance movement during the Second World War, an effort that resulted in her three-year internment in the Vernet concentration camp. Upon her release, she left Europe to permanently live in Mexico where she met José Reyes Mesa, the famous painter, whom she married and with whom she had two daughters, Reyes and Fernanda. She had a close friendship with a fellow playwright, the Mexican Emilio Carballido, who described Algarra as “asombrosa…atractiva…alta, altísima”  (astonishing…attractive…tall, very tall). She died in 1957 at the age of 41.Work
Algarra was best known as a playwright, although she also wrote movie and television scripts and radio novels (arguably having most financial success in the film industry). As well as her original work, she also wrote theatre adaptations of Cervantes’ La Cueva de Salamanca and Juan Ruiz’ La verdad sospechosa. While many of her plays were produced during her lifetime, her texts were not published until after her death. Individual plays were featured in a variety of theatre publications, and a complete anthology was published by Universidad Veracruz, a Mexican Publishing House, in 2008. Her plays often feature a female protagonist and treat a variety of themes, including the situation of women in society, familial

masks:
María Luisa Algarra
María Luisa Algarra


texts:
 conflict, friendship, exile, and love, and Algarra treats many of these concepts from a psychological perspective. Some of her works deal with issues specific to Mexico or her own experience in exile, while others feature universally-applicable issues. Reception
<mask>’s plays were generally well received by her contemporaries.In 1935 she received the Concursal Teatral Universitario award from the Universidad Autónoma in Barcelona for her first play, Judith, which was written in Catalan, and in 1954 she earned the “máximo reconocimento en el teatro mexicano”  (the maximum recognition in Mexican theatre) when she won the award at the Concurso de Grupos Teatrales del Distrito Federal (Mexico City Theatre Conference) for her play Los años de prueba. It is of note that the aforementioned prize is awarded to a play that should be “de autor mexicano, escrita con posterioridad al año 1917, y tratar un problema mexicano”  (by a Mexican author, written after 1917, and about a Mexican problem). Los años de prueba also won the INBA and Juan Ruiz de Alarcon awards, the latter for the best play of 1954. Her work has not been the focus of a great amount of literary criticism, but recently has garnered slightly increased attention. Carballido, in his prologue to Algarra’s complete works anthology affirms that “las obras de teatro…siguen brillantes y actuales”  (the plays continue to be brilliant and currently relevant); while other critics are not quite as complimentary. In the Algarra entry in the reference book Teatro español [de la A a la Z], by Javier Huerta Clavo, Emilio Peral Vega and Hector Urzáiz Tortajada, several of her plays are mentioned, and then the authors refer to “[t]ítulos posteriores…donde insiste en


texts:
 sus ideas antiburguesas y revolucionarias con un plantamiento formal demasiado maniqueo y discursivo”  (later titles where [Algarra] insists on her anti-bourgeois and revolutionary ideas with an overly manichaeistic and overly discursive formal approach). Juan Pablo Heras González takes a more balanced approach, praising “el ingenio de sus diálogos”  (the ingenuity of her dialogues) and “la densidad psicológica”  (the psychological density) of the characters but also concedes that “ninguna de sus obras alcanza la perfección”  (none of her works achieves perfection).He laments that Algarra died when “lo mejor de su obra estaba por llegar”  (the best of her work was yet to come) and claims that “logró una presencia escénica en México muy superior, que hubiera constituido una de las mayores influencias del exilio teatral español en México, de no haberse interrumpido tan pronto su vida”  (she achieved a superior stage presence in Mexico that would have constituted one of the greatest influences on Spanish theatre of exile in Mexico had her life not been interrupted so early). Published plays
 Judith  (1936)
 Primavera inútil  (1944)
 Sombra de alas  (late 1940s)
 Una passion violenta (early 1950s)
 Casandra o la llave sin puerta  (1953)
 Los años de prueba  (1954)

Movie scripts
 Échame la culpa (1959) (story)
 La venenosa (1959) (writer)
 Amor se dice cantando (1959) (screenplay) (story)
 Los santos reyes (1959) (story)
 Aladino y la lámpara maravillosa (1958) (writer) ... aka Aladdin and the Marvelous Lamp International: English title)
 Las mil y una noches (1958) (dialogue) ... aka A Thousand and One Nights (International: English title)
 Refifí entre las mujeres (1958) (story) (as Ma. Luisa Algarra)


texts:
 Escuela para suegras (1958) (story) ... aka School for Mothers-in-Law (International: English title)
 La sombra del otro (1957) (dialogue)
 La mujer marcada (1957) (story)
 Mal de amores (Rogaciano el huapanguero) (1957) (additional dialogue)
 Que me toquen las golondrinas (1957) (writer) ... aka La despedida (Argentina)
 Las aventuras de Pito Pérez (1957) (additional dialogue) ... aka The Adventures of Pito Perez (International: English title)
 Tú y las nubes (1955) (story) ... aka Limosna de amores (Spain)
 Nosotros dos (1955) (screenplay) (story) ... aka We Two (International: English title)
 La posesión (1950) (writer)
 Encadenada (El yugo) (1947) (additional dialogue) ... aka Encadenado (Mexico)

References

Works cited
 Carballido, Emilio. “Prólogo.” Antología de obras dramáticas / María Luisa Algarra. Veracruz: Universidad Veracruzana, 2008. Heras González, Juan Pablo. “María Luisa Algarra, una autora de exilio: trayectoria dramática.” Signa 15 (2006): 325-339.Huerta Calvo, Javier, Emilio Peral Vega, and Héctor Urzáiz Tortajada. Teatro español [de la A a la Z]. Madrid: Espasa Calpe, 2005. The Internet Movie Database. 2009. 26 September 2009 <https://www.imdb.com/>. <mask> Campos, A. de.Veintiún años de crónica teatral en México, I. Primera parte (1944–1950); II. Segunda Parte (1951–1955). México: INBA-CITRU-IPN, 1999. Stroll, Anita K. Dictionary of Mexican Literature. Ed. By Eladio Cortés. West Port, CT: Greenwood Publishing, 1992.1916 births
1957 deaths
Mexican dramatists and playwrights
Mexican women writers
Catalan dramatists and playwrights
People from Barcelona
Spanish emigrants to Mexico
Women dramatists and playwrights
20th-century Spanish women writers
20th-century Spanish dramatists and


