texts:
 attack on London, Honderich considers the importance of horror to morality.He also argues that Tony Blair and George W. Bush are friends rather than enemies of terrorism. The book ends with a postscript on the charge of anti-semitism against critics of neo-Zionism – a charge Honderich says is principally a part of Neo-Zionism or at least something insufficiently detached from it. In January 2011, Honderich wrote a letter to the Guardian on terrorism, in response to details released about the Israeli-Palestinian peace process:

Punishment
In Punishment:  The Supposed Justifications, Honderich surveys and analyses 14 traditional, backward-looking reasons for the justification of punishment by the state. Most have to do with desert or retribution, others with annulment or consent. All are found to be weak or worse. Honderich then argues that the strong tradition of punishment must have in it some real content or argument. This is found to be that punishment is justified by giving satisfaction to grievance-desires—doing no more than satisfying them.This, Honderich concludes, is the reality of retributivism, but it cannot be an effective justification of punishment. The Utilitarian prevention theory of punishment is also rejected, because it justifies certain victimisations. Mixed theories of punishment, drawing on backward-looking considerations as well as the notion of prevention, sometimes in terms of the reform of offenders, are also found to be untenable. Robert Nozick's theory in particular is examined. <mask>'s conclusion is that the long-running problem of the


type: original

texts:
 justification of punishment is now dead. Its justification must be in terms of its consequences—in discouraging and licensing certain kinds of behaviour. The live issue is determining what these are.<mask>'s answer has to do with the Principle of Humanity. Punishment is or would be justified when it rationally takes forward the humanisation of our societies. He argues, on the basis of this, that most punishments are in fact wrong. Conservatism
<mask>'s book Conservatism begins with a general inquiry into the distinctions between British and American conservatism. He argues that one [British conservatism?] has to do with eternal values and therefore with reform rather than change, a view underpinning Edmund Burke's condemnation of the French Revolution and all conservatives since. Other distinctions [between British and American conservatism or conservatism and other systems?]have to do with the right kind of political thinking and with human nature, with particular doctrines of incentive and reward, and with certain freedoms, including those of private property. Given these distinctions which set conservatism apart from other views, Honderich asks what underlies and brings these distinctions together. What is the rationale or underlying principle of conservatism? The answer he gives is not just that the conservative tradition is selfish. Its self-interest, he argues, does not distinguish it from other political traditions. What does distinguish it, Honderich concludes, is that it lacks a moral principle to defend its self-interest. It is unique in its amorality.Conservatism

masks: Honderich Honderich


texts:
 was enlarged as Conservatism:  Burke, Nozick, Bush, Blair? in 2005, and includes <mask>'s consideration of whether Britain's New Labour is truly in the conservative political tradition. Controversy
<mask> has been involved in controversy since the publication of his book After the Terror in 2002. <mask> arranged with Oxfam in Britain and the publisher of After the Terror, Edinburgh University Press, to have the £5,000 advance on royalties go to the charity, along with more money from the publishers. The Canadian newspaper The Globe and Mail suggested that Oxfam was taking money from a terrorist sympathiser, and it then declined the contributions, for which it was judged adversely in the British media. The book was published in a German translation. Micha Brumlik, director of a Holocaust centre and Professor of Pedagogy at Frankfurt University, demanded publicly that the book be withdrawn from sale by the publisher, Suhrkamp Verlag.Despite the declaration by the philosopher Jürgen Habermas, who had recommended the translation, that the book was not anti-semitic, it was withdrawn from sale. Honderich demanded the dismissal of Brumlik from his professorship, for violation of academic principle. There was a media furore in Germany. The book was retranslated and republished by an antizionist Jewish publishing house, Melzer Verlag. Other writings
Honderich wrote a number of papers in criticism of Donald Davidson's Anomalous Monism, and in particular made the objection that on certain assumptions the view is epiphenomenalist. The papers are reprinted in Mental Causation and the

masks: Honderich Honderich Honderich


texts:
 Metaphysics of Mind, edited by Neil Campbell. Earlier journal papers are about Austin's correspondence theory of truth, causation, time, Russell's theory of descriptions, and John Stuart Mill's essay On Liberty.<mask>'s philosophical autobiography, Philosopher:  A Kind of Life, is a personal and general picture of English academic life over several decades. An encyclopaedia edited by him, The Oxford Companion to Philosophy, is in its second edition. Selected publications
 Actual Consciousness, Oxford University Press, 2014. . Your Consciousness is What? Where?, forthcoming. Radical Externalism:  <mask>'s Theory of Consciousness Discussed, Anthony Freeman, Ed., Imprint Academic, 2006. . Humanity, Terrorism, Terrorist War:  Palestine, 9/11, Iraq, 7/7London:  Continuum, 2006. .Punishment, the Supposed Justifications Revisited, Pluto Press, 2005. Revised edition. On Determinism and Freedom, Edinburgh University Press, 2005. . Conservatism:  Burke, Nozick, Bush, Blair?, Pluto Press, 2005. Enlarged edition. .
 On Consciousness, Edinburgh University Press, 2004. Collected papers. . Terrorism for Humanity:  Inquiries in Political Philosophy, Pluto Press, 2004.Revised and retitled edition. .
 On Political Means and Social Ends, Edinburgh University Press, 2003. Collected papers. After the terror. Montreal : McGill-Queen's University Press, 2003. . Revised and expanded edition. How free are you? The Determinism Problem. 2nd ed.Oxford : Oxford University Press, 2002. .
 Philosopher : a kind of life. London : Routledge, 2001. .
 A Theory of Determinism:  The Mind, Neuroscience and


texts:
 Life-Hopes, Oxford University Press, 1998. .  Republished in two paperbacks:  Mind and Brain and The Consequences of Determinism
 Three Essays on Political Violence, Blackwells, Political Violence, Cornell University Press, 1976.  . Original terrorism book, later revised in several editions. Punishment, the Supposed Justifications, Hutchinson, Harcourt Brace, 1969, , various later editions. Edited books
 Philosophers of Our Times, ed., Royal Institute of Philosophy Annual Lectures, 2015. . The Oxford Companion to Philosophy, Oxford University Press, 1995. New Edition 2005. .The Philosophers:  Introducing Great Western Thinkers, excerpts from The Oxford Companion to Philosophy, Oxford University Press, 1999. A. J. Ayer:  Writings on Philosophy, 6 volumes, Palgrave Macmillan Archive Press, 2005. . Morality and Objectivity:  A Tribute to J. L. Mackie, Routledge and Kegan Paul, 1985. . Philosophy Through Its Past, Penguin, 1984. Philosophy As It Is, co-edited with Myles Burnyeat, Allen Lane, Penguin. .
 Social Ends and Political Means, Routledge and Kegan Paul, 1976. . Essays on Freedom of Action, Routledge and Kegan Paul, 1973. . Articles
 A. J. Ayer, Psychoneural Pairs, Review of A Theory of Determinism, London Review of Books, 19 May 1988.Daniel Dennett, Coming to Terms With the Determined, Review of A Theory of Determinism, Times Literary Supplement, 4–10 November 1988. Harold Brown, Tim Crane, James Garvey, <mask>ich, Stephen Law, E. J. Lowe, Derek Matravers, Paul Noordhof, Ingmar Persson, Stephen Priest, Barry C. Smith, Paul Snowdon, Excerpts from articles by 12


texts:
 philosophers in Radical Externalism, edited by Anthony Freeman, 2006. Jonathan Glover, Justifying Punishment, Review of Punishment, The Supposed Justifications, Inquiry, 1 June 1970. Enoch Powell, Sing a Song of Tories, Prejudiced and Wry, Review of Conservatism, The Independent, 1 July 1990. Richard Wolin, Are Suicide Bombings Morally Defensible? The Chronicle of Higher Education, 24 October 2003. Reply to Richard Wolin The Chronicle of Higher Education, 10 November 2003.'The Real Friends of Terror' and 'No Excuses for Terror', A Look at Two Television Programmes, with transcripts
 Catherine Wilson, Review of Philosopher:  A Kind of Life, Philosophy, October 2003. John Crace, Philosophy with Attitude, interview The Guardian'', 22 March 2003. References

External links
 <mask>ich Website at University College London, with


texts:
<mask> is an American author of esoteric non-fiction books, aromatherapist and tarot reader. Early life
Her background is Hungarian and she attributes a childhood spent in the culturally diverse Queens borough of New York City as a significant influence on her writing career. <mask> explains that her interest in divination began while playing with a Tarot deck at the age of six. Her first Tarot deck was the Builders of the Adytum (BOTA) deck, which she described in a 2005 interview as "formidable and very esoteric," an unusual starter for a child of her age. In an interview in 2016, <mask> reported that she still had the BOTA deck, which her sister had purchased for her from the Samuel Weiser Bookstore in New York City. During her teen years, Illes frequented New York bookstores such as Magickal Childe and Samuel Weiser's, known for their metaphysical and occult collections, and Latin botanicas Her love for esoteric books led to her interest in astrology, which began with Zolar's It's All in the Stars. She has a Bachelor of Arts in English and Communications from Rutgers College and earned a Graduate Certificate in Aromatherapy from the American College of Healthcare Sciences (previously known as the Australasian College of Health Sciences) in 1999.Career
Illes worked as a "telephone psychic" for Psychic Friends Network from 1991 to 1993. She went on to become a prolific author of reference books and contributed magazine articles in the ancient non-traditional arts. Her writing interests include folklore, folkways, mythology,  astrology,  spellcasting, spirit-working, herbalism and traditional healing. She also covers the subjects of the occult, magic, divination, spiritualism, fairies,

masks:
Judika Illes
Illes
Illes


texts: witchcraft and the paranormal. A certified aromatherapy consultant, she has taught introductory courses on the subject at the Australasian College (2000–2002), and practices taromancy. Although she practices and teaches other forms of divination, she considers Tarot to be her "main practice" and has been reading Tarot cards professionally since the age of 26. She sometimes holds workshops relating to her books or other specialized subjects.In 2012, she gave a workshop on the use of symbols as part of the SIgils & Signs Art Show at Observatory in Brooklyn. She gives similar workshops and presentations intermittently throughout the year. The first complete book <mask> wrote was about traditional methods of enhancing fertility. It contained a chapter about magic spells, which a publisher asked her to expand into a book of its own, eventually published as Pure Magic: A Complete Course in Spellcasting. The manuscript about fertility was set aside, but in a 2011 interview by The Witches' Almanac, <mask> mentioned that she may eventually publish it under the title, Frogs and Pomegranates. After the release of The Encyclopedia of 5000 Spells, her publisher suggested an encyclopedia about witchcraft. A note of encouragement from the Non-Wiccan Witches Yahoo group persuaded her to accept the challenge, which led to The Element Encyclopedia of Witchcraft.According to <mask>, most encyclopedias about witchcraft were written by outsiders and "not really about witches or their craft." <mask> has been an occasional guest on George Noory's nightly radio broadcast, Coast to Coast AM, where she has discussed spellcasting, witchcraft and other occult subjects. She has also been featured as a guest on Ripley's

masks: Illes Illes Illes Illes


texts:
 Radio Oddcast, Fangoria Radio, the Hilly Rose Show, and Rob McConnell's "X" Zone radio show. Name
Her last name, Illes, is pronounced as you would with the "Ph" omitted from "Phyllis." <mask> was used as the byline for some of her Tour Egypt articles, rather than her Hungarian name, Judika. In an interview with The Witches' Almanac, <mask> disclosed that she used "Judith Joyce" as her byline when she wrote The Weiser Field Guide to the Paranormal due to the short period between her other Weiser field guides. Bibliography

