texts:
 against China, was much closer, but the USA team had balanced scoring, with five players in double figures for points, and won 83–78. The USA team played Canada in the semifinal, and again had five players with double-digit scoring, winning 85–61 to advance to the gold medal game against the USSR. The USA fell behind by as much as 18 points in the second half. They attempted a comeback, and cut the margin, but the USSR hit almost 55% of their shots and went on to claim the gold medal 87–81. The USA received the silver medal.<mask> was the leading scorer and rebounder for the USA team with 17.3 points and 7.7 rebounds per game. Film: This Is a Game, Ladies
Stringer and the entire Rutgers team were the subject of the 2004 documentary: This Is a Game, Ladies that followed the team during the 2000–2001 season. The film was by directed by Peter Schnall and aired on PBS. Head coaching record
Sources:

See also
List of college women's basketball coaches with 600 wins

References

Bibliography

 <mask>, C. <mask> and Tucker, Lauren (2009)  Standing Tall: A Memoir of Tragedy and Triumph. Crown/Archetype Publishing. .
 Encyclopeida.com-Contemporary Black Biography COPYRIGHT Thomas Gale

External links
 Rutgers profile

1948 births
Living people
African-American basketball coaches
American women's basketball coaches
Basketball coaches from Pennsylvania
College women's basketball players in the United States
Educators from Pennsylvania
American women educators
Iowa Hawkeyes women's basketball coaches
Naismith Memorial Basketball Hall of Fame inductees
People from Fayette County, Pennsylvania
Rutgers Scarlet Knights women's basketball coaches
Slippery Rock University of Pennsylvania alumni
21st-century African-American people
21st-century African-American women
20th-century African-American sportspeople
20th-century

masks:
Katrina McClain
Stringer
Vivian


type: original

texts:
<mask> (born 11 November 1940) is a German military historian and peace researcher. He is an author or editor of over 40 books on the history of Nazi Germany, including the seminal Germany and the Second World War series from the German Military History Research Office (MGFA). <mask>'s published book, The Wehrmacht: History, Myth, Reality has been translated into five languages and deals with the issue of Wehrmacht criminality during World War II and the legend of its "clean hands". In 2015, <mask> was a recipient of the Order of Merit of the Federal Republic of Germany, the only federal honour awarded to German citizens for exceptional achievements. Education and career
From 1971 to 1995 <mask> worked at the Military History Research Office (MGFA). Afterwards, he was a professor of history at the University of Freiburg. <mask> was a co-founder of the Historical Peace Research Working Group (Arbeitskreis Historische Friedens- und Konfliktforschung e.V.).He was a member of the municipal council of Freiburg from 1980 to 1989 as a member of the Social Democratic Party of Germany, and was also the chairman of the SPD parliamentary group and the SPD city association chairman. Historian of Nazi Germany
<mask> is an author or editor of forty books on the history of Nazi Germany, including the Wehrmacht (armed forces), its leadership and its relationship with Nazism. <mask>'s works explored topics that at the time of their publication were considered taboo or not widely discussed in Germany, such as desertion, treason and aid to victims of the Nazi regime from military personnel. Despite thousands of executions for

masks:
Wolfram Wette
Wette
Wette
Wette
Wette
Wette
Wette


texts:
 "undermining of military morale", <mask>'s research has shown that only three Wehrmacht servicemen were executed for helping Jews. <mask> explored the topic in his book Feldwebel Anton Schmid: Ein Held der Humanität [Feldwebel Anton Schmid: A Hero of Humanity]. The book told the story of Anton Schmid, who aided Jews confined to the Vilna Ghetto. He was sentenced to death by his military superiors and executed in 1942.Because of the controversial nature of <mask>'s work, he has received death threats. The Wehrmacht: History, Myth, Reality