texts:
<mask>  (21 December 1914 – 22 November 2010) was an Australian scientist with a distinguished career in the field of virology. His two greatest achievements are cited as overseeing the eradication of smallpox, and the control of Australia's rabbit plague through the introduction of Myxoma virus. The Australian Academy of Science awards annually the prestigious Fenner Medal for distinguished research in biology by a scientist under 40 years of age. Early life
<mask> was born in Ballarat in 1914, but the family moved to Adelaide, South Australia in November 1916. He attended Rose Park Primary School and Thebarton Technical School. He attended the University of Adelaide, where he earned degrees in medicine and surgery in 1938. That year, uneasy about Hitler's rise, he legally changed his middle name to John.<mask> was a member of an Adelaide University anthropological expedition to Nepabunna Mission in the northern Flinders Ranges in South Australia in May 1937 led by J.B. Cleland, which also included Charles P. Mountford as ethnologist and photographer, as well as botanist Thomas Harvey Johnston, and others. From 1940–1946 he was a Captain and Major in the Australian Army Medical Corps with service in Australia, Palestine, Egypt, New Guinea, and Borneo, as medical officer in field ambulance and casualty clearing station, pathologist to general hospital, and malariologist. For his work in combating malaria in Papua New Guinea he was made a Member of the Order of the British Empire in 1945. Following his war-time service he was recruited by <mask> Burnet to work at the Walter and Eliza Hall Institute of Medical Research in Melbourne. Initially they worked on smallpox in mice, for which he coined the term "mousepox", and later on the genetics of poxvirus. In 1949 he received a fellowship to study at the Rockefeller Institute for Medical Research in New York City, he worked on mycobacterium Bairnsdale bacillus, which causes Buruli ulcer, the third most important mycobacterial disease worldwide

masks:
Frank John Fenner
Frank Johannes Fenner
Fenner
Frank Macfarlane


texts:
 after tuberculosis and leprosy. Here he worked with and was influenced by René Dubos, who is one of the claimed originators of the phrase "Think Globally, Act Locally".Career in Canberra
Returning to Australia in 1949, he was appointed Professor of Microbiology at the new John Curtin School of Medical Research at the Australian National University, Canberra. Here he began studying viruses again, in particular the myxoma virus. Throughout the 1940s and 1950s Australia had severe rabbit plagues. <mask>'s work on the myxoma virus showed that initially it killed rabbits in 9 to 11 days and was 99.5% lethal. Under heavy selection pressure, the few rabbits that survived developed resistance, which meant that the pest was never completely eradicated, but their numbers were reduced. Prior to the release of the virus as a biological control for the rabbits, <mask>, <mask> Burnet, and Ian Clunies Ross famously injected themselves with myxoma virus, to prove it was not dangerous for humans. <mask> was Director of the John Curtin School from 1967 to 1973.In 1977, he was named the chairman of the Global Commission for the Certification of Smallpox Eradication. The last known case of naturally transmitted smallpox occurred in Somalia in 1977. Professor <mask> announced the eradication of the disease to the World Health Assembly on 8 May 1980. This success story is regarded as the greatest achievement of the World Health Organization. Before its eradication, smallpox was one of the world's most virulent viruses, responsible for millions of deaths, and leaving many of the victims who survived with disfiguring scars for life. Professor <mask> had an abiding interest in the environment, and was the foundation Director of the Centre for Resources and Environmental Studies at the ANU (1973), where he worked until his retirement in 1979, and which became part of the Fenner School of Environment and Society in 2007. He was a keen supporter of Australia having an ecologically, socially sustainable population.He

masks:
Fenner
Fenner
Frank Macfarlane
Fenner
Fenner
Fenner


texts:
 was Emeritus Professor at the John Curtin School of Medical Research. In an interview with The Australian on 16 June 2010, he predicted the extinction of the human race within a century, primarily as the result of human overpopulation, environmental degradation and climate change. He died in Canberra on the morning of 22 November 2010 after a brief illness, and days after the birth of his first great-grandchild. Personal life
In 1944 Fenner met Bobbie Roberts. Ellen Margaret 'Bobbie' Roberts was a trained midwife and nurse. During World War II she worked on malaria with the Australian Army Nursing Service and through her work met Fenner. Shortly after they met they married in a Catholic ceremony (despite Fenner being an atheist).While keen to have children, the couple were infertile and with Bobbie having a hysterectomy in 1949 they decided to adopt. They subsequently adopted two children. Marilyn Aldus <mask> was born on 27 June 1950. Her biological parents were unknown. <mask> (born 1 March 1943) was adopted later at the request of her father (<mask>'s younger brother Tom) after the death in a fire of Victoria's mother (Beverley Slaney). On 30 March 1958, <mask>, shot and killed herself, with the assistance of another child, Catherine Webb. The coronial inquiry heard she had been passing through a period of extreme mental and spiritual disturbance and the coroner declared her death a suicide.<mask> himself was unable to fathom a motive, other than she was upset from reading Neville Shute's book, On the Beach. Bobbie <mask> was diagnosed with cancer in 1989 and eventually died in 1994. <mask> and her family then moved into the family home and looked after her father until his death. Publications
 <mask> and Francis Ratcliffe, Myxmatosis. Cambridge University Press, 1965. Honours
Of the many honours Professor Fenner received throughout his career, there are the following:
 Member of the Order of the British Empire (MBE), 19 July 1945
 Companion of the Order of St Michael and St George

masks:
Fenner
Victoria Fenner
Fenner
Victoria Fenner
Fenner
Fenner
Marilyn Fenner
Frank Fenner


texts:
 (CMG) 12 June 1976, in recognition of service to medical research
 The Macfarlane Burnet Medal and Lecture of the Australian Academy of Science, 1985
 The Japan Prize (Preventive Medicine), 1988 (with Donald Henderson and Isao Arita)
 Companion of the Order of Australia (AC) 26 January 1989, in recognition of service to medical science, to public health and to the environment
 Copley medal of the Royal Society, 1995
 Albert Einstein World Award of Science, 2000
 Clunies Ross Lifetime Contribution National Science and Technology Award, 2002
 Both the <mask>ner building which houses the ANU Medical School and Faculty of Science, and a residential college Fenner Hall are named in honour of <mask>ner. WHO Medal
 Mueller Medal (1964) and ANZAAS Medal (1980)
 ANZAC Peace Prize
 Matthew Flinders Medal and Lecture, 1967
 Britannica Australia Award for Medicine
 2002 Prime Minister's Prize for Science
 ACT Senior Australian of the Year 2005
 The federal Division of Fraser, named for Jim Fraser, was renamed after <mask> for the 2016 general election.This was due to the AEC's plans to name a seat in Victoria in honour of deceased Prime Minister Malcolm Fraser. References