Books
 The Big Book of Practical Spells: Everyday Magic That Works.Weiser Books (2016). . Previously published by Weiser (2007) as Pure Magic: A Complete Course in Spellcasting and Fair Winds Press (2001) as Earth Mother Magic: Ancient Spells for Modern Belles. A foreword was added to the 2016 version. The Weiser Book of the Fantastic and Forgotten: Tales of the Supernatural, Strange, and Bizarre. This collection of stories by other authors was edited by <mask> <mask>, with her introduction. Red Wheel/Weiser, LLC (2016). . The Encyclopedia of Mystics, Saints & Sages: A Guide to Asking for Protection, Wealth, Happiness, and Everything Else!.Harper Collins Publishers (2011). . The Weiser Field Guide to the Paranormal. Red Wheel/Weiser LLC (2010). . (published under the pseudonym, Judith Joyce)
 The Weiser Field Guide to Witches: from Hexes to Hermione Granger, From Salem to the Land of Oz. Weiser Books (2010). . The Encyclopedia of Spirits: the ultimate guide to the magic of fairies, genies, demons, ghosts, gods, and goddesses. Harper Collins Publishers (2009). . The Encyclopedia of 5000 Spells.HarperOne (2008). . Previously published as The Element encyclopedia of 5000

masks:
Judith Illes
Illes
Judika
Illes


texts:
 spells: the ultimate reference book for the magical arts. HarperElement (2003). .
 Magic When You Need It: 150 Spells You Can't Live Without. Weiser Books (2008). . Previously published as Emergency Magic! 150 Spells for Surviving the Worst Case Scenario. Weiser Books (2002).The Element Encyclopedia of Witchcraft: a complete A-Z of the entire magical world. Harper Element (2005). . Articles
The following articles by <mask> <mask> were part of her monthly column, Beauty Secrets of the Ancient Egyptians, published during 2000 and 2001 by the Egyptian Ministry of Tourism in its on-line magazine, Tour Egypt. Ancient Beauty Secrets (monthly column series):
 Ancient Facial Secrets (Introduction), Vol. I, No. 1, June 1, 2000. Haircare and Wigs, Vol.I, No. 2, July 1, 2000. Perfumes of Ancient Egypt, Vol I No. 3, August 1, 2000. Ancient Egyptian Eye Makeup, Vol. I, No. 4, September 1, 2000.Nefertem, Ancient Lord of Perfume, Vol. I, No. 5, October 1, 2000. Tattoos in Ancient Egypt, Vol. I, No. 6, December 1, 2000. Henna, Vol.II, No. 1, January 1, 2001. Fertility Shrines of Ancient Egypt, Vol. II, No. 2, February 1, 2001. Tutankhamun's Perfume, Vol. II, No.3, March 1, 2001. Flowers: The Fundamental Fashion Accessory, Vol. II, No. 4, April 1, 2001. The Beginning of the Book of Making an Old Man into a Young Man..., Vol. II, No. 5, May 1, 2001.Cats Eyes and Eye Make Up, Vol. II, No. 7, July 1, 2001. Glass Beads: "Fabulous Fakes" and the Birth of Costume Jewelry, Vol. II, No. 8, August 1, 2001. Feature Articles published in Tour Egypt, 2000 - 2001:
 Hathor, Lady of Beauty
 Beauty Salts

References

External links
 <mask> <mask> personal website

Occult writers
Living people
Year of birth missing (living

masks: Judika Illes Judika Illes


texts:
<mask> (born December 1, 1951) is an American actor, writer and aviator who has appeared on film, stage and television in over 120 credits. He first became well known for his starring role in the 1979 musical film Hair, and later also starred in the films Prince of the City, Once Upon a Time in America, The Late Shift and 127 Hours. From 2002 to 2006, he was the lead of the television series Everwood and was nominated for two Screen Actors Guild Awards. He has additionally been nominated for three Golden Globe Awards, two Satellite Awards and an Independent Spirit Award. Early life and education
<mask> was born December 1, 1951 in Rowayton, Connecticut, the son of Marian (née Andrew), an antiques dealer, and <mask>, a corporate executive. His maternal great-great-great-grandfather was Senator William Henry Barnum of Connecticut, a third cousin of the showman P. T. Barnum. <mask> is a distant relative of <mask>, who was a signatory to the Declaration of Independence.<mask> played football in high school. He graduated from the Kent School in Connecticut and Franklin and Marshall College in Pennsylvania. Career
<mask> made his film debut in the 1975 thriller film Deadly Hero. The following year he played a supporting role in The Ritz, a squeaky-voiced private detective looking for his suspect in a gay bathhouse. He came to world attention in 1979, when he starred as George Berger in the Miloš Forman film Hair, which was based on the 1967 Broadway musical. <mask> was nominated for a Golden Globe Award for his role in the film. He was featured in the February 1980 edition of Playgirl magazine.He has gone on to appear in over 75 films and several television series. Notable films include: 1941 (1979), Once Upon A Time In America (1984), Dead Heat (1988), Things to Do in Denver When You're Dead (1995) and Deep Rising (1998). <mask>' second Golden Globe nomination was for his starring role in Sidney Lumet's Prince of the City (1981). His third nomination was for his performance as Stanley Kowalski in the television

masks:
Richard Treat Williams
Williams
Richard Norman Williams
Williams
Robert Treat Paine
Williams
Williams
Williams
Williams


texts: presentation of A Streetcar Named Desire. In 1996, he was nominated for a Best Actor Emmy Award by the Academy of Television Arts & Sciences for his work in The Late Shift, an HBO movie, in which he portrayed agent Michael Ovitz. In 1996, he played villain Xander Drax in Paramount's big budget comic book adaptation The Phantom, in which <mask>' character did his best to take over the world and kill Billy Zane's mysterious superhero. <mask>' career includes numerous stage roles.He won a Drama League Award for his work in the Broadway revival of Stephen Sondheim's Follies, and another for starring in the off-Broadway production of Captains Courageous. Other notable Broadway shows include Grease, the Sherman Brothers' Over Here!, Once in a Lifetime, Pirates of Penzance and Love Letters, and off-Broadway, he has appeared in David Mamet's Oleanna and Oh, Hell (at Lincoln Center), Some Men Need Help and Randy Newman's Maybe I'm Doing It Wrong. He premiered the Los Angeles production of Love Letters and appeared in War Letters at the Canon Theatre in Los Angeles. <mask> played leading role as Dr. Andrew Brown in the WB television series Everwood, about a New York City neurosurgeon who moves his family to Colorado. Although the show's ratings were never spectacular, it won critical acclaim and had a devoted following. <mask> received two SAG Award nominations (2003 and 2004) for his role on the show. <mask> has made several guest appearances on the ABC drama Brothers & Sisters as David Morton, a friend and potential suitor of Sally Field's character.He starred in the short-lived series Heartland on TNT as Nathaniel Grant, but the series was canceled due to low ratings. He also starred in a Lifetime movie, Staircase Murders, which aired April 15, 2007. <mask> starred in a Hallmark Hall of Fame movie, Beyond the Blackboard, with his former Everwood co-star, Emily VanCamp. It was first broadcast on CBS on April 24, 2011. <mask> appears in the CBS television pilot Peachtree Lines as Mayor Lincoln Rylan. The serial is an

masks: Williams Williams Williams Williams Williams Williams Williams


texts:
 examination of political, social and cultural issues in Atlanta. <mask> has also worked as a director, winning two festival awards for directing Texan in Showtime's Chanticleer Films series.<mask> currently plays a role as Mick O' Brien in a Hallmark Channel television series called Chesapeake Shores originally airing August 2016 till current. He also had a recurring role in Chicago Fire as Kelly Severide's father, Benny Severide until his character's death in season 7. <mask> has authored a children's book, Air Show!, illustrated by Robert Neubecker, published in 2010 by Disney/Hyperion Books). Targeted at an audience of children ages three to seven, the book playfully documents an airshow experience with simple text and bold illustrations of such aircraft as a Boeing B-17, a Pitts Special biplane and the US Navy's Blue Angel F/A-18. Personal life
In 1969, <mask>' high school football coach, who was also a flight instructor, offered to train him in a Piper Super Cub. At age 21, he was a private pilot. <mask> became an FAA instrument-rated commercial pilot with privileges in both single engine and multi-engine airplanes as well as rotorcraft helicopter.He holds a type-rating for Cessna Citation jets. He also is certified as a flight instructor. He has owned a Piper Clipped-wing Cub, Piper Cherokee 180, Piper Seneca II and a Piper Navajo Chieftain which is used for family travel between homes. <mask> resides in Park City, Utah and Manchester Center, Vermont with his wife, Pam Van Sant and two children, Gille and Ellie. Select theatre credits

Filmography

Film

Television series

Television films

References

External links

1951 births
Male actors from Connecticut
American male film actors
American male stage actors
American male television actors
Franklin & Marshall College alumni
People from Norwalk, Connecticut
Kent School alumni
Living people
Actors from Norwalk, Connecticut
20th-century American male actors
21st-century American male actors
American people of English descent
Commercial aviators
People from

masks: Williams Williams Williams Williams Williams Williams


texts: Guillermina Jiménez Chabolla (16 August 1930 – 25 November 2020), known professionally as <mask>tre, was a Mexican singer, actress, and equestrienne. She was one of the most prominent and successful performers of Mexican and Latin American music, and was a star of classic Mexican films during the Golden Age of Mexican cinema. Her more than 70-year career included stage productions, radio programs, records, films, television programs, comics, and rodeo shows. Famed for her melodious voice and unique singing style, hence the nicknames "La Sentimental" ("The Sentimental One") and "La Voz Que Acaricia" ("The Voice That Caresses"), Flor <mask> was a notable interpreter of the ranchera, bolero, bolero ranchero, and huapango genres. She recorded more than 300 songs for three labels: Columbia, RCA Víctor, and Musart. In 1945, she was announced as the "Alma de la Canción Ranchera" ("Soul of Ranchera Song"), and in 1950, the year in which she emerged as a radio star, she was proclaimed the "Reina de la Canción Mexicana" ("Queen of Mexican Song"). In 1950, she signed a contract with Columbia Records and recorded her first hits, which include "Imposible olvidarte", "Que Dios te perdone", "Pobre corazón", "Viejo nopal", "Guadalajara", and "Adoro a mi tierra".In 1957, she began recording for Musart Records and became one of the label's exclusive artists with numerous best-selling singles, such as "Cielo rojo", "Renunciación", "Gracias", "Cariño santo", "Mi destino fue quererte", "Mi casita de paja", "Toda una vida", "Amar y vivir", "Gaviota

masks:
Flor Silves
Silvestre


texts:
 traidora", "El mar y la esperanza", "Celosa", "Vámonos", "Cachito de mi vida", "Miel amarga", "Perdámonos", "Tres días", "No vuelvo a amar", "Las noches las hago días", "Estrellita marinera", and "La basurita", among others. Many of her hits charted on Cashbox Mexico's Best Sellers and Record World Latin American Single Hit Parade. She also participated in her husband Antonio Aguilar's musical rodeo shows. <mask> Silvestre appeared in more than seventy films between 1950 and 1990. Beautiful and statuesque, she became one of the leading stars of the "golden age" of the Mexican film industry. She made her acting debut in the film Primero soy mexicano (1950), directed by and co-starring Joaquín Pardavé. She played opposite famous comedians, such as Cantinflas in El bolero de Raquel (1957).Director Ismael Rodríguez gave her important roles in La cucaracha (1959), and Ánimas Trujano (1962), which was nominated for an Academy Award for Best Foreign Language Film. She was also the star of the comic book La Llanera Vengadora. In 2013, the Association of Mexican Cinema Journalists honored her with the Special Silver Goddess Award. <mask> died on 25 November  2020 at her home in Villanueva, Zacatecas. Life and career