<mask>'s 2002 book Die Wehrmacht. Feindbilder, Vernichtungskrieg, Legenden [The Wehrmacht: Images of the Enemy, War of Extermination, Legends] was published in 2006 in English as The Wehrmacht: History, Myth, Reality by Harvard University Press. Building on Omer Bartov's 1985 study The Eastern Front, 1941–1945: German Troops and the Barbarisation of Warfare, the book deconstructs the myth of the clean Wehrmacht. According to The Atlantic, it shows that "the Wehrmacht—and not, as postwar accounts by German generals would have it, merely the SS—freely and even eagerly joined in murder and genocide, which were central, rather than incidental, features of its effort". The book complements the earlier studies that focused on the average Landser (soldier) and also discusses the complicity of the highest levels of the Wehrmacht. Reviewing the work, the historian Geoffrey P. Megargee notes that "until Wette's work, there was no concise, general survey on the Wehrmacht's crimes, at least for an English-speaking audience.Thus, his work fills a significant gap in the literature". The review

masks: Wette Wette Wette Wette


texts:
 goes on to criticize the book for omitting key areas, according to Megargee, for assessing the Wehrmacht's criminality, including the murder of more than 3 million Soviet prisoners of war, the Bandenbekämpfung (bandit-fighting) doctrine of carrying out counter-insurgency warfare with maximum brutality, and criminal orders, such as the Commissar Order. Awards
 2015: Order of Merit of the Federal Republic of Germany

Selected works

In English
 With Wilhelm Deist, Manfred Messerschmidt, Hans-Erich Volkmann: Germany and the Second World War, Volume I: The Build-up of German Aggression. Oxford University Press,
 The Wehrmacht: History, Myth, Reality, Cambridge, MA: Harvard University Press. 2007,

In German
 Kriegstheorien deutscher Sozialisten. Marx, Engels, Lassalle, Bernstein, Kautsky, Luxemburg. Ein Beitrag zur Friedensforschung.Kohlhammer, Stuttgart u. a. 1971, . With Wilhelm Deist, Manfred Messerschmidt, Hans-Erich Volkmann: Ursachen und Voraussetzungen der deutschen Kriegspolitik (= Das Deutsche Reich und der Zweite Weltkrieg. Bd. 1). Deutsche Verlags-Anstalt, Stuttgart 1979; aktualisierte Taschenbuchausgabe: Ursachen und Voraussetzungen des Zweiten Weltkrieges. Fischer Taschenbuch, Frankfurt am Main 1989,
 With Gerd R. Ueberschär: Bomben und Legenden.Die schrittweise Aufklärung des Luftangriffs auf Freiburg am 10. Mai 1940. Ein dokumentarischer Bericht. Rombach, Freiburg im Breisgau 1981, . Gustav Noske. Eine politische Biographie. Droste, Düsseldorf 1987, .Militarismus und Pazifismus. Auseinandersetzung mit den deutschen Kriegen. Donat, Bremen 1991, . Die Wehrmacht. Feindbilder, Vernichtungskrieg,


texts:
 Legenden. S. Fischer, Frankfurt am Main 2002,  (translated in English, French, Spanish, Polish)
 Militarismus in Deutschland. Geschichte einer kriegerischen Kultur.Fischer-Taschenbuch-Verlag, Frankfurt a.M. 2011, . Gustav Noske und die Revolution in Kiel 1918 (= Sonderveröffentlichungen der Gesellschaft für Kieler Stadtgeschichte Bd. 64.) Boyens, Heide 2010, . Karl Jäger. Mörder der litauischen Juden. Fischer Taschenbuch, Frankfurt am Main 2011, .Feldwebel Anton Schmid: Ein Held der Humanität. S. Fischer, Frankfurt am Main 2013, . Ehre, wem Ehre gebührt! Täter, Widerständler und Retter (1939–1945) (= Schriftenreihe Geschichte & Frieden. Bd. 24). Donat, Bremen 2014, .References