External links
 Online Guide to Records at the South Australian Museum Archives
 Australian Academy of Science—Interview with Professor <mask>
 EmerProfessor <mask>'s Webpage at JCMSR
 Australian War Memorial Honours and Awards Database
  Originally published in Historical Records of Australian Science, vol.24, no.1, pp. 109–133, 2013. 1914 births
2010 deaths
Albert Einstein World Award of Science Laureates
Australian virologists
Australian microbiologists
Smallpox eradication
Fellows of the Australian Academy of Science
Australian atheists
Fellows of the Royal Society
Foreign associates of the National Academy of Sciences
Companions of the Order of Australia
Australian Companions of the Order of St Michael and St George
Australian Members of the Order of the British Empire
Recipients of the Copley Medal
People from Ballarat
WEHI

masks:
Frank Fen
Frank Fen
Frank Fenner
Frank Fenner
Frank Fenner


texts:
Sheikh <mask> (born Abubakar Garad Usman; November 1895 - 5 April 1980) was an Oromo scholar, poet and religious teacher. He is best known as the inventor of a writing system for the Oromo language. Life
<mask> was the son of Garad Usman Oda, a landowner in the area of the Sapalo River who was among those who were carried over into Emperor Menelik's regime after the conquest of the Emirate of Harar. His son Abubakar was born eight years after the conquest of Harar, and probably some sixteen years after Garad Usman had embraced Islam; Abubakar had three brothers and four sisters. Although reputed to have been a good Muslim and remembered to this day for his skill in oratory and command of the Oromo language, Garad Usman remained illiterate. R. J. Hayward and Mohammed Hassan speculate, based on her name, that his mother Kadiga was also a Muslim. After receiving his elementary education, Abubakar went to Chercher where he studied under the Islamic teacher Sheikh Umar Aliyye Balbaletti, and afterwards went to Harar to study with Sheikh Yusuf Adam for a number of years there.Although he also studied under other Islamic teachers, these were the only ones he wrote biographies about. After devoting 20 years of his life to his studies, he returned to his home village of Sapalo, where he began to teach. Besides religion, subjects he taught included geography, history, mathematics, astronomy, Arabic, and the composition of writings in the Oromo language. He also began to compose poetry in the Oromo language, which not only brought him fame but the name he afterwards was known by, Sheikh <mask> Sapalo: "Bakri" is the popular form of "Abubakar" and Sapalo after his village. Sheikh <mask> eventually left Sapalo and taught in a number of places, of which the three best known are Hortu, near Dire Dawa, the city of Dire Dawa itself, and Addelle, a place some 25 kilometers from Dire Dawa, on the road to Harar. It was

masks:
Bakri Sapalo
Bakri Sapalo
Bakri
Bakri


texts: at Addelle where he built a school and what came to be known as his mosque. He is said to have married a local woman at every place he stayed, at least 11 of whom are known.He had eighteen children by three of his wives, thirteen sons and five daughters. Despite the large number of wives, he carefully obeyed the Muslim commandments on polygamy, for he is said never to have had more than two wives at once, and towards the end of his life he had only one wife. During this time he also wrote prolifically both in Arabic and Oromo. He is believed to have invented his writing system for Oromo in 1956 at the village of Hagi Qome. Neither Hayward nor Hassan offer a reason why Sheikh <mask> returned to his home area to work on his system, "unless it was for the purpose of keeping the thing secret, for the authorities would certainly have been adamantly opposed to the idea of Oromo being written in any form, let alone in a script other than Ethiopic." Although it was initially met with great enthusiasm and found a number of users in his province of Hararghe, the Ethiopian authorities predictably reacted with fear that he was "inciting the Oromo to too great an ethnic consciousness and thus endangering the national unity." Local officials moved quickly to suppress its use, and in 1965 Sheikh <mask> was placed under house arrest in Dire Dawa but allowed to continue his teaching.In 1968, he was given permission to visit Addelle two or three times a week. It was during these years that he wrote Shalda, a twenty-page pamphlet which purported to be a work of religious instruction, but was actually from beginning to end a caustically worded indictment of Amhara colonial oppression and an account of the suffering of the Oromo under the rule of Emperor Haile Selassie. Hayward and Hassan further note that "Shalda is of interest in that it is really both the first and the last major writing in Shaykh <mask> <mask>'s

masks: Bakri Bakri Bakri Sapalo


texts:
 alphabet." In 1978, after Emperor Haile Selassie was deposed and the Derg gained power, Sheikh <mask> and his wife fled the Red Terror and fled to Somalia where they were admitted to a refugee camp in Hiraan. Sheikh <mask> had hoped he would be allowed to proceed further to Mogadishu where he could work and have his writings published, but he never received permission to leave the camp. Conditions there proved too much for a man in his eighties, and he died in the camp after a prolonged illness. Works
Although Sheikh <mask> wrote many works both on religious and secular topics, except for a few distributed in mimeograph form all of his writings remained in manuscript form during his lifetime, and were distributed amongst his students.Hayward and Hassan list eight of his writings in Arabic, which at the time could be consulted in Mogadishu: Dirdsa fi al-mantiqa 1-Harariyya jughrafiyyan wa bashariyyan, a study of the geography and demography of the Harar region of about 200 pages; two works on history, Janaza shamarikh min hadayiz al-tawarikh 95 pages in length, and Kitab irsal al-sawarikh ila sama' al-tawarikh a history of the Oromo in 56 pages; three religious writings Al-mawahib al-madadiyyah fi l-'awf al-'adadiyya, Muqaddamat taysir al-zari'a (48 pages long), and Taysir al-zari'a ila fuquhiyy fi ahkam al-shari'a; and the two biographies of his teachers mentioned above. Mohammed Hassan made use of Sheikh Bakri's Kitab irsal al-sawarikh ila sama' al-tawarikh in writing his The Oromo of Ethiopia, a History: 1570-1860, describing the manuscript in the bibliography as sketching "an overall panorama of Oromo history from early times to the present. Although it is not free from major limitations on early Oromo history, it contains much useful data on the gada system." Hassan relies on it heavily in his discussion on the gada system. Legacy
As noted above, Sheikh <mask> was also a renowned Oromo poet.

masks: Bakri Bakri Bakri Bakri


texts:
 "Shaykh <mask>, write Hayward and Hassan, "stirred the imagination and captured the love of the Oromo masses by means of his poems, which were composed in their language and were short enough for the people to learn by heart." Sheikh Bakri Sapalo's chief accomplishment is his writing system.Although Oromo has been transcribed using two writing systems Sheikh <mask> was familiar with, the Ge'ez script and the Arabic alphabet, both are "far from adequate" in Hayward and Hassan's opinion, for reasons they set forth. (Most important being that Amhara has only seven vowels while Oromo has 10.) While they "have no reason whatsoever to entertain the belief that Shaykh <mask> had ever studied modern linguistics, or was acquainted with the concept of the phoneme, it is nevertheless the case that his writing system is almost entirely phonemic; that is to say, it is a system achieving the ideal of just one graphic symbol for each phonologically distinctive sound of the language." They further describe his writing system as a combination of a syllabary and an alphabet in that while the Ge'ez script builds on a consonantal base, the base character never appears without a modification to show the paired vowel. However, although the symbols <mask> adopted are not cursive, which suggests a connection with Ge'ez over Arabic, none of them can be traced to either writing system; "they are a complete novelty." References