1930–1943: Childhood
Flor Silvestre was born Guillermina Jiménez Chabolla on 16 August 1930 in Salamanca, Guanajuato, Mexico. She was the third child and second daughter of Jesús Jiménez Cervantes, a butcher, and María de Jesús Chabolla Peña (1906 – 5 September 1993). Her father owned and ran a meat shop in Salamanca.Her

masks: Flor Silvestre


texts:
 older siblings are Francisco "Pancho" and Raquel, and her younger siblings are Enriqueta "La Prieta Linda", José Luis, María de la Luz "Mary", and Arturo. Enriqueta and María de la Luz also became singers. Her maternal grandparents were Felipe Chabolla and Inés Peña. Guillermina was raised in Salamanca and began singing at an early age. Her parents, who were also fond of singing, encouraged her to sing. She loved the mariachi music of famous Mexican singers Jorge Negrete and Lucha Reyes, and also sang songs that belonged to the pasodoble, tango, and bolero genres, which were popular in Mexico in the late 1930s. Her interest in singing and acting led her to participate in Christmas pageants, school plays, and local festivals.Her mother, who wanted to live in Mexico City, urged her father to sell all their property in Salmanca and relocate the family to the Mexican capital. María de Jesús took her three youngest children with her to Mexico City, leaving the oldest four (including Guillermina) in Salamanca in the care of her sisters, who were nuns. Guillermina completed primary school in Salamanca before reuniting with her family in Mexico City. In Mexico City, her parents enrolled her in the Escuela Bancaria Comercial Milton on Madero Avenue, where she took secretarial classes. 1943–1949: Early stage and radio success

Guillermina Jiménez (Flor Silvestre) began her singing career in 1943, when she was 13 years old. She and her father attended a performance of the famous Mariachi Pulido at the Teatro del Pueblo, a theater located


texts: in the Abelardo L. Rodríguez Market in central Mexico City. After the performance was over, she got up on stage and told the stage director that she wanted to sing.The Mariachi Pulido's director refused to accompany her, stating that they did not collaborate with amateurs, but the stage director, Carlos López Santillán, told her that he would let her sing the following week and promised to hire a mariachi from the Tenampa bar to perform with her. On the day of her debut, wearing a traditional Mexican blouse and skirt her mother had made for her, she sang three popular songs, "La canción mexicana", "Yo también soy mexicana", and "El herradero". Her performance was a great success and she received an ovation from the audience. Her next performance at the Teatro del Pueblo was in the play La soldadera, directed by López Santillán, in which she played a girl who comes out of a railway wagon and sings "La soldadera", a song written for her by José de Jesús Morales. The play was also broadcast by Mexico's national radio station, XEFO, and "La soldadera" became the first song she performed on radio. The title of the song, which is Spanish for "the female soldier", also became her first stage name until it was claimed by another singer. Arturo Blancas, an Excélsior journalist and XEFO announcer, thought she looked more "like a flower" than a soldier and suggested she change her stage name to La Amapola, which means "the poppy".However, this stage name was also claimed by another woman, the sister of singer La Panchita. Blancas then chose


texts: the title of Dolores del Río's 1943 drama film as the young singer's new stage name, and Guillermina Jiménez became Flor Silvestre, which means "wild flower". Under her new stage name, <mask> <mask> won first place in an amateur contest sponsored by Mexico's most popular radio station, XEW, known as "the voice of Latin America from Mexico". Her participation in the contest earned her a contract to sing in revues at the Teatro Colonial, located on San Juan de Letrán Avenue (now Eje Central). The Teatro Colonial was "Mexico's most popular [theater]" in the 1940s, and <mask> <mask>'s performances there were noticed by a showman who hired her as part of his touring company. The showman and his company toured Torreón, in northern Mexico, where <mask> <mask> was the opening act of the touring company's headliner, the famous Argentine tango singer Hugo del Carril. <mask> <mask>'s family was experiencing financial problems at the time, and she sang at banquets and other places in order to win more money and help her parents.In December 1945, <mask> Silvestre performed at Guadalajara's Coliseo Olímpico and was announced as "Flor Silvestre, the Soul of Ranchera Song". In November 1946, she was invited to perform at the inauguration of Guadalajara's Juárez movie theater. The Guadalajara newspaper El Informador described her as "Flor Silvestre, young XEW singer, who represents the feeling of our land within the ranchera song". Between 1947 and 1949, <mask> Silvestre and the showman's company toured Central and South America, performing at

masks: Flor Silvestre Flor Silvestre Flor Silvestre Flor Silvestre Flor Flor


texts:
 the best nightclubs along the way. Hugo del Carril presented Flor Silvestre to audiences when the company toured Argentina. The company eventually made its way to Peru, where they performed for the Mexican Air Force, before returning to Mexico. 1950–1952: Acting debut and first records

When <mask> Silvestre returned to Mexico from her South American tour in 1950, her manager got her a contract to perform at Mexico City's most popular nightclub, El Patio.She later said: "Emilio Azcárraga and Gregorio Walerstein went there every day, and everyone saw me there, and they all hired me without me asking for anything, and everyone called me and called me, and that's how I started [singing] on the XEW [station]". Azcárraga, the owner of XEW, Mexico's top station, gave her her first radio program, Increíble pero cierto, which she also hosted. Walerstein, a leading film producer known as "the Tsar of Mexican films", signed her to a five-film contract. With the success of her radio program, her singing career began to ascend. Journalist Mónica Fio wrote in her column "Micrófono":

Flor Silvestre made her first records in 1950 for Columbia Records' Mexican branch. She recorded at least twelve songs for the label, one on each side of six 78 rpm singles. These songs also became her first hits."Imposible olvidarte", "Que Dios te perdone", "Pobre corazón", "Viejo nopal", "Guadalajara", and "Mi amigo el viento" were recorded with Gilberto Parra's mariachi. "Siempre el amor", "Con un polvo y otro polvo", "Adoro a mi tierra", "La presentida",


texts:
 "Llorar amargo", and "Oye, morena" were recorded with Rubén Fuentes' mariachi. After recording her first singles, <mask> <mask> formed a duet named <mask> with her then-unknown sister La Prieta Linda; they recorded two songs—"Los desvelados" and "Lo traigo en la sangre" (with Rubén Fuentes' mariachi)—for Columbia. In February 1950, she was a part of the "numerous, hybrid, but useful cast" of ¡A los toros!, a revue about bullfighting staged at the Teatro Tívoli. It was written and presented by announcer Paco Malgesto, who would become her second husband. In the revue, she sang Mexican musical numbers associated with bullfights. Although <mask> <mask> had made her film debut in 1949 singing in Te besaré en la boca (released in 1950), she was given her first leading role in the Walerstein production Primero soy mexicano (1950), co-starring Joaquín Pardavé (who also wrote and directed the film) and Luis Aguilar and featuring Francisco "Charro" Avitia.She was reunited with her Primero soy mexicano co-stars Luis Aguilar and Francisco Avitia in the film El tigre enmascarado, which premiered in 1951. She then appeared as the leading lady of actor Dagoberto Rodríguez in a film trilogy, El lobo solitario, La justicia del lobo, and Vuelve el lobo (all released in 1952). 1955–1957: Return to films and television debut
In early 1955, <mask> <mask> sang on the XEW radio program Su programa Calmex, sponsored by Calmex Sardines. Other entertainers on the program included Miguel Aceves Mejía, the Trío Tariácuri, and the Hermanitas de Alba. In

masks:
Flor
Silvestre
Las Flores
Flor
Silvestre
Flor
Silvestre


texts: 1955, she also appeared in her first color film, La doncella de piedra, one of the first Mexican CinemaScope productions. An adaptation of Rómulo Gallegos' novel Sobre la misma tierra, the film features <mask> <mask> in the role of Cantaralia Barroso, the mother of the novel's protagonist, Remota Montiel (played by Elsa Aguirre). <mask> <mask> had one of the starring roles in the stage play La hacienda de Carrillo, a revue which opened on 1 July 1955 at the new Teatro Ideal.Written by Carlos M. Ortega and Pablo Prida, the play was about "a hacienda in the interior [of the country], whose owner leaves his land to embrace politics, become a deputy, and come to the metropolis in the company of his daughters". Theater critic Armando de María y Campos wrote that the cast included "the radio singer Guillermina Jiménez de Rubiales, better known as <mask> Silvestre, very beautiful and young too, and also very tender as a vedette". That same month, <mask> <mask>, Agustín Lara, Pedro Vargas, Rosa de Castilla, and others provided musical performances for the film La virtud desnuda (released in 1957), a Calderón Films production starring Columba Domínguez. Her first film co-starring Antonio Aguilar, her future husband, was La huella del chacal. That same year she played a swarthy maid named Liliana in Rapto al sol, a color film shot in Nicaragua. In 1957, RCA Victor released her first recording of "Cielo rojo", which would become one of her signature songs. The single, which included "¡Qué padre es la vida!"on side B, became a hit. On

masks: Flor Silvestre Flor Silvestre Flor Flor Silvestre


texts:
 Mother's Day 1957, she made her television debut with a successful performance in the television play Secreto de familia, with Sara García and Miguel Arenas. One of her famous roles was as Leonor, the mother of Cantinflas' godson, in the popular Eastmancolor comedy El bolero de Raquel (1957). 1958–1963: First recordings for Musart Records and Ánimas Trujano
She received top billing for the first time in Pueblo en armas (1959) and its sequel ¡Viva la soldadera! (1960), both directed by Miguel Contreras Torres. She had a supporting role opposite María Félix in Ismael Rodríguez's Mexican Revolution epic La cucaracha (1959). She also recorded "Te he de querer", "La chancla", and "La Valentina" for the film's soundtrack album, La cucaracha: Música de la película, released by Musart Records.Flor Silvestre, her first Musart album, was released around 1958. It includes her early Musart hits, such as "El ramalazo", "¡Qué bonito amor! ", "La flor de la canela", "Échame a mí la culpa", "Ay el amor", "Lágrimas del alma", and "Amémonos". In 1960, she starred opposite the popular comedy duo Viruta and Capulina in Dos locos en escena. In 1961, she rerecorded "Cielo rojo" for Musart, accompanied by Pepe Villa's Mariachi México. This second version also became a success and is the first track of her second Musart album, Flor Silvestre con el Mariachi México. The album also includes her early 1960s hits, "Pa' todo el año", "Renunciación", "Desolación", "El peor de los caminos", "Aquel inmenso amor", and "Para morir iguales".One of her major roles


texts:
 was as Catalina, the beautiful, sensuous flirt, in the Oscar-nominated, Golden Globe-winning drama film Ánimas Trujano (1962), co-starring Toshiro Mifune and Columba Domínguez. This was her second collaboration with film director Ismael Rodríguez after her supporting role in La cucaracha. 1964–1969: Multiple albums
In early 1964, she released her third Musart album, Flor Silvestre con el Mariachi México, vol. 2, which includes her hits "Gracias", "Perdí la partida", "Bendición de Dios", "Árboles viejos", "Te digo adiós", "Un jarrito", "Quédate esta vez", and "Plegaria". Her fourth Musart album, La sentimental (1964), includes both ranchera and bolero songs. It is her first album without mariachi arrangements; Benjamín "Chamín" Correa is credited as the album's guitarist. La sentimental peaked at number 9 on Record World Latin American LP Hit Parade."Mi destino fue quererte" peaked at number 4 on Record World Latin American Single Hit Parade and became one of <mask> Silvestre's signature songs. In December 1964, Cashbox ranked her among the top ten Mexican folk singers of the year. Her fifth Musart album, La acariciante voz de Flor Silvestre, was released in 1965. One of the album's singles, "Una limosna", topped the Record World Latin American Single Hit Parade chart. The album also includes her hits "Gaviota traidora", "El mar y la esperanza", "Amor se escribe con llanto", and "Espumas". Celosa con Flor Silvestre y otros éxitos (1966), her sixth studio album for Musart Records, peaked at number 11 on Record World Latin American