Citations

Sources

External links
The Wehrmacht: History, Myth, Reality: official page at the Harvard University Press web site. "Will Germany Finally Rehabilitate Nazi-Era 'Traitors'? ", review of The Last Taboo (2009) by <mask> <mask> and Detlef Vogel, Stern Online (in English)

20th-century German historians
1940 births
German military historians
Historians of World War II
German male non-fiction writers
Military History Research Office (Germany) personnel
Living people
Recipients of the Cross of the Order of Merit of the Federal Republic of

masks: Wolfram Wette


texts:
<mask>'Grady (; 18 September 1846 – 18 May 1928) was an Irish author, journalist, and historian. O'Grady was inspired by Sylvester O'Halloran and played a formative role in the Celtic Revival, publishing the tales of Irish mythology, as the History of Ireland: Heroic Period (1878), arguing that the Gaelic tradition had rival only from the tales of Homeric Greece. O'Grady was a paradox for his times, proud of his Gaelic heritage, he was also a member of the Church of Ireland, a champion of aristocratic virtues (particularly decrying bourgeois values and the uprooting cosmopolitanism of modernity) and at one point advocated a revitalised Irish people taking over the British Empire and renaming it the Anglo-Irish Empire. O'Grady's influence crossed the divide of the Anglo-Irish and Irish-Ireland traditions in literature. His influence was explicitly stated by the Abbey Theatre set with Lady Gregory, W. B. Yeats and George William Russell attributing their interest in the Fenian Cycle of Gaelic tradition in part to him. Some of the figures associated with the political party Sinn Féin, including its founder Arthur Griffith, had positive things to say about his efforts in helping to retrieve from the past the Gaelic heroic outlook. Family
His father was the Reverend Thomas O'Grady, the scholarly Church of Ireland minister of Castletown Berehaven, County Cork, and his mother Susanna Doe (or Dowe).<mask> O'Grady's childhood home – the Glebe – lies a mile west of Castletownbere near a famine mass grave and ruined Roman Catholic chapel. He was a cousin of <mask> Hayes O'Grady, another noted figure in

masks:
Standish James O
Standish
Standish


texts:
 Celtic literature, and of <mask> O'Grady, 1st Viscount Guillamore. He married Margaret Allen Fisher, daughter of William Allen Fisher and had three sons. Advised to move away from Ireland for the sake of his health, he passed his later years living with his eldest son, a clergyman in England, and died on the Isle of Wight. His eldest son, Hugh Art O'Grady, was for a time editor of the Cork Free Press before he enlisted in the Great War early in 1915. He became better known as Dr Hugh O'Grady, later Professor of the Transvaal University College, Pretoria (later the University of Pretoria), who wrote the biography of his father in 1929. After a rather severe education at Tipperary Grammar School, <mask> <mask>'Grady followed his father to Trinity College, Dublin, where he won several prize medals and distinguished himself in several sports.Career
He proved too unconventional of mind to settle into a career in the church, and took a job as a schoolmaster at Midleton College, then in a period of expansion. He also qualified as a barrister, while earning much of his living by writing for the Irish newspapers. Reading Sylvester O'Halloran's "General history of Ireland" sparked an interest in early Irish history. After an initial lukewarm response to his writing on the legendary past in "History of Ireland: Heroic Period" (1878–81) and "Early Bardic Literature of Ireland" (1879), he realised that the public wanted romance, and so followed the example of <mask> in recasting Irish legends in literary form, producing historical novels including "Finn and his Companions" (1891), "The Coming of Cuculain"