Relevant literature
 Nuraddin Aman Jarso. 2012.Philological Inquiry on the History Manuscript of šayḫ <mask> Saphalo. Addis Ababa University: MA thesis. Web access to thesis. External links
 "Oromia and the Oromo People: The Language", Gadaa website. (Contains a table of Sheikh <mask>'s writing system with values.) The Oromo Orthography of Shaykh Bakri Saṗalō

1895 births
1980 deaths
Oromo people
Linguists from Ethiopia
Ethiopian Muslims
Ethiopian scholars
Creators of writing systems
20th-century

masks:
Bakri
Sapalo
Bakri
Sheikh Bakri
Bakri
Sapalo


texts:
<mask> (9 April 1627 – 13 February 1693) was a German baroque composer and organist. He is also known as Kerl, Gherl, Giovanni Gasparo Cherll and Gaspard Kerle. Born in Adorf in the Electorate of Saxony as the son of an organist, Kerll showed outstanding musical abilities at an early age, and was taught by Giovanni Valentini, court Kapellmeister at Vienna. Kerll became one of the most acclaimed composers of his time, known both as a gifted composer and an outstanding teacher. He worked at Vienna, Munich and Brussels, and also travelled widely. His pupils included Agostino Steffani, Franz Xaver Murschhauser, and possibly <mask>, and his influence is seen in works by Handel and <mask>: Handel frequently borrowed themes and fragments of music from Kerll's works, and Bach arranged the Sanctus movement from Kerll's Missa superba as BWV 241, Sanctus in D major. Although Kerll was a well-known and influential composer, many of his works are currently lost.The losses are particularly striking in vocal music, with all 11 known operas and 24 offertories missing. The surviving oeuvre shows Kerll's mastery of the Italian concerted style, employed in almost all of his masses, and his highly developed contrapuntal technique. He was influenced by Heinrich Schütz in his sacred vocal music, and by Girolamo Frescobaldi in keyboard works. Life
Kerll was the son of <mask> <mask> and Catharina Hendel (married 1626). He was born in 1627 in Adorf, where his father served as organist of the Michaeliskirche (appointed after building the church organ with Jacob Schädlich). <mask> <mask> probably gave music lessons to his son, who apparently demonstrated exceptional musical abilities; by 1641 he was already composing and sometime later during the early 1640s he was sent to Vienna to study under Giovanni Valentini, court Kapellmeister and composer. Kerll's professional career started in Vienna, where he served as organist,

masks:
Johann Caspar Kerll
Johann Pachelbel
Johann Sebastian Bach
Caspar
Kerll
Caspar
Kerll


texts: and continued in approximately 1647/8, when Archduke Leopold Wilhelm of Austria (then the governor of the Spanish Netherlands) employed him as chamber organist for the new residential palace in Brussels.During the following several years <mask> was somehow able to combine travelling with working in Brussels without losing his job. First, Leopold Wilhelm sent him to Rome to study under Giacomo Carissimi. This was around 1648/9; Kerll must have met <mask> Froberger and might have studied with him. Returning to Brussels for a brief time, he left again in the winter of 1649–1650, travelling to Dresden. He also attended the wedding of Philip IV of Spain and Marie-Anne of Austria, visited Vienna several times in 1651 and 1652 and spent some time in Göttweig and Moravia. Abraham van den Kerckhoven substituted for Kerll while he was away and ultimately succeeded him in 1655, when Kerll left. In February 1656 Kerll accepted a temporary post of Vice-Kapellmeister at the Munich court under Elector Ferdinand Maria.In March he succeeded Giovanni Giacomo Porro as court Kapellmeister. Kerll's fame started growing rapidly as he was given more and more important tasks. Particularly important of these are his opera Oronte (now lost), which inaugurated the Munich opera house in January 1657, and a vocal mass composed in 1658 for the coronation of Emperor Leopold I at Frankfurt. While in Munich, Kerll married Anna Catharina Egermayer in 1657. The couple had eight children, but only one of them, the youngest son, pursued a career in music. The Munich years were especially important for Kerll: he was apparently favoured by Ferdinand Maria, who would provide support for the rest of Kerll's life; in 1664 he was ennobled by the emperor; in 1669 his first published works appeared: Delectus sacrarum cantionum, a collection of vocal music, and a Missa pro defunctis, both dedicated to Ferdinand Maria. Kerll gave up his post

masks:
Kerll
Johann Jakob


texts:
 in Munich in 1673 for unclear reasons – it is believed that there was a particularly serious quarrel with other court musicians (Italian singers) which made him leave.Kerll did, however, maintain contact with Elector Ferdinand Maria until his death. In 1674 Kerll moved to Vienna. A pension was granted to him in 1675 by the emperor, who in 1677 employed him as one of his court organists. Although it has been suggested that Kerll might have worked at the Stephansdom, there is no proof. If he did, however, <mask> would have been his deputy organist there. The 1679 plague, commemorated by Kerll in Modulatio organica, a collection of liturgical organ music, resulted in Anna Catharina's death. He married Kunigunde Hilaris in 1682/3 and stayed in Vienna for the next 10 years, surviving the Turkish invasion of 1683, which he also commemorated in music in Missa in fletu solatium.He visited Munich several times between 1684 and 1692, publishing his Modulatio organica (1686) and Missae sex (1689, dedicated to the emperor) there. At the end of 1692 Kerll relinquished his Vienna position and returned to Munich, where he died shortly afterwards. Influence
Although Kerll was a renowned teacher during his lifetime, his pupils did not, in all probability, include any considerably important composers, although <mask> Fux possibly studied with him for a time. Agostino Steffani is perhaps his best-known pupil. Kerll's influence on later composers, however, is undeniable. <mask> studied Kerll's style, which is particularly obvious from his organ chaconnes, which are reminiscent of Kerll's ostinato works; he may have also studied with Kerll, although there is no proof. The two most important German composers of the late Baroque era, <mask> Bach and George Frideric Handel, both studied Kerll's work: Bach arranged the Sanctus part of Kerll's Missa superba in his Sanctus in D major (BWV 241), and Handel frequently

masks:
Johann Pachelbel
Johann Joseph
Johann Pachelbel
Johann Sebastian


texts:
 borrowed themes, and sometimes whole pieces, from Kerll's canzonas (the theme from Canzona No.6 is taken for Let all the Angels of God from Messiah, Egypt was Glad from Israel in Egypt is practically similar to Canzona No. 4, etc.). Works
Kerll was highly regarded by his contemporaries: many of his works were published during his lifetime. Particularly important are the many printed concerted masses, a collection of motets and sacred concertos entitled Delectus sacrarum cantionum (Munich, 1669) and Modulatio organica super Magnificat octo ecclesiasticis tonis respondens (Munich, 1686), which contains liturgical organ music. <mask> was not an especially prolific composer, so the surviving works are relatively few. Much of his music was lost, including 11 operas (which he was most famous for during his lifetime), 25 offertories, four masses, litanies, chamber sonatas and miscellaneous keyboard works. Keyboard music
The surviving keyboard music is cast in the typical southern German style, combining strict German counterpoint with Italian styles and techniques; Frescobaldi and especially Froberger were the most important influences.Most of Kerll's keyboard works are playable on both pipe organ and harpsichord, the exceptions are four dance suites composed for harpsichord and two organ toccatas: Toccata quarta Cromatica con Durezze e Ligature and Toccata sesta per il pedali. Partial chronology can be established using Kerll's (incomplete) catalogue of his own works which is included in the 1686 Modulatio organica (it is the earliest surviving thematic catalogue of a specific composer's works): it lists 22 pieces, 18 of which were composed by 1676 at the latest. The earliest known composition by Kerll, Ricercata à 4 in A (also known as Ricercata in Cylindrum phonotacticum transferanda), was published in 1650 in Rome. Kerll's eight toccatas (that correspond to the eight church modes) alternate between