texts:
 LP Hit Parade. The album's lead single, "Celosa", peaked at number 9 on Cashbox Mexico's Best Sellers and number 4 on Record World Latin American Single Hit Parade."¿Por qué, Dios mío? ", another single included in Celosa, also charted well on Record World Latin American Single Hit Parade. In 1967, she released two albums, Boleros rancheros con la acariciante voz de Flor Silvestre and Flor Silvestre, vol. 6, and made her last film of the decade, El as de oros. In 1968, she released two albums, Flor Silvestre, vol. 7 and Flor Silvestre, vol. 8.Flor Silvestre, vol. 7 includes "Reconciliación", one of her major hits from the late 1960s, as well as several other hits, including "Cenizas de amor", "Cariño malo", "Triunfamos", and "Tres días". Flor Silvestre, vol. 8 features arrangements by famous guitarist Antonio Bribiesca and composer Gustavo A. Santiago and includes the hits "No vuelvo a amar" and "Tú, sólo tú". 1970–1989: Final films and multiple musical genres
In 1970, she released her album Amor, siempre amor, accompanied by the Mariachi Guadalajara. The album features innovative mariachi, piano, harmonica, and steel (Hawaiian) guitar arrangements in its songs. Its first track, "La cruz de lo imposible", is songwriter Lupita Ramos' first work.This was Flor Silvestre and Ramos' first collaboration; Ramos went on to author several other songs for Flor Silvestre. Another notable track is "La mitad de mi orgullo", by José Alfredo Jiménez. In the early 1970s, she recorded her first bolero album, Y las canciones de sus tríos


texts: favoritos. The album features cover versions of popular boleros from the 1950s, including "Un siglo de ausencia", "Condición", "El reloj", and "La barca". Cashbox included the album in its Latin Picks section and described it as "a masterpiece for lovers of Latin boleros". It was later rereleased as Sus canciones favoritas con... Flor Silvestre (LP reissue) and Mis boleros favoritos (CD reissue). In 1972, she released three albums: Una gran intérprete y dos grandes compositores, a tribute to songwriters Cornelio Reyna and Ferrusquilla; La voz que acaricia, which includes her hits "Solo con las estrellas" and "Hastío"; and Canciones con alma, her second album of bolero songs.She sang two tracks from Una gran intérprete y dos grandes compositores in the two films she made that year; she sang "Tema eterno" in La yegua colorada and "No me lo tomes a mal" in Valente Quintero. Billboard included Canciones con alma in its Top Album Picks section and wrote, "A good solid LP overall of love ballads. Best cuts: 'Vuelve', 'Tormento', 'Quisiera'". In 1973, she played one of Pancho Villa's lovers in La muerte de Pancho Villa and released her first norteño album, La onda norteña de Flor Silvestre. The album's cover is a photograph of her as the character in the film. She also played Felipe Carrillo Puerto's wife, Isabel Palma, in the film Peregrina (released in 1974), in which she sang the Guty Cárdenas bolero "Quisiera". In 1974, she released her album Con todo mi amor a mi lindo Puerto Rico, which is a tribute to two famous Puerto Rican


texts:
 songwriters, Rafael Hernández and <mask>.For this album she recorded four Hernández songs, "Campanitas de cristal", "Inconsolable", "No me quieras tanto", and "Silencio", and three <mask> songs, "Obsesión", "Amor", and "Esperanza inútil". The album also includes "Cruz de olvido", one of her hits, and "Vuelve pronto", a Spanish-language version of "Paper Roses". The album's release coincided with her appearance in the film Mi aventura en Puerto Rico, in which she sang "Desvelo de amor" and "Obsesión". This same year she appeared on the film Peregrina. She sang "La palma" in Simón Blanco (1975) and played the female leads in Don Herculano enamorado (1975), El moro de cumpas (1977), and Mi caballo el cantador (1979). In 1978, she released her album Ahora sí va en serio, which includes several songs written by Joan Sebastian. The title track was included in the Cashbox Latin Singles to Watch list.Other Sebastian songs included in the album are "Levantado en armas", "Te regalo mi pena", and "Trono caído". In 1979, Cashbox included her single "Morir al lado de mi amor" in its Latin Singles to Watch list. 1989–2020: Banda albums and tributes
In 1989, she recorded banda music for the first time. She told the press, "I was very afraid to record with a tambora; I thought it was too much sound, a lot of equipment, but when I recorded I loved it, I felt happy, and more because it was the band of Don Ramón López Alvarado. We recorded 'Los mirasoles', 'La rama', and 'Quiero que sepas'". She made her final film, Triste recuerdo, in 1990. In

masks:
Pedro Flores
Flores


texts:
 1991, she recorded her first banda album, Flor Silvestre con tambora, which includes a banda version of one of her bolero hits, "Caricia y herida".In 1994, she released her album Me regalo contigo, which includes a song dedicated to her marriage with Aguilar, "Para siempre juntos", and a vallenato song, "Sólo para ti". In 2001, she released her second banda album, Flor Silvestre con tambora, which includes new versions of her 1960s hits "Cariño santo", "Celosa", "Desolación", "Mi destino fue quererte", and "El mar y la esperanza". On 21 December 2010, she released her most recent album, Soledad: canto a mi amado y a su recuerdo, which she dedicated to her late husband. The album features interesting songs she had never recorded before, such as "Soledad", "Y llegaste tú", "El andariego", "Luz de luna", "Amanecí en tus brazos", "Las ciudades", "Los ejes de mi carreta", and "Sombras". On 9 March 2015, her documentary Flor Silvestre: su destino fue querer premiered at Zapopan's Plaza de las Américas as part of the Guadalajara International Film Festival. The 24-minute documentary features interviews with <mask> Silvestre, who recounts her life and career; her five children, Dalia, Francisco, Marcela, Antonio, and Pepe; and singers Angélica María and Guadalupe Pineda. In 2016, she was featured on "Para morir iguales", a track of her son Antonio's most recent album, Caballo viejo.Personal life
<mask> <mask> married her first husband, Andrés Nieto, in the 1940s. She gave birth to her first child, singer and dancer Dalia Inés Nieto,

masks: Flor Flor Silvestre


texts:
 when she was 16 years old. Around 1953, <mask> <mask> married radio announcer and bullfighting chronicler Francisco Rubiales Calvo "Paco Malgesto" (1914–1978), who would later become a famous presenter and pioneer of Mexican television. They had two children, translator Francisco Rubiales and singer and actress Marcela Rubiales. They lived in a house in Mexico City's Lindavista neighborhood. The couple separated and began divorce proceedings in 1958. <mask> <mask>'s third and last husband was singer and actor Antonio Aguilar, who died in 2007.He was the love of her life. They first met in 1950 when he was invited to sing on her program Increíble pero cierto at the Verde y Oro studio of radio station XEW in Mexico City. In 1955, they made their first film together, La huella del chacal, but their relationship began when they made the film El rayo de Sinaloa in 1957. They married in 1959 (or 1960, according to some sources) and had two sons who also became singers and actors, Antonio "Toño" Aguilar and José "Pepe" Aguilar. Aguilar built her a spacious home and ranch, El Soyate, northeast of Tayahua, Zacatecas. On 28 February 2012, <mask> Silvestre underwent surgery to extirpate the cancer-stricken half of her right lung. She responded well to the surgery.Death
<mask> <mask> died on 25 November 2020, on her estate in "El Soyate" Villanueva, Zacatecas, Mexico. She died of natural causes. Awards and honors
<mask> <mask> received many awards and honors throughout her career. She has her handprints in the Plaza de las Estrellas (the

masks: Flor Silvestre Flor Silvestre Flor Flor Silvestre Flor Silvestre


texts: Mexican equivalent of the Hollywood Walk of Fame). In 1966, Musart Records awarded her The Golden Clover (known as Trébol de Oro in Spanish) for being one of the label's best-selling artists in 1965. In 1970, Musart Records awarded her another Golden Clover for being one of the label's best-selling artists in 1969. In 1972, she won the Record World Award for Best Mexican Actress-Singer.In 2001, the National Association of Actors awarded her the Eduardo Arozamena Medal for her 50-year career. In 2008, she was the grand marshal of the Comité Mexicano Cívico Patriótico's Mexican Independence Parade in Los Angeles, California. In 2010, the twenty-first edition of the World Mariachi Day (Día Mundial del Mariachi) awarded her the Pedro Infante Medal for her "outstanding work and dissemination of Mexican music". In 2012, the Confederation of Livestock Organizations awarded her a "bull sculpture" for her contribution to Mexican culture. In 2013, the Association of Mexican Cinema Journalists awarded her the Special Silver Goddess for her career. Mexican actor Ignacio López Tarso presented her with the award and said: "For me it is a great honor and personal satisfaction to give you this award, to a great figure of Mexican cinema who, either walking or on horseback, made the best movies of the Mexican film industry". In 2014, the Government of the State of Zacatecas paid tribute to her career and gave her a special accolade at the Teatro Calderón in the state capital as part of the First Corrido Festival.In 2015, while promoting the


texts:
 release of her documentary entitled Flor Silvestre: Su destino fue querer, she was honored in Lagos de Moreno, Jalisco; Los Angeles, California; and Aguascalientes, Aguascalientes. Discography

<mask> <mask> made her first recordings in 1950 for the Mexican Columbia label (Discos Columbia de México). In these recording sessions, she was backed up by the mariachis of Gilberto Parra and Rubén Fuentes. Ten of these recordings, which were originally released on 78 rpm singles, were included in the greatest hits album Flor Silvestre canta sus éxitos, released in 1964 by Columbia's subsidiary label Okeh. This compilation album was later remastered and reissued in digital format by Sony Music Entertainment México in 2016. <mask> <mask> also recorded some songs for the RCA Víctor label in 1957. For this label, she recorded a single containing her first version of "Cielo rojo" on side A and "Qué padre es la vida" on side B.In 1957, <mask> Silvestre signed a contract with the Musart label. Among her first recordings for Musart are the songs "Nuestro gran amor" and "Pajarillo de la sierra", included in the soundtrack album of the Heraclio Bernal films, and "Te he de querer", "La chancla", and "La Valentina", included in the soundtrack album for the film La cucaracha. In 1958, she released her first studio album for Musart, Flor Silvestre. Musart has more than 300 of Flor Silvestre's recordings, many of them available in digital format since 2008. Singles
Her hit singles include:

Studio albums

Extended plays
 Para morir iguales

masks: Flor Silvestre Flor Silvestre Flor


texts:
 Desolación
 Volver a verte
 Mi destino fue quererte
 Aquel amor
 Vámonos
 Celosa
 Una limosna
 Miel amarga
 Perdámonos