masks:
Standish
Standish
James O
James Macpherson


texts: (1894), "The Chain of Gold" (1895), "Ulrick the Ready" (1896) and "The Flight of the Eagle" (1897), and "The Departure of Dermot" (1913). He also studied Irish history of the Elizabethan period, presenting in his edition of Sir Thomas Stafford's "Pacata Hibernia" (1896) the view that the Irish people had made the Tudors into kings of Ireland to overthrow their unpopular landlords, the Irish chieftains. His "The Story of Ireland" (1894) was not well received, as it shed too positive a light on the rule of Oliver Cromwell for the taste of many Irish readers. He was also active in social and political campaigns in connection with such issues as unemployment and taxation.Until 1898, he worked as a journalist for the Daily Express of Dublin, but in that year, finding Dublin journalism in decline, he moved to Kilkenny to become editor of the Kilkenny Moderator, which was printed at number 28 High Street. It was here he became involved with Ellen Cuffe, Countess of Desart and Captain Otway Cuffe. He engaged in the revival of the local woollen and woodworking industries. In 1900 he founded the All-Ireland Review, and returned to Dublin to manage it until it ceased publication in 1908. O'Grady contributed to <mask>' The Irish Worker paper. O'Grady's works were an influence on WB Yeats and George Russell and this led to him being known as the "Father of the Celtic Revival". Being as much proud of his family's Unionism and Protestantism as of his Gaelic Irish ancestry – identities that were increasingly seen as antithetical in the late 1800s – he was described by Augusta, Lady Gregory as a "fenian


texts:
<mask> FACS is Associate Professor of Surgery at the Icahn School of Medicine at Mount Sinai Hospital, as well as cofounder and director of the Dubin Breast Center at the Tisch Cancer Institute at Mount Sinai Health System, since 2010. She has received four research grants, has served as an investigator or co-investigator on 15 clinical trials, published 44 peer-reviewed articles, and published a total of 12 book chapters and books. She has specialized in sentinel-node biopsy, a diagnostic method that determines cancer stages based on spread to regional lymph nodes, nipple sparing mastectomy, and the use of MRI for breast cancer. Biography

<mask> was born in New York City and grew up in San Diego, majored in French and Spanish at Dartmouth College (1986), received her MD at Mount Sinai School of Medicine (1992), performed an internship at Cedars-Sinai Medical Center, general surgery residencies at Cedars-Sinai Medical Center and Long Island Jewish Medical Center, and a research fellowship at Memorial Sloan Kettering Cancer Center (1994-1996), where she was a staff breast cancer surgeon from 1999 to 2010. In 2010 she co-founded the Dubin Breast

masks:
Elisa Rush Port
Port


texts:
 Center at Mount Sinai. She is among a group of surgical oncologists like Laura J. Esserman, who challenges the one-size-fits-all approach to treatment. In a 2015 New York Times profile, Esserman's approach to screening and when and how it should be applied to those at risk for breast cancer was framed as being slow to receive acceptance in the medical community.Esserman is not without supporters and researchers like <mask>, who was quoted in the same article: "Laura is one of the people who's actively engaged in research in this area and will help us push the field forward to determine whether or not there is a group of people for whom surveillance will be appropriate." This approach to diagnostics and treatment is highlighted in <mask>'s The New Generation Breast Cancer Book. <mask> is frequently sourced in media, including NPR, The New York Times, television news networks, and digital and print magazines. She is married to Jeffrey L<mask>, a thoracic surgeon at Weill Cornell Medicine/NewYork–Presbyterian Hospital. They have two children. Research

Port has published a large body of work on sentinel-node diagnostics, used to determine a patient's

masks:
Port
Port
Port
. Port


texts: cancer stage, and researched PET scanning for pre-operative assessment of breast cancer. She conducted a Phase I study, in collaboration with Andrew Jess Dannenberg and Clifford Hudis at Memorial Sloan Kettering Cancer Center, on the inhibition of the enzymes COX-2 and aromatase in breast cancer and mechanisms of its drug resistance.Port's current research work involves a collaboration with Hanna Irie on triple negative breast cancer. Their work is aimed at better understanding and treatments of triple negative breast cancer and mechanisms of its drug resistance. Other recent work addresses the benefits of screening mammography. With collaborators, the work has shown that patients who undergo mammograms are less likely to require more aggressive surgical or medical treatments as a result of early detection. She has been a vocal critic of the current United States Preventive Services Task Force guideline that now classifies mammograms as optional for women between 40 and 49 years of age. According to Julie Margenthaler, a breast surgeon with the Washington University School of Medicine and Chair of the ASBrS Communication Committee, the controversy