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 free and strict contrapuntal sections, sometimes in contrasting meters. Frequent use of 12/8 gigue-like endings is similar to Froberger's toccatas. The four dance suites are also reminiscent of Froberger's suites, yet two of them contain variation movements. Kerll's canzonas consist, typically for the time, of several fugal sections; some also have toccata-like passagework embedded in the development of cadences.Two ostinato works survive, a passacaglia and a chaconne, both built on a descending bass pattern; the passacaglia is perhaps Kerll's most well-known work. The two best known keyboard pieces by Kerll are both programmatic, descriptive pieces. Battaglia is a descriptive piece in C major, over 200 bars long and featuring numerous repeats of fanfare-like themes, it is also attributed to Juan Bautista Cabanilles. Capriccio sopra il Cucu is based on an imitation of the cuckoo's call, which is heard more than 200 times in the piece. It is modelled after Frescobaldi's piece based on the same idea, Capriccio sopra il cucho, but is more structurally and harmonically complex. The idea of repeating a particular theme in Kerll's music reaches its extreme in the Magnificat tertii toni, where a fugue subject consists of sixteen repeated E's. Vocal and chamber music
Kerll wrote numerous non-keyboard works, especially during the Munich years: while he was reviving the court chapel ensemble of the Munich court, Kerll must have composed a wealth of chamber music, and all operas (around 10 or 11) were also all composed in Munich, starting with the Oronte of 1657.Kerll's chamber works include a canzona for two violins, viola da gamba and basso continuo and three sonatas. Most vocal works employ an advanced concertato technique; the requiem mass Missa pro defunctis from 1669, scored for five voices with no accompaniment, is a notable exception. The works of Delectus sacrarum cantionum, motets and sacred


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 concertos for 2–5 voices, are sectional compositions alternating between imitative writing and free, highly ornamented parts. They are reminiscent of Heinrich Schütz's pieces from Kleine geistliche Concerte. Six of the surviving masses were published during Kerll's lifetime as Missae sex, cum instrumentis concertantibus, e vocibus in ripieno, adjuncta una pro defunctis cum seq. Dies irae (Munich, 1689). The complex imitative counterpoint that dominates Kerll's chamber music is also present in most of his sacred vocal works: in Missa non sine quare every movement ends with a grand fugue, a similar technique is seen in Missa Renovationis (which is almost entirely based on five themes used for the Kyrie movement), where every division of the mass also closes with a large fugal section.Stretto entries of a highly chromatic subject in works like Missa in fletu solatium result in strong dissonances (the mass in question, commemorating the events of a Turkish siege that cost Kerll's friend, Alessandro Poglietti, his life, contains a continuo part that includes an "avoid consonances" warning from the composer). List of works

Published during the composer's lifetime
 Ricercata a 4 in A for keyboard instrument – published in Athanasius Kircher's Musurgia universalis (Rome, 1650)
 Delectus sacrarum cantionum (Munich, 1669), 26 motets for 2–5 voices
 Modulatio organica super Magnificat octo ecclesiasticis tonis respondens (Munich, 1686), Magnificat versets for organ, covering all eight church modes
 Missae sex, cum instrumentis concertantibus, e vocibus in ripieno, adjuncta una pro defunctis cum seq. Dies irae (Munich, 1689), a collection of concertato masses

Surviving in manuscripts

Vocal
 Missa a 3 chori
 Missa cujus toni
 Missa nigra
 Missa pro defunctis (1669)
 Missa quasi modo genita
 Missa Quid vobis videtur (1670)
 Missa superba (1674)
 Missa volante
 3 untitled masses with only Kyrie and Gloria


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 movements, 1 untitled mass with only the Sanctus movement
 16 sacred works on Latin texts, 3 on German texts
 Pia et fortis mulier S Natalia S Adriani martyris coniuge expressa, school play (Vienna, 1677)
 a secular cantata on German text
 a secular duet on Italian text

Keyboard
 11 toccatas (8 a separate cycle, 3 more in another source)
 6 canzonas
 5 versets
 4 suites
 2 preludes
In addition to these, an assortment of other keyboard pieces survives: a chaconne, a passacaglia, a battaglia, a Capriccio sopra il cucu and an aria with two variations. Other instrumental
 Canzona for two violins, viola da gamba and basso continuo
 2 sonatas for two violins, viola da gamba and basso continuo
 Sonata modi dorii for two violins, viola da gamba and basso continuo
 Sonata for two violins, two violas and basso continuo

Lost works
 25 offertories
 11 operas
 4 masses
 Other works, including litanies and sonatas

List of operas
Oronte (Alcaini, 1657)
Applausi Festivi (1658)
Ardelia (1660)
Erinto (1661)
Antiopa giustificata (1662)
L'amor della patria superiore al' ogn' altro (1665)
Atalanta (1667)
Amor tiranno ovvero Regnero innamorato (1672)

References
 Mattheson, Johann. Johann Mattheson's Der Vollkommene Capellmeister: A Revised Translation with Critical Commentary, Theosophical Classics Series, UMI Research Press (January, 1981). Rampe, Siegbert; Rockstroh, Andreas. 'Johann Kaspar Kerll', The New Grove Dictionary of Music and Musicians.Walther, <mask>. Musicalisches Lexicon oder Musicalische Bibliothec. Neusatz des Textes und der Noten, Bärenreiter (June 1, 2001). Notes

External links

1627 births
1693 deaths
People from Vogtlandkreis
People from the Electorate of Saxony
German Baroque composers
German classical composers
German classical organists
Organists and composers in the South German tradition
German male organists
17th-century classical composers
German male classical composers
17th-century