Compilation albums
 Flor Silvestre canta sus éxitos (1964)
 Los éxitos de Flor Silvestre (1972)
 El disco de oro de Flor Silvestre (1977)
 15 éxitos (1984)
 15 éxitos, vol. 2 (1989)
 15 grandes éxitos (1998)
 Colección de oro: Flor Silvestre con mariachi (2003)
 Mexicanísimo: Flor Silvestre (2015)
 Serie del recuerdo 2 en 1: Flor Silvestre (2016)
 Mi México querido (2020)

Selected filmography

Flor Silvestre appeared in more than seventy films, almost always as the star and sometimes as a supporting actress or musical guest. Her film career spanned several genres, including ranchera comedy, rural drama, Mexican western, horror film, urban comedy, and Mexican Revolution drama.She starred in the following Mexican classics:

 Primero soy mexicano (1950)
 El tigre enmascarado (1951)
 El lobo solitario (1952)
 La justicia del lobo (1952)
 Vuelve el lobo (1952)
 La huella del chacal (1956)
 Rapto al sol (1956)
 El bolero de Raquel (1957)
 El jinete sin cabeza (1957)
 La justicia del gavilán vengador (1957)
 La cabeza de Pancho Villa (1957)
 Los muertos no hablan (1958)
 ¡Paso a la juventud..! (1958)
 Mi mujer necesita marido (1959)
 Kermesse (1959)
 Tan bueno el giro como el colorado (1959)
 Pueblo en armas (1959)
 El hombre del alazán (1959)
 La Cucaracha (1959)
 Escuela de verano (1959)
 ¡Quietos todos! (1959)
 El gran pillo (1960)
 Dos locos en escena (1960)
 Las hermanas Karambazo (1960)
 Poker de reinas (1960)


texts:
 Las tres coquetonas (1960)
 Vivo o muerto (1960)
 De tal palo tal astilla (1960)
 Los fanfarrones (1960)
 ¡Viva la soldadera! (1960)
 Luciano Romero (1960)
 Juan sin miedo (1961)
 Ánimas Trujano (1962)
 La venganza de la sombra (1962)
 La trampa mortal (1962)
 Aquí está tu enamorado (1963)
 Tres muchachas de Jalisco (1964)
 El revólver sangriento (1964)
 Escuela para solteras (1965)
 El rifle implacable (1965)
 Alma llanera (1965)
 El tragabalas (1966)
 El alazán y el rosillo (1966)
 Caballo prieto azabache (1968)
 El as de oros (1968)
 Lauro Puñales (1969)
 El ojo de vidrio (1969)
 Vuelve el ojo de vidrio (1970)

References

External links

 Entries at 45cat.com

1930 births
2020 deaths
20th-century Mexican actresses
21st-century Mexican actresses
20th-century Mexican women singers
Actresses from Guanajuato
Bolero singers
Columbia Records artists
Golden Age of Mexican cinema
Mexican film actresses
Mexican stage actresses
Mexican television actresses
Mexican female equestrians
Musart Records artists
People from Salamanca, Guanajuato
Ranchera singers
RCA Victor artists
Singers from Guanajuato
Western (genre) film actresses
21st-century Mexican women singers
Women in Latin


texts:
<mask> (1937–2017) was an artist and art critic from Melbourne, Australia, and a leading figure in Australian Conceptual art. Biography
Born in Melbourne on 24 September 1937, <mask> lived in Northcote until December 1939 when he moved to Broomfield Road, East Hawthorn. He trained at Swinburne College of Technology, Melbourne from 1954 to 1957, then at Preston Institute of Technology (Phillip Institute), Preston, between 1972 and 1973. His early work was hard-edged abstraction based on cereal packets, knitting patterns and suburban design for which, by the early 1960s, he had become well known, and for which he gained national recognition with his inclusion in the seminal exhibition of colour field painting The Field exhibited at the National Gallery of Victoria, Melbourne and Art Gallery of New South Wales in 1968. From 1969 to 1981 <mask> turned his attention to systematic photographic observation in a conceptual art mode, prior to which, from 1954 to 1963 he had used a Box Brownie camera to take photographs as references for his paintings, drawings and prints. <mask>, who stopped taking the serial photographs in 1975, said ‘I don’t particularly like photographer’s photographs.’. After this period he returned to painting In 1982 with ‘The Red Card, Australia’, 1944—45’ based on a Communist Party membership card he found in a book 20 years earlier.He continued plays on such printed ephemera, and it was included by Paul Taylor in Popism, a major exhibition at the NGV of Post-Pop art. <mask> wrote extensively on Australian art as critic for The Age (1980-July 1982) and as Melbourne Art Critic for The Australian (October 1982–99). He died on 21 March 2017. Selected exhibitions
 2013 <mask>, the Box

masks:
Robert Rooney
Rooney
Rooney
Rooney
Rooney
Robert Rooney


texts:
 Brownie Years 1956–58, Centre for Contemporary Photography, Melbourne. 2012 Play, National Gallery of Australia, Canberra. 2010 Endless Present: <mask> and Conceptual Art, National Gallery of Victoria, Melbourne. Retrospective with context provided by art donated from his collection of local and international conceptual art contemporary to the time.2009 Cubism and Australian Art, Heide Museum of Modern Art, Melbourne. 1990 The Readymade Boomerang: Certain Relations in 20th Century Art, 8th Biennale of Sydney. 1971 4 Conceptual Artists: Mel Ramsden, Ian Burn, Joseph Kosuth, <mask>, Pinacotheca, Melbourne, with catalogue by <mask>. 1968 The Field, National Gallery of Victoria, Melbourne and Art Gallery of New South Wales in 1968, seminal exhibition introducing international colour field painting into Australia. Between 12 November 2010 and 27 March 2011, the National Gallery of Victoria held a retrospective of <mask>'s work, titled 'Endless Present', w

Collections
<mask>'s work is held in a number of state, regional and university collections, including:
 National Gallery of Australia, Canberra
 National Gallery of Victoria, Melbourne
 Art Gallery of New South Wales, Sydney
 Art Gallery of South Australia, Adelaide
 Art Gallery of Western Australia, Perth
 Queensland Art Gallery, Brisbane. References

Bibliography
 Allen, T. Cross-Currents in Contemporary Australian Art, Craftsman House, 2001
 Allen, C. Art in Australia: From Colonization to Postmodernism’, Thames and Hudson, 1997
 Allen, C. Conceptual Ascetic, Review, Weekend Australian, 5–6 February 2011
 Allen, F. Portraits of an artist, The Herald-Sun, 7 March 2001
 Barlow, G; Delaney, M; & McFarlane, K. (Eds.)Change – Monash University Museum

masks:
Robert Rooney
Robert Rooney
Rooney
Rooney
Rooney


texts:
 of Art, Pub. MUMA, Melbourn 2010, p. 151
 Burt, W. Thirty Years of Australian Experimental Music 1963–1993, Sounds Australian: Journal of Australian Music, Autumn 1993
 Butler, R. A Secret History of Australian Art, Craftsman House, 2002
 Campbell, J. Wide-Eyed: Melbourne, the US and Back Again, interview with <mask>, John Campbell's Greatest Hits Vol. 1 (catalogue) Glen Eira City Gallery, 1999
 Catalano, G. Building a Picture: Interviews with Australian Artists, McGraw-Hill, Australia, 1997
 Catalano, G. Who's the Artist? Gary Catalano interview with <mask>, Art Monthly Australia, June 1994
 Catalano, G. <mask> retrospective reveals the enigma of a straight-shooter, The Age, 7 November 1990
 Clabburn, A. Bizarreness seen as if for the first time, The Australian, 19 February 2001
 Clement, T. <mask>: Balletomania Australian Art Collector, Issue 37 – July – September 2006. p. 255
 Colquhoun, B. The Lure of Light, interview with <mask>, Art and Australia, 39/2, 2001
 Crawford, A. Acquisitions in Australian Art Collector, Issue 47 – January–March 2009, pp.134–135
 Creagh, S. Open Gallery Sydney Morning Herald Spectrum 26–27 August 2006, p. 16
 Crombie, I & Blainey, G. Sites of the Imagination: Contemporary Photographers View Melbourne and its People, National Gallery of Victoria, 1992
 Duncan, J. From the Homefront: <mask>: Works 1953–1988, catalogue, Monash University Gallery, 1990
 Engberg, J. Downtown: Ruscha, <mask>, Arkley, catalogue, Museum of Modern Art at Heide, 1995
 Ferber, S., Healy, C. & McAuliffe, C. (ed). Beasts of Suburbia, Melbourne University Press, 1994
 Flynn, P. Endless Present, Artist Profile, issue 14, 2011
 Gennochio, B. (ed.). The Art of Persuasion: Australian Art Criticism

masks:
Robert Rooney
Robert Rooney
Rooney
Robert Rooney
Robert Rooney
Robert Rooney
Rooney


texts:
 1950–2001, Craftsman House, 2003
 Gennochio, B. Accenting the Minimal, Weekend Australian, 1–2 February 2003
 Gibson, J. Los Melbos, Art & Text 51, 1995
 Gollings, J.& Mchell, G. New Australian Style, Thames & Hudson, 1999
 Grishin, S. Australian Identities in Printmaking: The Print Collection of the Wagga Wagga Regional Art Gallery, Wagga Wagga Regional Art Gallery, NSW, 2000
 Green, C. & Smith, J. (curators). Fieldwork: Australian Art 1968–2002, catalogue, Ian Potter Centre: NGV, Australia, 2002
 Green, C. Have a Nice Day Mr. <mask>, Art/Text 66, 1999
 Green, C. Pinacotheca, Art and Australia, 34:4, 1997
 Green, C. Downtown: Arkley, <mask>, Ruscha, Artforum, November 1995
 Green, C. <mask>, Art & Text 47, January 1994
 Grey, A. (ed). Australian Art in the National Gallery of Australia, National Gallery of Australia, 2002
 Harding L, Cramer, S, Cubism and Australian Art, Heide Museum of Modern Art, Melbourne, 2010
 Hartigan, P., <mask>'s out of the ordinary photography, That Saturday Paper, September 27, 2014 http://www.thesaturdaypaper.com.au/2014/09/27/robert-rooneys-out-the-ordinary-photography/14117400001026#.VC9ZrvmSxPc
 Hay, A. (ed.). The perfect Week, The Bulletin, 20 February 2001
 Heathcote, C. Manhattan to Bloomsbury, Art Monthly Australia, Dec/Jan 1990/1991
 Heathcote, C. What do artists look forward to after the retrospective, The Age, 13 November 1991
 Heathcote, C. Visual art speaks where words fail, The Age, 8 October 1993
 Holt, S. & Murray, J. Luna Park and the Art of Mass Delirium, catalogue, Museum of Modern Art at Heide, 1998–1999
 Holt, S. Just for Fun: Images of Luna Park and St Kilda, Art and Australia, 34:4, 1997
 Hutchinson, N. Missing in action, The Sydney Morning Herald,

masks:
Rooney
Rooney
Robert Rooney
Robert Rooney


texts:
 June 16–17, 2001
 James, B.Culture of a dynamic era, The Age, 6 September 1995
 Kidd, C. Give Me Five, Artforce, summer, 1999/2000
 Koop, S. (ed.) A Small History of Photography, Centre for Contemporary Photography, 1997
 Lancashire, R. Painting of the Week: No: 8, What Price Victory? (1983), <mask>’, The Age, 21 May 2002
 Lower, L.A. <mask>, review, The Sydney Morning Herald, 25–26 October 2003
 Lynn, E. Double Vision, The Australian, 17 February 1995
 Makin, J. The way of all flesh, The Herald Sun, 17 June 2002
 Mendelssohn, J. 1968, PRIMAVERA, The Australian, 15 September 1995
 McAuliffe, C. & Yule, P. (eds.).Treasures: Highlights of the Cultural Collections of the University of Melbourne, Miegunyah Press, 2003
 McAuliffe, C. Art and Suburbia, Craftsman House, 1996
 McCulloch, S. Focus on structure: Highlighting our modern past, The Australian Financial Review, 23 March 2006
 McCulloch, S. DOWNTOWN, The Australian, 24 March 1995
 McDonald, K. Contemporary print collecting: Melbourne's print workshops and publishers, Art and Australia, 40:2, 2002
 McDonald, E. & Annear, J (eds.). What is This Thing Called Photography? : Australian Photography 1975-1985, Pluto Press, 2000
 McKenzie, B. & Phipps, J. Artists and wunderkinds, Artlink, 21:2, 2001
 McKenzie, R. Women still firmly in the picture, The Age, 27 December 1995
 McKenzie, R. Downtown: Ruscha, <mask>, Arkley, The Age, 29 March 1995
 Michael, L.. 21st Century Modern: 2006 Adelaide Biennial of Australian Art, catalogue essay, exhibition catalogue, Art Gallery of South Australia, 2006
 Michael, L. The Monash University Collection: People, Places and Ideas: Four Decades of Collection, catalogue, Monash University Museum of Art, 2002
 Moore, C.