texts:
 appears to be a result of conflicting data from studies, as well as a focus on incidence rates, possibly without placing equal value on the stage of a patient's cancer when first diagnosed. Regarding this debate, <mask> co-authored a New York Times op-ed titled "Why the Annual Mammogram Matters".Port's funding has come in part from the Susan G. Komen Breast Cancer Foundation, the Breast Cancer Research Foundation, a Breast Cancer Alliance Exceptional Project Grant, and the National Institutes of Health. Professional affiliations
American Society of Breast Diseases, 2001–present
American Society of Clinical Oncology, 2002–present
Society of Surgical Oncology, 2002–present
American College of Surgeons, 2003–present
New York Metropolitan Breast Cancer Group, 2005–present
Society of Surgical Oncology Membership Committee, 2011–present
Breast Cancer Alliance Medical Advisory Board, 2012–present
Medical Advisory Board of Women's Voices for Change, 2012–present
New York Surgical Society, 2012–present

Honors and awards
Mother of the Year Award, American Cancer Society, 2013

Publications

Articles
Partial list of peer-reviewed articles:

 Simon


texts:
 Fitzgerald, Anya Romanoff, Almog Cohen, Hank Schmidt, Christina Weltz, Ira J. Bleiweiss, Shabnam Jaffer, <mask> R. <mask>, "Close and Positive Lumpectomy Margins are Associated with Similar Rates of Residual Disease with Additional Surgery". Annals of Surgical Oncology, December 2016, Volume 23, Issue 13, pp 4270–4276
 Anup Sood, Alexandra M. Miller, Edi Brogi, Yunxia Sui, Joshua Armenia, Elizabeth McDonough AlbertoSantamaria-Pang, Sean Carlin, Aleksandra Stamper, Carl Campos, Zhengyu Pang, Qing Li, <mask> <mask>, Thomas G. Graeber, Nikolaus Schultz, Fiona Ginty, Steven M. Larson, and Ingo K. Mellinghoff. "Multiplexed immunofluorescence delineates proteomic cancer cell states associated with metabolism". Journal of Clinical Investigation, e87030, May 5, 2016
 William M. Sikov, Donald A. Berry, Charles M. Perou, Baljit Singh, Constance T. Cirrincione, Sara M. Tolaney, Charles S. Kuzma, Timothy J. Pluard, George Somlo, Elisa R. Port, Mehra Golshan, Jennifer R. Bellon, Deborah Collyar, Olwen M. Hahn, Lisa A. Carey, Clifford A. Hudis, Eric P. Winer. "Impact of the addition of carboplatin and/or bevacizumab to neoadjuvant weekly paclitaxel followed by

masks: Elisa Port Elisa Port


texts: dose-dense doxorubicin and cyclophosphamide on pathologic complete response rates in Stage II-III triple-negative breast cancer: CALGB 40603 (Alliance)". Journal of Clinical Oncology, 2014.Schmidt H., <mask>. "Commentary on Kaur et al. Sentinel Lymph Node Biopsy in Patients with Previous Ipsilateral Complete Axillary Lymph Node Dissection". Breast Diseases: A Year Book Quarterly, 2012; 23(1):72-73. Palaskas N., Larson S., Schultz N., Komisopoulou E., Wong D., Rohle D., Campos C., Yannuzzi N., Osborne J., Linkov I., Kastenhuber E., Taschereau  R., Plaisier S.B., Tran C., Heguy A., Wu H., Sander C., Phelps M.E., Brennan C.W., <mask>.R., Huse J.T., Graeber T.G. "18F-fluorodeoxy-glucose Positron Emission Tomography (18FDG-PET) Marks Basal-Like Human Breast Cancer with MYC Overexpression". AACR 2011 March 17. <mask> E.R., Patil S., Stempel M., Morrow M., Cody H.S."The Number of Nodes Removed in Sentinel Node-Negative Breast Cancer Patients is Significantly Related to Patient Age and Tumor Size: A New Source of Bias in Morbidity Assessment?" Cancer 2010 Feb 11 (Epub ahead of print). Chung A., Schoder H., Sampson M., Morrow M., <mask> E.R. "Incidental