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<mask> (1644 – December 1709) was an Irish landowner,  barrister and judge. He held office as Lord Chief Justice of Ireland from 1695-1709. Background - the <mask>s of Mogeely
He was born in County Cork, the fourth son of <mask> of Mogeely,  near Castlemartyr  and Jane Tynte, daughter  and  co-heiress of Sir Robert Tynte of Ballycrenane (of the  family of the Tynte Baronets) and  his wife Elizabeth Boyle,  who was one of the numerous cousins of the Earl of Cork. His father was probably the <mask> who was a key witness for the prosecution  at the trial of Florence  Newton for witchcraft held  at Youghal  in 1661. Nicholas  was the eldest  son of the English-born  settler <mask> of Mogeely (Mogylie). Henry, who is thought to have belonged  to
a junior  branch of the prominent Pyne family of  Upton Pyne,  Devon,  had received  a substantial lease of  lands in County  Cork c.1589,  and built Mogeely Castle (which  no longer stands, although some remains survive). During the serious disturbances in 1598, he  saved himself by  a headlong flight back to England, but was later accused of secretly helping the Irish rebels.In fairness to <mask>, he was  only one of many settlers in Munster  who fled ignominiously to safety. Henry returned to Ireland in about 1601 and prospered,  despite quarrelling with other settlers, notably  Sir Walter Raleigh, from  whom he rented his  lands, and  the formidable <mask>  Boyle, 1st Earl of Cork, who  acquired  Raleigh's interest, and  giving rise to much gossip about his unscrupulous business practices.He died  sometime  after  1620. His wife was a Miss Stronge from Dunkitt,

masks:
Sir Richard Pyne
Pyne
Nicholas Pyne
Nicholas Pyne
Henry Pyne
Pyne
Richard


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  County Kilkenny. Education and early career

<mask> matriculated  from Queen's College, Oxford in 1662 and  entered the  Middle  Temple the same year.He  was called to the English Bar in 1669 and to the Irish Bar in 1674,  when he also entered the King's Inns. In the  same
year he inherited  the  estates  of his brother  Henry,  who had just
died childless (their father had died in 1670). He became  King's  Counsel
in 1685, and  in 1686  counsel to the Irish Revenue Commissioners. Although he was willing to accept office under the Roman Catholic King James II, he was himself  a strong Protestant  and a Whig in politics, and was later a  supporter of the Revolution of 1688.In 1688  he  quarrelled sharply with  Justin MacCarthy, Viscount Mountcashel, one of James II's most influential Irish generals, but later denied that he had fought a duel with him.Judicial career
After the Battle of the Boyne in 1690, he was appointed joint Commissioner of the Great Seal of Ireland with Sir <mask> and Sir Robert Rochfort and also acted as a judge of oyer and terminer in Ulster.Early in 1691 he was appointed Chief Justice of the Irish Common Pleas, at the personal request of William III. This was a notable mark of royal favour, as the office had  apparently already been promised to John Osborne, the Prime Serjeant. The decision to appoint <mask> instead  may reflect Osborne's growing unpopularity with his political superiors, who  removed him from office  the following year for gross insubordination. <mask>  was knighted in 1692. <mask>  was promoted to the office of Lord Chief Justice of the King's Bench for

masks:
Richard
Richard Ryves
Pyne
Pyne
Pyne


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 Ireland in 1695. He held the latter office until his death, although he seems to have been in failing health in his last years, and frequently visited Bath in hope of a cure. The memoirist and poet Elizabeth Freke  (who  was  English  born, but married a cousin from  County Cork and settled there) in her Diary noted his presiding at the  Cork  assizes  in 1694,   where he condemned 28 men to be hanged or  branded in the hand (the latter was a frequent penalty for serious but  non-capital crimes).Elizabeth made a personal plea for clemency in one case where she believed the condemned man was guilty of manslaughter,  not murder.He presided  at the  trial
for  embezzlement  of Colonel James  Waller,  Lieutenant-Governor of Kinsale,
in 1697.As Chief Justice he clashed with the powerful cleric William King, Bishop of Derry and future Archbishop of Dublin, who accused him of interfering in Church affairs. He is listed as one of the trustees of the King's Inns in 1706. He was awarded the  Freedom  of the City of Dublin in 1707. He died at his English estate in Surrey in December 1709. Property
<mask> was a substantial landowner in County Cork: he lived mainly at Waterpark, near Carrigaline, and also acquired estates at Ardra and Ballinaneala. In 1703 he bought Blarney Castle, but sold it a few months later, apparently on the basis of a rumour (unfounded as it turned out) that the dispossessed owners, the MacCarthys, were about to recover it. He also owned an estate at Ashley, near Guildford, Surrey, where he died,  and Great Codham Hall   near Braintree, Essex.He is chiefly remembered nowadays as the


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 builder of Ballyvolane House near Fermoy, although it was not completed until a considerable time after his death. Family
He married Catherine Wandesford, daughter of Sir Christopher Wandsford, 1st Baronet  of Kirklington, Yorkshire  and Eleanor Lowther, and grand-daughter  of the statesman Christopher Wandesford, Lord Deputy of Ireland and Alice Osborne. His only son Henry married Anne Edgecume,  daughter of Sir <mask> and Lady Anne Montagu,  and sister of <mask>, 1st Baron Edgcumbe. Their daughter Anne married Sir Henry Cavendish and was the mother of the statesman Sir Henry Cavendish, 2nd Baronet, whose descendants took the title Baron Waterpark. <mask> also left substantial lands, including Ballyvolane,  to his nephew Robert Wakeham,  the son of his sister Jane. As  a condition of inheriting these lands  laid down in his uncle's will,  Robert  added the surname <mask> to his original name; the Wykeham Pynes remained at Ballyvolane for several generations. Robert was dead by 1715, when his widow Margaret filed a lawsuit  in the  Court of Chancery.Reputation
In 1698 the Irish born author and publisher  John Dunton   who  was on a visit to Dublin, gave a favourable picture of most of the Irish judiciary, including <mask>, describing them as  "men whose reputation is such that no one complains of them". A portrait of <mask>  in his  judicial
robes  by William Gandy still exists. References

Irish barristers
People from County Cork
Alumni of The Queen's College, Oxford
1644 births
1709 deaths
Members of the Privy Council of Ireland
Lords Chief Justice of Ireland
Chief Justices of the Irish Common

masks:
Richard Edgecumbe
Richard Edgcumbe
Pyne
Pyne
Pyne
Pyne


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<mask> (;   16 February 1877 – 27 July 1938) was an Irish seaman and Antarctic explorer who was awarded the Albert Medal for Lifesaving (AM). Crean was a member of three major expeditions to Antarctica during the Heroic Age of Antarctic Exploration, including Robert Falcon Scott's 1911–1913 Terra Nova Expedition. This saw the race to reach the South Pole lost to Roald Amundsen and ended in the deaths of Scott and his party. During the expedition, Crean's  solo walk across the Ross Ice Shelf to save the life of Edward Evans led to him receiving the Albert Medal. Crean left the family farm near Annascaul, in County Kerry, to enlist in the Royal Navy at age 16. In 1901, while serving on Ringarooma in New Zealand, he volunteered to join Scott's 1901–1904 Discovery Expedition to Antarctica, thus beginning his exploring career. After his experience on the Terra Nova, Crean's third and final Antarctic venture was as second officer on Ernest Shackleton's Imperial Trans-Antarctic Expedition.After the ship Endurance became beset in the pack ice and sank, Crean and the ship's company spent 492 days drifting on the ice before undertaking a journey in the ship's lifeboats to Elephant Island. He was a member of the crew which made a small-boat journey of  from Elephant Island to South Georgia Island to seek aid for the stranded party. After retiring from the navy on health grounds in 1920, Crean ran his pub the South Pole Inn in County Kerry with his wife and daughters. He died in 1938. Early life and career
Crean was born around 16 February 1877 in the farming area of Gurtuchrane near the village of Annascaul on Corca Dhuibhne in County Kerry, Ireland, to Patrick and Catherine (née Courtney) Crean. One of 11 siblings with 7 brothers and 3 sisters. He attended the local Catholic school (at nearby Brackluin), leaving at the age of 12 to