masks:
Robert Rooney
Robert Rooney
Rooney


texts:
 Museum Hygiene, Photofile, March 1994
 Morrell, T. Post Mortem Ante Facto, Broadsheet Vol. 33 No. 2, pp.76–77
 Murray Cree, L. & Drury, N (eds.). Australian Painting Now, Craftsman House, 2000
 Nelson, R. Contemporary artists upstaging with understatement, The Age, 4 October 1995
 Nelson, R. Blockbuster to schlockbuster, The Age, 27 December 1995
 Nelson, R. Drawing on child art, The Age, 14 February 2001
 Nelson, R. Imaginative life of children inspires, The Age, 8 June 2002
 Nelson, R. Colouring Modern Life, The Age, 16 December 2003
 Nelson, R. The high art of the routine, The Age, 8 February 2011
 Neville, G. Quirky, offbeat look at the banal, The Age, 26 October 1990
 Nicholson, H. Avant-Gardism for Children, catalogue, University Art Museum, The University of Queensland, 1999
 Palmer, D. The order of things: the edition and the series in contemporary photomedia, Photophile 67, December 2002
 Pestorius, D. Geometric Painting in Australia 1941–1997, catalogue, University Art Museum, The University of Queensland, 1997
 Preston, E. Howard Arkley: Not Just a Suburban Boy, Duffy and Snellgrove, 2002
 Queensland Art Gallery, Queensland Art Gallery: Collection Souvenir, Queensland Art Gallery, 1996
 Reid, B. & Underhill, N. (eds.) Letters to John Reed: Defining Australian Cultural Life 1920–1981, Viking, 2001
 Rhodes, K. The Camera is a Dumb Recording Device; <mask> and the serial photographs in retrospective
 Rogers, J. The Art of Knitting, Angus & Robertson, 1991
 <mask>, R. <mask>, 21st Century Modern: 2006 Adelaide Biennial of Australian Art catalogue essay, exhibition catalogue, Art Gallery of South Australia, 2006
 Simpson, K. Memories are made of this, The Herald Sun, 21 March 1995
 Smith, T.

masks:
Robert Rooney
Rooney
Robert Rooney


texts:
 Transformation in Australian Art, Volume Two: The Twentieth Century – Modernism and Aboriginality, Craftsman House, 2002
 Stanhope, Z. The Persistence of Pop: Works from the Monash University Collection, catalogue, Monash University Gallery, 1999
 Thomas, D. Melbourne Modern: The Art of Robert Rooney, Art and Australia, 34:4, 1997
 Tomas, D. Golden oldies: four artists who were new and exciting in the 1960s and early 1970s and are still going strong, Art and Australia, 50:4, 2013
 Tobacco, W. Robert Rooney: Now and Then, Imprint, 37:3, Spring 2002
 Tonkin, S. When visual and performing arts align, Silver lined – Contemporary artists and the Performing Arts Collection exhibition catalogue, The Arts Centre, Melbourne, Australia, 2008
 Virgo, A. Australia: Limited Edition Prints, catalogue, The 16th Asian International Art Exhibition, Australian Print Workshop, 2001
 Wadelton, D. From ‘Red Rattlers’ to Lara Croft, Interview with Robert Rooney, Art and Australia, 38/2, 2000
 Whiteoak, J.& Scott-Maxwell, A. (eds.). Currency Companion to Music and Dance in Australia, Currency House, 2003
 Whiteoak, J. Playing ad Lib: Improvisatory Music in Australia 1836–1970, Currency Press, 1999
 Whiteoak, J. Melbourne Leads the Revolution, La Trobe Bulletin, September 1994
 Zimmer, J. From the Homefront: <mask> 1953–88, Art and Australia, 28:4, 1991
 Zimmer, J. In an Artist's Obsessive Zone, The Herald, 11 November 1990

External links
 Biography/CV - on the Darren Knight Gallery website. The High Art of the Routine - Review of 'Endless Present', from The Age.Untitled: Portraits of Australian Artists - Chapter on <mask>, at Academia.edu

1937 births
2017 deaths
Australian painters
Australian art critics
Australian

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Robert Rooney
Robert Rooney


texts:
<mask> (March 17, 1915April 9, 1992) was a United States Senator of the Democratic Party, and United States Ambassador to the Organization of American States (OAS). He represented Wyoming in the United States Senate from 1959 until 1977. To date, he remains the last Democrat to have represented Wyoming in the U.S. Senate. Early life
<mask> was born in Lincoln, Nebraska, on March 17, 1915. He attended public schools, and had planned to study law in college, but was forced by the Great Depression to attend the State Teachers College in Wayne, Nebraska, instead. He graduated from the Teachers College in 1936, and worked as a high school teacher while studying for a master's degree in history at the University of Colorado. He continued as a college instructor at Nebraska Wesleyan University, Iowa State College, and Notre Dame.In 1946 <mask> received his Ph.D. in history from the University of Chicago. University of Wyoming
Shortly after he received his Ph.D., <mask> accepted a position as a professor of American history at the University of Wyoming. Soon after, he founded and served as chair of the University's Institute of International Affairs, which brought national dignitaries every summer through a Carnegie Foundation grant. Twenty-one teachers from Wyoming high schools were selected each summer to participate. For the next 12 years, the Institute brought international foreign policy thinkers such as Eleanor Roosevelt, Hans Morgenthau, and Henry Kissinger. In 1952, <mask> took a one-year leave of absence from the University of Wyoming to serve as a Carnegie Research Fellow in New York with the Council on Foreign Relations, where he was

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Gale William McGee
McGee
McGee
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 assigned to research the mysteries of Soviet intentions. In 1956, because of the connections he made during his Carnegie fellowship, <mask> led a group of teachers on a trip to the Soviet Union; it was the first trip of its kind.Political career

1958 election
Active in Democratic Party politics, <mask> was asked to run for the United States Congress in 1950, but declined, saying he wanted to get more in touch with Wyoming and its people. In 1955–56 he took a leave of absence from the university to work as top aide to Wyoming Democratic Senator Joseph C. O'Mahoney. In 1958 <mask> left the university to make his bid for the U.S. Senate, challenging incumbent Frank A. Barrett. He ran on a program of youth and new ideas. The race between <mask> and Barrett attracted the attention of national party leaders on both sides. Senate Majority Leader Lyndon Johnson, Senator John F. Kennedy, Senator <mask> of Oregon, Senator-elect Edmund Muskie of Maine, Congressman Joseph M. Montoya of New Mexico, and former President Harry S. Truman came to the state to support <mask>, whose campaign slogan was "McGee for Me!". Lyndon Johnson pledged that, if Wyoming sent <mask> to Washington, he would appoint him to the prestigious Appropriations Committee.Eleanor Roosevelt even conducted a national fund-raising drive for him. Barrett received assistance from national leaders as well, including Vice President Richard Nixon. <mask> ultimately defeated Barrett by a margin of 1,913 votes out of a total of 116,230 votes cast in the election. He won the majority of the votes in seven of the 23 counties. These were the southern "Union Pacific" counties (Albany, Carbon,

masks:
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McGee
McGee
McGee
Wayne Morse
McGee
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 Laramie, Sweetwater, Uinta) Platte, just north of Cheyenne, and Sheridan in the north. <mask> won the endorsement of the Wyoming AFL-CIO Committee on Political Education (COPE) and the labor vote played an important part in the election. He became a member of the Democratic class of 1958, which was elected in the middle of President Eisenhower's second term.First Senate term
After his victory <mask> was appointed to the Interstate and Foreign Commerce Committee and Senate Majority Leader Johnson kept his promise and appointed him to the prestigious Appropriations Committee. <mask> and his fellow Senate freshmen, Thomas J. Dodd and Robert C. Byrd, were the first freshmen ever to receive such an appointment. The confirmation of Lewis Strauss (1959)
In 1958, President Dwight D. Eisenhower nominated Lewis Strauss to serve as Secretary of Commerce. Previously, Strauss had served in numerous government positions in the administrations of presidents Truman and Eisenhower. At the time, the 13 previous nominees for this Cabinet position won Senate confirmation in an average of eight days. Because of both personal and professional disagreements, Senator Clint Anderson took up the cause to make sure that Mr. Strauss would not be confirmed by the Senate. Senator Anderson found an ally in <mask> on the Senate Commerce Committee, which had jurisdiction over Mr. Strauss' confirmation.During and after the Senate hearings, Senator <mask> had charged Mr. Strauss with "a brazen attempt to hoodwink" the committee. After 16 days of hearings the Committee recommended Mr. Strauss' confirmation to the full Senate by a vote of 9-8. In preparation for the floor

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 debate on the nomination, the Democratic majority's main argument against the nomination was that Mr. Strauss' statements before the Committee were "sprinkled with half truths and even lies ... and that under rough and hostile questioning, [he] can be evasive and quibblesome." Despite an overwhelming Democratic majority, the 86th United States Congress was not able to accomplish much of their agenda since the President had immense popularity and a veto pen. With the 1960 elections nearing, congressional Democrats sought issues on which they could conspicuously oppose the Republican administration. The Strauss nomination proved tailor made. On June 19, 1959 just after midnight, the Strauss nomination failed by a vote 46-49.At the time, It marked only the eighth time in U.S. history that a Cabinet appointee had failed to be confirmed. 1960 Democratic Convention

From Harper's Magazine:

Relationship with President Kennedy
By nature of their service together in the Senate, Senator <mask> continued to enjoy a good relationship with President Kennedy while in the White House. President Kennedy provided a recorded tribute to Senator <mask> for a dinner in the Senator's honor in Wyoming in July 1963. President Kennedy referred to him as "an old friend", and "an asset and a leader in this country." As part of a nationwide tour in September 1963, President Kennedy made a stop in Cheyenne, and then boarded a smaller plane for the flight to Laramie. Senator <mask>, as is protocol for a United States Senator, escorted the President in his travels throughout Wyoming. In a video of the President's tour (at the 4 minute, 50 second mark), Senator <mask>