masks:
Port E
Port E
Port
Port


texts:
 Breast Lesions Identified by 18F-Fluorodeoxyglucose-Positron Emission Tomography". Ann Surg Oncol 2010 Feb 17 (Epub ahead of print). Garwood E.R., Kumar A.S., Baehner F.L., Moore D.H., Au A., Flowers C., Troyan S., Garber J., Olopade O., Hylton N., <mask>.R., Campbell M.C., Esserman L.J. "Fluvastatin reduces proliferation and increases apoptosis in women with high grade breast cancer".Breast Can Res Treat 2010;119(1):137-144. Karam A.K., Hsu M., Patil S., Stempel M., Traina T.A., Ho A.Y., Cody H.S., <mask> E.R., Morrow M., Gemignani M.L. "Predictors of completion axillary lymph node dissection in patients with positive sentinel lymph nodes". Ann Surg Oncol 2009 Jul;16(7):1952-8. Disa J.J., Port E.R. "More than 200,000 women will be diagnosed with breast cancer in 2008". Cancer J.2008 Jul-Aug; 14(4):214-5. Books and book chapters

Partial list:

 The New Generation Breast Cancer Book: How to Navigate Your Diagnosis and Treatment Options-and Remain Optimistic-in an Age of Information Overload, Ballantine Books, 2015
 Port, ER. Chapter 17: "Commentary – Breast Cancer Therapeutics". In: Silberman H., Silberman A.W. (eds). Principles and Practice of

masks:
Port E
Port


texts:
 Surgical Oncology, 2nd ed. Lippincott Williams & Wilkins, Philadelphia, 2010:356.Port E.R., Morris E.A. Chapter 35: "Breast MRI". In: Kuerer H.M. (ed). Kuerer's Breast Surgical Oncology, 1st ed. McGraw Hill, New York, 2009

See also
Breast cancer
Surgical oncology
Cancer

References

External links
European Society of Surgical Oncology
Dubin Breast Center
ABC News, "Breast Reconstruction's Modern Look"
YouTube, "Dr. <mask> <mask> Discusses Use of Supplements During Breast Cancer Treatment"
"The New Generation Breast Cancer Book"
"How to find the best breast cancer info"
USNews, "How to Talk to Your Child About Breast Cancer"

Living people
American women physicians
American oncologists
People from San Diego
Scientists from New York City
Cancer researchers
Dartmouth College alumni
Icahn School of Medicine at Mount Sinai faculty
Icahn School of Medicine at Mount Sinai alumni
Year of birth missing (living people)
American women academics
21st-century American

masks: Elisa Port


texts:
<mask>  (5 October 1875 – 18 March 1938) was an English composer, educator and organist. His work at Cambridge University made him an influential figure in English music life. A Fellow of St John's College, where he was also organist, <mask> ran the Cambridge University Musical Society, whose innovative concert programming helped form English musical tastes of the time. One of his students was the younger composer Arthur Bliss, who valued his tuition in orchestration. <mask>'s own compositions include two symphonies and several smaller orchestral pieces, an opera, chamber music, and many choral settings. Among his solo songs are some settings of verses by Siegfried Sassoon which were made in co-operation with the poet. Biography
<mask> was born in Redland, Bristol, to <mask> and <mask> (née Gimblett Evans).His father was a well-known singing teacher whose students included Clara Butt, Eva Turner and Elsie Griffin, and he was also a director of the Bristol Madrigal Society. After attending Bristol Grammar School, <mask> initially entered St John's College, Cambridge, as a sizar in 1894 to study classics. Graduation in 1897 was followed by a second bachelor's degree, this time in music, which he completed in 1900. Rootham continued his musical education at the Royal College of Music where he studied under Marmaduke Barton, Walter Parratt, Hubert Parry and Charles Villiers Stanford, among others. <mask>'s first professional appointment was as organist of Christ Church, Hampstead, where in 1898 he succeeded the