texts:
 help on the family farm.Many sources, including Smith, give Crean's date of birth as 20 July 1877, but more recent scholarship demonstrates this is unlikely given parish records. At the age of 16, he enlisted in the Royal Navy at the naval station in nearby Minard Inlet, possibly after an argument with his father. His enlistment as a boy second class is recorded in Royal Navy records on 10 July 1893. Crean's initial naval apprenticeship was aboard the training ship Impregnable at Devonport. In November 1894, he was transferred to Devastation. In December 1894, Crean was posted to HMS Wild Swan a screw sloop as the ship headed to South America to join the Pacific Station. In 1895, Crean was serving in the Americas aboard Royal Arthur, the flagship assigned to the Pacific squadron's base at Esquimalt in Canada.He was by this time, rated an ordinary seaman. Less than a year later, while serving a second term of service aboard Wild Swan he was rated an able seaman. He later joined the Navy's torpedo school ship, Defiance. By 1899, Crean had advanced to the rate of petty officer, second class and was serving in Vivid. In 1900, Crean was ledgered to the cruiser HMS Ringarooma, which was part of the Royal Navy's  Australian Squadron based in  Sydney. On 18 December 1901, he was demoted from petty officer to able seaman for an unspecified misdemeanour. In December 1901, the Ringarooma was ordered to assist Robert Falcon Scott's ship Discovery when it was docked at Lyttelton Harbour awaiting to departure to Antarctica.When an able seaman of Scott's ship deserted after striking a petty officer, a replacement was required; Crean volunteered, and was accepted. Discovery Expedition, 1901–1904

Discovery sailed to the Antarctic on 21 December 1901, and seven weeks later, on 8 February 1902, arrived in McMurdo Sound, where she anchored at


texts:
 a spot which was later designated "Hut Point". Here the men established the base from which they would launch scientific and exploratory sledging journeys. Crean proved to be one of the most efficient man-haulers in the party; over the expedition as a whole, only seven of the 48-member party logged more time in harness than Crean's 149 days. Crean had a good sense of humour and was well liked by his companions. Scott's second-in-command, Albert Armitage, wrote in his book Two Years in the Antarctic that "Crean was an Irishman with a fund of wit and an even temper which nothing disturbed." Crean accompanied Lieutenant Michael Barne on three sledging trips across the Ross Ice Shelf, then known as the "Great Ice Barrier".These included the 12-man party led by Barne which set out on 30 October 1902 to lay depots in support of the main southern journey undertaken by Scott, Shackleton and Edward Wilson. On 11 November the Barne party passed the previous furthest south mark, set by Carsten Borchgrevink in 1900 at 78°50'S, a record which they held briefly until the southern party itself passed it on its way to an eventual 82°17'S. During the Antarctic winter of 1902 Discovery became locked in the ice. Efforts to free her during the summer of 1902–03 failed, and although some of the expedition's members (including Ernest Shackleton) left in a relief ship, Crean and the majority of the party remained in the Antarctic until the ship was finally freed in February 1904. After returning to regular naval duty, Crean was promoted to petty officer, first class, on Scott's recommendation. Between expeditions, 1904–1910
Crean came back to regular duty at the naval base at Chatham, Kent, serving first in Pembroke in 1904 and later transferring to the torpedo school on Vernon. Crean had caught Captain Scott's attention with his attitude and


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 work ethic on the Discovery Expedition, and in 1906 Scott requested that Crean join him on Victorious.Over the next few years, Crean followed Scott successively to Albemarle, Essex and Bulwark. By 1907, Scott was planning his second expedition to the Antarctic. Meanwhile, Ernest Shackleton's Nimrod Expedition, 1907–09, despite reaching a new furthest south record of 88°23'S, had failed to reach the South Pole. Scott was with Crean when the news of Shackleton's near miss became public; it is recorded that Scott observed to Crean: "I think we'd better have a shot next." Terra Nova Expedition, 1910–1913

Scott held Crean in high regard, so he was among the first people recruited for the Terra Nova Expedition, which set out for the Antarctic in June 1910, and one of the few men in the party with previous polar experience. After the expedition's arrival in McMurdo Sound in January 1911, Crean was as part of the 13-man team who established  "One Ton Depot", from Hut Point. so named because of the large amount of food and equipment cached there on the projected route to the South Pole.Returning from the depot to base camp at Cape Evans, <mask>, accompanied by Apsley Cherry-Garrard and Henry "Birdie" Bowers, experienced near-disaster when camping on unstable sea ice. During the night the ice broke up, leaving the men adrift on an ice floe and separated from their sledges. Crean probably saved the group's lives, by leaping from floe to floe until he reached the Barrier edge and was able to summon help. Crean departed with Scott in November 1911, for the attempt at the South Pole. This journey had three stages:  across the Barrier,  up the heavily crevassed Beardmore Glacier to an altitude of  above sea level, and then another  to the Pole. At regular intervals, supporting parties returned to base; Crean was in the final group of


texts: eight men that marched on to the polar plateau and reached 87°32'S,  from the pole. Here, on 4 January 1912, Scott selected his final polar party: Crean, William Lashly and Edward Evans were ordered to return to base, while Scott, Edgar Evans, Edward Wilson, Bowers and Lawrence Oates continued to the pole.One of Crean's biographers, Michael Smith, suggests that Crean would have been a better choice for the polar party than Edgar Evans, who was weakened by a recent hand injury (of which Scott was unaware). Crean, considered one of the toughest men in the expedition, had led a pony across the Barrier and had thus been saved much of the hard labour of man-hauling. Scott's critical biographer Roland Huntford records that the surgeon Edward L Atkinson, who had accompanied the southern party to the top of the Beardmore, had recommended either Lashly or Crean for the polar party rather than Edgar Evans. Scott in his diary recorded that Crean wept with disappointment at the prospect of having to turn back, so close to the goal. Soon after heading north on the  journey back to base camp, Crean's party lost the trail back to the Beardmore Glacier, and were faced with a long detour around a large icefall. With food supplies short, and needing to reach their next supply depot, the group made the decision to slide on their sledge, uncontrolled, down the icefall. The three men slid , dodging crevasses up to  wide, and ending their descent by overturning on an ice ridge.Evans later wrote: "How we ever escaped entirely uninjured is beyond me to explain". The gamble at the icefall succeeded, and the men reached their depot two days later. However, they had great difficulty navigating down the glacier. Lashly wrote: "I cannot describe the maze we got into and the hairbreadth escapes we have had to pass through." In his attempts to find the