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 can be seen disembarking with President Kennedy upon arrival in Laramie.President Kennedy then delivered remarks at the University of Wyoming. Food Marketing Study (Public Law 88-354)
<mask> had concerns about falling cattle prices and that large chain drug stores were engaging in unfair practices with large meat processors at the expense of western cattle farmers. He felt an investigation was necessary to assess the "complete change" that had occurred in food marketing since World War II. He said the Commission should establish what, if any, "is the relationship between the phenomena of the food chain store and the increasing cost squeeze on the farm front." On April 26, 1963, <mask> introduced S J Res 71 which authorized the Federal Trade Commission to conduct an investigation of purchasing, processing, marketing and pricing practices of large chain stores to determine whether there may have been any violation of antitrust laws. Special emphasis was to be given to why a sharp drop in meat producers' income since January 1963 had not been reflected in consumer prices, which had generally remained level since a rise in 1962. On July 3 President Johnson signed S J Res 71 into law (PL 88-354).The fiscal 1965 supplemental appropriations bill (HR 12633–PL 88-635) provided $700,000 to start the Commission's studies. Mr. Johnson July 14 appointed the five public members of the Commission on Food Marketing. They were: <mask>. Batten, a Republican, president of the J. C. Penney Co.; Albert K. Mitchell, a cattle producer and Republican National Committeeman from New Mexico, former president of the American National Livestock Assn. and a member of

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 several advisory committees to the Secretary of Agriculture; former U.S. Rep. J. Fred Marshall (D Minn. 1949-63), a farmer and former state director of the Minnesota Farm Security Administration (1941–48); Elmer R. Kiehl, a professor of agricultural economics, former dean of the College of Agriculture at the University of Missouri and member of the advisory commission to the Secretary of Agriculture; and Marvin Jones, of Texas, former Chief Justice of the U.S. Court of Claims (1947–64), a Democrat, who was named Commission Chairman. Jones resigned as chairman Sept. 1 and President Johnson Sept. 17 appointed Phil S. Gibson, former chief justice of the California Supreme Court, to replace him. The five Senate members of the Commission, named by Majority Leader Mike Mansfield (D Mont.) July 1, were: Sens.<mask>. Magnuson (D Wash.), Commerce Committee chairman, Philip A. Hart (D Mich.), Thruston B. Morton (R Ky.), <mask><mask> (D Wyo.) and Roman L. Hruska (R Neb.). The five House members, named July 7 by Speaker John W. McCormack (D Mass. ), were: Reps. Benjamin S. Rosenthal (D N.Y.), Catherine May (R Wash.), Glenn Cunningham (R Neb. ), Leonor Kretzer Sullivan (D Mo.) and Graham Purcell (D Texas). 1963 railroad strike
In 1963, Congress acted for the first time in peacetime to impose compulsory arbitration in a major labor dispute.President Kennedy sent Congress a bill to submit a dispute over the railroads' attempts to eliminate "featherbedding" to the Interstate Commerce Commission, which was to impose an interim solution binding on the parties for two years. During Congressional consideration of the President's legislation, <mask> offered an

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. McGee
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 amendment to remove these less controversial questions from arbitration and make the Senate bill conform with the House bill, thereby expediting passage to avoid the strike. Congress on cleared the bill on August 28, 1963 that created a seven-member board to arbitrate the major issues in the dispute and prohibited the railroads from issuing "anti-featherbedding" rules. The arbitrated settlement was imposed for two years, and no strikes or lockouts were allowed during that time. The President signed the bill into law (PL 88-108) six hours before the strike was to begin on August 29, 1963. 1964 election
Republican leaders in Wyoming were singularly focused on defeating <mask> for re-election in 1964. Republican Congressman <mask> Harrison ultimately decided not to challenge the incumbent Senator.The remaining candidates for the Republican nomination did not offer stark differences between them, only their degree of attack upon <mask>. <mask> took advantage and concentrated on discrediting the state Republican Party and promoted <mask>'s specific contributions to particular areas of the state, especially given his position on the Senate Appropriations Committee. Counties thought to be steadfastly Republican, such as Big Horn County, wound up supporting both the re-election of President Johnson and Senator <mask>. The town of Lovell, never known to support a Democrat, gave Senator <mask> 123 more votes than it gave President Johnson, 145 more than it gave <mask>'s opponent, <mask>. Lovell had been the beneficiary of thousands of dollars in Area Re-development Loans. It was located close to the Yellowtail Dam, the State's most recent large

masks:
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William Henry
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John Wold


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 reclamation project, and just before election learned that its interstate access road had been designated a federal highway. Another important factor, like it was in the 1958 election, was organized labor and the State's right-to-work law.The 1964 election found labor organized for political action in virtually every county in the state, most particularly in the pivotal counties of Natrona and Fremont, and the key Democratic counties of Laramie, Albany, Carbon, Sweetwater, and Uinta. Organized labor distributed 23,000 bumper stickers with the phrase, "Poverty Lurks in Right-to-Work." Mass media, TV, radio and newspapers played its greatest role yet in a Wyoming campaign. <mask>'s campaign released a 30-minute documentary, "This is <mask>" in the summer and it was broadcast on all local TV networks and was the single most effective use of the medium
Ultimately, <mask> won reelection over <mask>  by a margin of 16,397. Second Senate term
He strongly supported President Lyndon B. Johnson's views on the Vietnam War. On March 6, 1965, CBS News aired an hour-long TV special titled "Vietnam: Hawks and the Doves" that featured a debate between <mask> and Senator George McGovern for the full hour. It was moderated by Charles Collingwood.Hanson Baldwin of the New York Times and former Assistant Secretary of State for Far Eastern Affairs (1963–64) Roger Hilsman also participated. During the debate, <mask> called for "planned escalation;" Baldwin contemplated massive bombing campaign and a naval blockade of North Vietnam. It appeared that Hilsman agreed that troops should be sent, but didn't think it would make a difference. McGovern was all alone in

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texts: arguing against military intervention. At the conclusion on the debate, Collingwood summarized that <mask> was a "hawk" on Vietnam, McGovern a "dove" and Hilsman was a "chicken hawk." Also that year, after over 10 years as a member of the Appropriations Committee, <mask> was named chairman of the Foreign Operations Appropriations subcommittee. In March 1966, <mask> was appointed to the Foreign Relations Committee where he would serve until 1967 and then was reappointed in 1969 and served until he left the Senate.He believed in the policy of containing communism, and his pro-military views were accented by his firm support for foreign aid. Johnson strongly considered appointing Senator <mask> to be Ambassador to the UN after the resignation of Arthur Goldberg. In 1968, <mask> wrote The Responsibilities of World Power, which warned against isolationism and urged the United States to accept its power and position imposed upon it in the aftermath of World War II. The book further argued that the U.S. had a responsibility to be a Pacific power, to act as a counterweight to China, and to support free nations in their efforts to remain nonaligned or western allies but not to fall into the Communist fold. The work was nominated for a Woodrow Wilson Foundation award. In 1969, <mask> became chairman of the Post Office and Civil Service Committee. As chair this Committee, he fought for greater equity in pay and benefits for those federal workers.He was also directly involved in the passage of the Postal Reorganization Act which was influenced by the U.S. postal strike of 1970, the largest wildcat strike in history. The Act abolished the then United

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 States Post Office Department, which was a part of the cabinet, and created the United States Postal Service, a corporation-like independent agency with an official monopoly on the delivery of mail in the United States. Voter registration by mail
In 1972, <mask> introduced S. 352, which would allow eligible voters to register by mail in federal elections. The bill would establish a new Voter Registration Administration as part of the U.S. Census Bureau to administer the registration program. Under the procedure, postcard forms would be mailed to all postal addresses and residences, and the cards would have to be returned to local registration agents no later than 30 days before a federal election. Processing of the forms would be paid for by the Voter Registration Administration. <mask> believed and argued that existing methods discouraged registration citing the fact that 62 million people did not vote in 1972 election, nearly half of all Americans eligible to vote.Opponents believed that the proposal would destroy the two-party system, lead to increased fraud, and cost too much to implement. The Nixon Administration formally opposed the bill citing the potential for fraud and cost but <mask>'s committee reported the bill with only Hiram Fong, the Committee's ranking Republican member, opposing. During floor debate In spring 1973, the bill was filibustered for almost a month. The 13th successful cloture vote since in the Senate came after two earlier attempts to terminate a four-week filibuster on the voter registration bill (S 352) failed. Had the May 9 vote also fallen short, <mask> had warned opponents of S 352 during floor debate that


texts:
 not only would there have been another cloture vote, but "if necessary there'll be another and another and another." The nearly 100 per cent attendance for the May 9 vote, plus three switches in favor of cloture on the third try, gave the cloture motion the necessary two-thirds vote. John C. Stennis (D Miss.)was the only senator to miss the vote. Earlier efforts to shut off the talkathon on the bill failed by two and three votes, respectively. The April 30 vote was 56-31; the May 3 vote was 60-34. On May 9, cloture succeeded by a one-vote margin, 67-32. Two Republicans and one Democrat switched from opposition to support for cloture on the May 9 67-32 vote. The Republicans were Robert T. Stafford (Vt.) and Milton R. Young (N.D.); both had voted against cloture on the two previous cloture motions. The Democrat was Russell B.Long (La. ), who opposed cloture on the May -3 vote. In addition, supporters of cloture gained four of five new votes of members who did not vote May 3: Alan Bible (D Nev.), Mark O. Hatfield (R Ore.), Joseph M. Montoya (D N.M.) and <mask>. Saxbe (R Ohio). John Sparkman (D Ala.), one of the other two members (along with Stennis) who did not vote May 3, cast the only additional vote against cloture. Final passage of S. 352 was successful on May 9, 1973 by a vote of 57-32. The legislation died after the House failed to take action on the bill. 1970 election
<mask>'s bid for reelection in 1970 was targeted by Republicans as one of the top seven races in the country.Republican leaders recruited Congressman <mask> to again take on <mask>, despite <mask> being trounced by <mask> in the 1964 election. <mask> faced a primary

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William B
McGee
John Wold
McGee
Wold
McGee
McGee


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 challenger for the Democratic nomination because of <mask>'s support for continued military action in Vietnam. <mask> won nomination overwhelmingly by 24,508 votes. <mask> again promoted his seniority in the Senate and his committee assignments (Appropriations, Foreign Relations, and Post Office and Civil Service) that benefited the State. To charges that he was a big spender of federal monies, he pointed out that he helped bring over $349 million in federal aid to Wyoming in the previous year and that if that was big spending he was "for it." Vice President Spiro Agnew supported <mask>'s campaign but never specifically mentioned <mask> by name. The Denver Post chided the Vice President for speaking against <mask> considering it was <mask> who helped Nixon solve a major postal strike and continued to support military action in Vietnam.The same newspaper reported that in 1969, <mask> voted with the Nixon Administration 69 percent of the time and 24 percent against, while <mask> only supported the Administration on issues 49 percent of the time, and opposed 28 percent. <mask> won re-election receiving 67,207 votes to <mask>'s 53,279. <mask> won eleven of the 23 counties he picked up in 1964 but added for others and increased his margin of victory in Natrona County, Wyoming – a moderately strong Republican county and <mask>'s home base. <mask> continued to have strong support of organized labor, carrying big margins in the southern "Union Pacific" counties. Third Senate term
In his third term he continued to be a leading member of the committees on which he served. He was Chairman of Western Hemisphere Affairs subcommittee of the Foreign

masks: McGee McGee McGee Wold McGee McGee McGee McGee Wold McGee Wold McGee Wold McGee