masks:
Cyril Bradley Rootham
Rootham
Rootham
Rootham
Daniel Wilberforce Rootham
Mary Rootham
Rootham
Rootham


texts: composer Walford Davies. This was followed by a brief period as organist at St Asaph Cathedral in north Wales in 1901. In the same year, <mask> was appointed organist at St John's College, Cambridge, a post he held until the end of his life.In 1909, Rootham married Rosamond Margaret Lucas who supplied him with support and encouragement. Rosamond was put in charge of the costume making at the CUMS concerts, and the Rootham household was always filled with whatever clothes were needed for a new performance. Their son Jasper St <mask> was born in 1910. In 1912, <mask> became conductor of the Cambridge University Musical Society (CUMS). Under his enterprising leadership and programming, the CUMS exerted a significant influence on English musical life of the time. Rootham revived Handel oratorios, Mozart operas and other currently neglected works by Purcell and others. E. J. Dent and others are usually credited with the textual preparation, but Rootham was responsible for their musical success.The CUMS concerts also promoted modern music such as Zoltán Kodály's Psalmus Hungaricus, Arthur Honegger's Le roi David and Ildebrando Pizzetti's 'Mass and Piano concerto, all led by <mask>. In 1930 <mask> invited several contemporary composers to the concert; Manuel de Falla, Kodály and Honegger attended, as did Kathleen Long. <mask>'s genial manner and enviable physique (as a student he had excelled in athletics) made him highly popular amongst students. This popularity helped the success of the CUMS concerts, all of which

masks:
Rootham
John Rootham
Rootham
Rootham
Rootham
Rootham


texts: were largely extracurricular. In 1914 <mask> had become a Fellow of St John's after taking over the post of University Lecturer in Form and Analysis of Music. In 1924 he was made Senior Lecturer in Counterpoint and Harmony. Rootham was also a much appreciated teacher of orchestration.His many students included Arthur Bliss, Arnold Cooke, Christian Darnton, Armstrong Gibbs, Patrick Hadley, Walter Leigh, Basil Maine,  Robin Orr, Bernard Stevens and Percy Young. As much as he promoted the works of other composers, <mask> did relatively little to push his own compositions into the repertoire. He conducted the first performance of his opera The Two Sisters in 1922 and three years earlier his own setting of Laurence Binyon's For the Fallen (which sparked a controversy as Elgar's setting of the same poem was published shortly after <mask>'s, though neither composer was individually responsible for starting the dispute). <mask>'s continued involvement with the CUMS included a performance of Handel's Semele and the revival of the tradition of triennial performances of Greek plays with newly composed music, a tradition which continued even after his death. Later in his life <mask> was plagued by illness. On developing progressive muscular atrophy following a stroke his active involvement in the CUMS was left to Boris Ord (from 1936). He completed a few works including City in the West and his three movement Second Symphony, the orchestration for which was completed by his close friend Patrick Hadley.<mask> died in 1938,