texts: way down, Evans removed his goggles and subsequently suffered agonies of snow blindness that made him into a passenger. When the party was finally free of the glacier and on the level surface of the Barrier, Evans began to display the first symptoms of scurvy. By early February he was in great pain, his joints were swollen and discoloured, and he was passing blood.Through the efforts of Crean and Lashly the group struggled towards One Ton Depot, which they reached on 11 February. At this point Evans collapsed; Crean thought he had died and, according to Evans's account, "his hot tears fell on my face". With over  still to travel before the relative safety of Hut Point, Crean and Lashly began hauling Evans on the sledge, "eking out his life with the last few drops of brandy that they still had with them". On 18 February they arrived at Corner Camp, still  from Hut Point, with only one or two days' food rations left and still four or five days' man-hauling to do. They then decided that Crean should go on alone, to fetch help. With only a little chocolate and three biscuits to sustain him, without a tent or survival equipment, Crean walked the distance to Hut Point in 18 hours, arriving in a state of collapse to find Atkinson there, with the dog driver Dmtri Gerov. Crean reached safety just ahead of a fierce blizzard, which probably would have killed him, and which delayed the rescue party by a day and a half.Atkinson led a successful rescue, and Lashly and Evans were both brought to base camp alive. Crean modestly played down the significance of his feat of endurance. In a rare written account, he wrote in a letter: "So it fell to my lot to do the 30 miles for help, and only a couple of biscuits and a stick of chocolate to do it. Well, sir, I was very weak when I reached the hut." Scott's party failed to return. The winter of


texts:
 1912 at Cape Evans was a sombre one, with the knowledge that the polar party had undoubtedly perished. Frank Debenham wrote that "in the winter it was once again Crean who was the mainstay for cheerfulness in the now depleted mess deck part of the hut."In November 1912, Crean was one of the 11-man search party that found the remains of the polar party. On 12 November they spotted a cairn of snow, which proved to be a tent against which the drift had piled up. It contained the bodies of Scott, Wilson, and Bowers. Crean later wrote, referring to Scott in understated fashion, that he had "lost a good friend". On 12 February 1913 Crean and the remaining crew of the Terra Nova arrived in Lyttelton, New Zealand, and in June the ship returned to Cardiff. At Buckingham Palace the surviving members of the expedition were awarded Polar Medals by King George and Prince Louis of Battenberg, the First Sea Lord. Crean and Lashly were both awarded the Albert Medal, 2nd Class for saving Evans's life, these were presented by the King at Buckingham Palace on 26 July 1913.Crean was promoted to the rank of chief petty officer, retroactive to 9 September 1910. Imperial Trans-Antarctic Expedition (Endurance Expedition), 1914–1917

In October 1913, a close friend of Captain Scott, Joseph Foster Stackhouse, announced plans for a British Antarctic Expedition with a mission to explore the uncharted coastlines between King Edward VII Land and Graham Land. The expedition was due to depart England in August 1914 aboard RRS Discovery, the ship of Crean's first mission to Antarctica. In February 1914, Stackhouse confirmed that Crean was to join the expedition as Boatswain, however, in April 1914, Stackhouse's plans were postponed. This left Shackleton free to recruit Crean to his expedition which was also scheduled to depart in August 1914. Shackleton


texts: knew Crean well from the Discovery Expedition, and also knew of his exploits on Scott's last expedition. Like Scott, Shackleton trusted Crean: he was worth, in Shackleton's own word, "trumps".Crean joined Shackleton's Imperial Transantarctic Expedition on 25 May 1914, as second officer, with a varied range of duties. In the absence of a Canadian dog-handling expert who was hired but never appeared, Crean took charge of one of the dog-handling teams, and was later involved in the care and nurture of the pups born to one of his dogs, Sally, early in the expedition. On 19 January 1915 the expedition's ship, the Endurance, was beset in the Weddell Sea pack ice. In the early efforts to free her, Crean narrowly escaped being crushed by a sudden movement in the ice. The ship drifted in the ice for months, eventually sinking on 21 November. Shackleton informed the men that they would drag the food, gear, and three lifeboats across the pack ice, to Snow Hill or Robertson Island,  away. Because of uneven ice conditions, pressure ridges, and the danger of ice breakup which could separate the men, they soon abandoned this plan: the men pitched camp and decided to wait.They hoped that the clockwise drift of the pack would carry them  to Paulet Island where they knew there was a hut with emergency supplies. But the pack ice held firm as it carried the men well past Paulet Island, and did not break up until 9 April. The crew then had to sail and row the three ill-equipped lifeboats through the pack ice to Elephant Island, a trip which lasted five days. <mask> and Hubert Hudson, the navigating officer of the Endurance, piloted their lifeboat with Crean effectively in charge as Hudson appeared to have suffered a breakdown. Upon reaching Elephant Island, Crean was one of the "four fittest men" detailed by Shackleton to find a safe


texts: camping-ground. Shackleton decided that, rather than waiting for a rescue ship that would probably never arrive, one of the lifeboats should be strengthened so that a crew could sail it to South Georgia and arrange a rescue. After the party was settled on a penguin rookery above the high-water mark, a group of men led by ship's carpenter Harry McNish began modifying one of the lifeboats—the James Caird—in preparation for this journey, which Shackleton would lead.Frank Wild, who would be in command of the party remaining on Elephant Island, wanted the dependable Crean to stay with him; Shackleton initially agreed, but changed his mind after Crean begged to be included in the boat's crew of six. The  boat journey to South Georgia, described by polar historian Caroline Alexander as one of the most extraordinary feats of seamanship and navigation in recorded history, took 17 days through gales and snow squalls, in seas which the navigator, Frank Worsley, described as a "mountainous westerly swell". After setting off on 24 April 1916 with just the barest navigational equipment, they reached South Georgia on 10 May 1916. Shackleton, in his later account of the journey, recalled Crean's tuneless singing at the tiller: "He always sang when he was steering, and nobody ever discovered what the song was ... but somehow it was cheerful". The party made its South Georgia landfall on the uninhabited southern coast, having decided that the risk of aiming directly for the whaling stations on the north side was too great; if they missed the island to the north they would be swept out into the Atlantic Ocean. The original plan was to work the James Caird around the coast, but the boat's rudder had broken off after their initial landing, and some of the party were, in Shackleton's view, unfit for further travel. The three fittest