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 Relations Committee. <mask> was a voice of moderation in the affairs of the Watergate scandal and the impeachment proceedings of President Richard Nixon.Against the wishes of many of his constituents, <mask> stood on principle and fought hard for positions unpopular in Wyoming in support of gas rationing and the 55-mile per hour speed limit in the era of the first Arab oil embargoes. Protection of bald and golden eagles
In his third Senate term, <mask> gave up the gavel of the Foreign Operations Appropriations Subcommittee to become Chairman of Agriculture, Environmental and Consumer Protection Appropriations Subcommittee. He would remain Chairman of that subcommittee until he left the Senate. At an August 1971 hearing held by <mask>'s subcommittee, a Wyoming helicopter pilot testified that sheep ranchers paid him to fly near eagles which they killed with shotguns. About 500 bald eagles were destroyed in this manner, the pilot said. The Wyoming Woolgrowers Association had claimed that 8,000 lambs were lost to eagles annually, and the group's president declared he had seen eagles kill grown sheep and antelope. Conservationists disputed the figures and said that eagles seldom touched lambs unless they were already dead.A University of Montana study of prey items collected from 40 golden eagle nests over a three-year period found evidence of only one dead lamb and one dead sheep, with no proof they had been killed by eagles. In October 1972, Congress approved legislation strengthening the penalties imposed for violations of Bald Eagle Protection Act of 1940. 27th U.N. General Assembly (1972)
A long-time supporter of the United Nations, <mask>


texts:
 was appointed by President Richard Nixon to a four-member congressional delegation to represent the United States at the United Nations' 27th General Assembly in 1972. His chief assignment at the Assembly was to get the United Nations members to agree to lower the U.S.'s share annual dues  from 31 percent to 25 percent - a difference of $13 million. Both the House and Senate had already passed measures to limit the United States' contribution to the U.N. But each country's share is ultimately decided by a majority of the 130 member nations. Through the efforts of <mask>, along with U.S.Ambassador to the U.N. George Bush, the U.N. assembly approved the reduction, with 80 nations voting to support the resolution. "Champion" of Congressional recess
In 1965, Senator <mask> began calling for a mandated August recess for Congress. It was not until 1969 that his idea gained enough support amongst his colleagues that they gave it a test run - the Senate recessed from August 13 to September 3. Finally, on August 6, 1971, as mandated by the Legislative Reorganization Act of 1970, the Senate began its first official August recess. The account from the Office of the Senate Historian

Give Us a (Summer) Break! Candidate for Director of Central Intelligence (CIA)
A July 10, 1975 memo from then White House Chief of Staff Donald Rumsfeld to President Gerald Ford listed <mask> as one of many potential candidates to be Director of Central Intelligence. Rumsfeld listed "pros and cons" of each candidate (including George Bush, Lee Iacocca, and <mask> and others).The memo thought <mask> was a strong defender of the intelligence community, respected within the

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McGee
McGee
Byron White
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 foreign affairs community, and well-regarded for his independence. On November 4, 1975, <mask> was replaced as CIA Director by George Bush in a major shakeup of President Ford's administration termed the Halloween Massacre. 1976 election
In his 1976 bid for a fourth term, <mask> was defeated by Republican challenger <mask>, who ran an expensive television advertising campaign attacking <mask> for, among other positions, his opposition to state right-to-work laws, and problems with the U.S. Postal Service, based on <mask>'s chairmanship of the U.S. Senate committee overseeing the Postal Service. The margin of defeat was almost ten percentage points. United States Ambassador to the Organization of American States
After his defeat by <mask>, <mask> was nominated by President Jimmy Carter as United States Ambassador to the Organization of American States. After approval by the Senate, he was sworn in on March 30, 1977 at a ceremony in the Roosevelt Room in the White House by Judge John Sirica.His former colleague from the U.S. Senate, Vice President <mask>, was in attendance as were former U.S. secretaries of State Henry Kissinger and <mask>. Rogers, former United States Ambassador to South Vietnam Ellsworth Bunker, Under Secretary of State <mask>, National Security Advisor Zbigniew Brzezinski, and senators John Sparkman and <mask>. During his tenure, <mask> headed the U.S. delegation to four OAS assemblies and lobbied for the successful approval of the 1978 Panama Canal Treaty. Life after public service
In September 1981, <mask> formed Gale W. McGee Associates, a consulting firm specializing in international and public affairs activities.

masks:
William Colby
McGee
Malcolm Wallop
McGee
McGee
Malcolm Wallop
McGee
Walter Mondale
William P
Warren Christopher
William Fubright
McGee
McGee


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 The firm offered a broad range of political and economic services to both domestic and international companies with a special emphasis on developing new business opportunities with the nations of Latin America and the Caribbean. <mask> later served as president of the American League for Exports and Security Assistance, Inc. in 1986

He was a senior consultant at Hill & Knowlton, Inc. from 1987 to 1989;

He was also president of the consulting firm of Moss, McGee, Bradley, Kelly & Foley, which was created with former U.S. Senator Frank Moss. Indochina Refugees
In September 1985, Secretary of State George Shultz asked <mask> to serve on a panel headed by Robert D. Ray to review U.S. policy towards Indochinese refugees.In the wake of the 1975 collapse of the South Vietnamese government, more than 1.6 million Indochinese people had become refugees. The panel issued recommendations in 1986. Personal life
<mask> married Loraine Baker in 1939 and together they had four children: David, Robert, <mask> and Lori Ann. Senator <mask> died on April 9, 1992, in Washington, D.C. He is buried in Oak Hill Cemetery. Congressional recognition
In January 2007, the Wyoming congressional delegation introduced federal legislation (H.R. 335, S. 219) to rename the U.S. Post Office in Laramie, Wyoming as the "Gale W. McGee Post Office."The United States House of Representatives passed the legislation by voice vote on January 29, 2007. The United States Senate passed the legislation by Unanimous consent on February 7, 2007. The President signed the bill into law on March 7, 2007. References

External links

 <mask> Papers at the University of Wyoming - American

masks:
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McGee
McGee
Mary Gale
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 Heritage Center

 Select Digital Collections of the McGee Papers at the AHC digital archive
 Blog posts related to <mask> on AHC blog

1915 births
1992 deaths
United States senators from Wyoming
Wyoming Democrats
Permanent Representatives of the United States to the Organization of American States
Democratic Party United States senators
University of Wyoming faculty
Burials at Oak Hill Cemetery (Washington, D.C.)
20th-century American


texts: <mask>. Ionescu-Caion (, born <mask> and commonly known as Caion; 1882 – November or December 1918) was a Romanian journalist and poet, primarily remembered for his legal dispute with humorist Ion Luca Caragiale. He was a Symbolist, a disciple of <mask>, and a militant Francophile, as well as a leading opponent of literary tradition. His scattered work comprises essays, short stories and prose poetry, noted for their cultural references, but made little impact on Romanian literature. As a journalist, Caion prioritized scandals, accusing Caragiale of plagiarism and losing the subsequent celebrity trial of 1902, before partly recanting and winning the retrial. Despite his own coquetries with Romanian nationalism, Caion focused his verve on Transylvania's contemporary nationalist literary current. Ionescu-Caion was the founder of several magazines, most notably Românul Literar.Originally conceived as a literary supplement for the daily Românul, it became a tribune of Macedonski's Romanian Symbolist movement, and helped discover George Bacovia, the celebrated modern poet. During World War I, when he oscillated between the two opposing camps, Caion put out the journal Cronicarul. This was his last known activity in the Romanian press. A contradictory figure, Caion was equated with infamy and ridicule in the Romanian context, and his evidently unsubstantiated allegations against Caragiale have traditionally puzzled literary historians. In Transylvania, the word Caion was for a while synonymous with yellow journalist.

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Constantin Al
Constantin Alexandru Ionescu
Alexandru Macedonski


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 Biography

Early career
Little is recorded about Caion's roots, other than that he was a devout Roman Catholic, and a regular presence at Saint Joseph Cathedral. He had a very early debut in cultural journalism.After 1897, when he was 15, his literary chroniclers saw print in several newspapers, under various pseudonyms such as C. A. I. Nică Burdușel, Ion Filionescu, Marin Gelea, Isac Șt. Micu, Roman Mușat, among others. In January 1898, he was employed by Adevărul daily, covering the Romanian tour of Sâr Péladan. Péladan, a writer, mystic and self-styled mage, failed to impress the young reporter, who reported on his various claims with a note of irony. Also then, he affiliated with Macedonski's eclectic art magazine Literatorul (known during the period as Revista Literară). Interested in the Roman Empire, he published with Literatorul a comparative biography of Julius Caesar and Augustus, republished as a book by Carol Göbl of Bucharest. Also in 1898, Ionescu-Caion completed his adaptation of Jonathan Swift's Gulliver, published by the Adevărul collection Biblioteca Enciclopedică as Trei ani de suferință: O călătorie curioasă ("Three Years of Suffering: A Strange Voyage").It came with Caion's own critical study of Swift. According to Anglicist Mihaela Mudure, Caion, "a famous journalist and a minor writer", was thus the first Romanian to publish an essay on Swift, albeit one that was "not very sophisticated"; she also notes that the translation added a sexual twist to some of Gulliver's adventures. Caion


texts: published other such translations with Biblioteca Enciclopedică, rendering works by Thomas Bailey <mask>, Louis Henri Boussenard, Henry de Graffigny, Louis Jacolliot and others. Under contract with Adevărul (1899), Caion published his translation from Prosper Castanier novellas, dealing with "Roman decadence". Writing in 2011, critic Angelo Mitchievici suggested that Caion's introduction to the volume exaggerated Castanier's merits, but was still "interesting" for showing the popularity of "decadentism" in 1890s Romania: Caion's argument was that Rome fell victim to "Asiatic luxury" and sophisticated sexuality ("orgies"). Caion's own texts on the subject of decadence were published as booklets by the French company Retaux Frères. His bibliography for 1899 includes the essay Coversații despre artă ("Conversations on Art"), and, also with Adevărul, a selection of his own novellas.Not much is known about Caion's other involvements, other than that he attended the University of Bucharest Faculty of Letters, in the same year as fellow journalist Eugen Porn. Although living in the capital, he maintained links with the youth of Iași, and published alongside I. I. Mironescu in the high school magazine C. Negruzzi. His work included an essay about the works of the eponymous novelist. A "<mask> Ionescu", whom literary historian Victor Durnea tentatively identifies as the future Caion, was arrested by Romanian Police on Calea Victoriei, Bucharest, during the breakup of a student nationalist rally (September 13, 1894). He was

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 still enlisted at the University in 1899, when he organized a charity event to benefit the impoverished schoolchildren of Câmpina. Symbolist beginnings

Despite his subsequent involvement in various scandals, Ionescu-Caion was not universally perceived as a mediocre journalist. Historian Lucian Boia notes that he "was not without merit as a publicist."Around the year 1900, Caion became a sympathizer of the Romanian Symbolist movement, whose leader was the poet Macedonski. Attached by philologist Ștefan Cazimir to a "Secessionist" current in Romanian literature, Caion made himself noted for a prose poem entirely dedicated to his lover's hair (a recurring theme in Symbolist literature, taken to extremes by the Romanian author). A regular presence in Macedonski's house, Caion mounted a campaign to promote minor Romanian Symbolist authors in France. As noted by critics, the French contacts were themselves fringe magazines, with Legitimist and Traditionalist Catholic agendas. Caion had an enduring interest in history and, in 1900, completed his monograph on Wallachian Prince Gheorghe Bibescu. Titled Asupra domniei lui Bibescu ("On Bibescu's Reign"), it was first published as an addendum to Georges Bibesco's pamphlet, O execuție ("An Execution"). Bibesco, the Prince's destitute son, continued to employ Caion as his defender and co-author: in 1901, they published an ampler work on the subject of Bibescu family grievances against the modern Romanian establishment.In tandem, Caion publicized his comparison of historical