masks: Rootham Rootham Rootham Rootham Rootham Rootham


texts:
 aged sixty-two, while still at the height of his creative powers. Music

Despite his many activities outside composition, <mask> was able to produce a musical catalogue that included an opera, two symphonies, several smaller orchestral pieces, chamber music and various choral works. Rootham regarded music with the utmost seriousness but never considered it a luxury to be confined to certain people. This might explain why he never completely broke with tradition; his music has a slight influence from Stanford and especially Parry. A presence of modalism can be found in much of his music as well as, in the later works, harmonic parallelism and bitonality. His harmonies with their unexpected twists and bitonalities, could be criticised for a lack of spontaneity and he is sometimes in danger of repeating himself but if this is the case then <mask>'s masterly handling of the orchestra, of which sir Arthur Bliss praised Rootham as a brilliant teacher, certainly makes up for any constructional shortcomings. Favourite teaching examples included Mozart and Rimsky-Korsakov, and there is indeed a Russian love of primary colours in some of <mask>'s work.Elsewhere the influence from Kodaly can be detected, especially in the glittering orchestral textures in <mask>'s Psalm of Adonis from 1931. <mask>'s later works show inspiration from both Delius and Vaughan Williams (whose opera The Poisoned Kiss Rootham premiered), and bear evidence of a progression in his music. Though he acknowledged the English folksong revival he

masks: Rootham Rootham Rootham Rootham Rootham


texts:
 never directly involved himself in the movement, and he avoided many of the musical clichés identified by Constant Lambert in "Music Ho!". Nevertheless, the subject matter of his opera, The Two Sisters, is based on a version of the well-known folk ballad "The Twa Sisters" and opens with an unaccompanied rendition of six verses instead of an overture. Henry Colles recognised <mask>'s style as "vigorous and genial", reflecting his personality. The Symphony no. 1 in C minor epitomises this musical vigour, especially the first and last movements which Arthur Hutchings considers to contain <mask>'s most characteristic music.Another Rootham trademark evident in the symphony is his almost vocal writing for brass. His refined string writing is showcased in the Rhapsody on the old English tune Lazarus. <mask> was in his element when writing for chorus and voice. <mask>'s first significant compositions were vocal. It has been said that Stanford, when <mask> studied under him at the RCM, once grunted: "You can write for voices, me boy". His talent at combining words and music in masterly choral settings led Colles  to write: "The stimulus of words brings out the more delicate and poetic qualities and gives distinction to his music".The Stolen Child, Ode on the Morning of Christ's Nativity and City in the West (a poem by his son Jasper) are among his finest achievements. Selected works

Stage
Op.55 The two sisters, opera in three acts (1918–21), based on the ballad "The twa sisters o' Binnorie" – libretto by Marjory


texts:
 Fausset

Orchestral
Op.8 Four Impressions (Killarney), miniatures for violin and small orchestra (1900)
Op.36 A Passerby, rhapsody after Robert Bridges (1910)
Op.42 Pan, rhapsody for orchestra (1912)
Op.57 The Two Sisters, concert overture for orchestra (1918)
Op.60 Processional for the Chancellor's Music, for full orchestra (1920)
Op.67 Rhapsody on "Lazarus", for double string orchestra (1922)
Op.82 St. John's Suite, for small orchestra (1929–30)
Op.84 Psalm of Adonis, for orchestra (1931)
Op.86 Symphony no.1 in C minor (1932)
Op.97 Symphony no. 475 p.
 Enid Bird: 20th century English cathedral organists, E.Bird (Aug 1990) 96 p.,
 Wolfgang Suppan, Armin Suppan: Das Neue Lexikon des Blasmusikwesens, 4. Auflage, Freiburg-Tiengen, Blasmusikverlag Schulz GmbH, 1994,
 Kenneth  Shenton: <mask> <mask>, in: Journal of the British Music Society. 7 (1985), pp 30–37. W.J. Smith: Five centuries of Cambridge musicians 1464-1964, Cambridge: W. Heffer, 1964, 75 p.
 Percy A. Scholes: The mirror of music 1844-1944 - A century of musical life in Britain as reflected in the pages of The Musical Times, Oxford: Oxford University Press, 1948, 2 vols
 A. J. B. Hutchings: The Music of <mask> <mask>, in: The Musical Times, Vol.79, No. 1139 (Jan. 1938), pp 17–22
 Frederick W. Thornsby, John Henry Burn: Dictionary of organs and organists, Second edition, London: Geo. Aug. Mate, 1921, 476 p.

External links
 <mask> website - catalogue of works with opus numbers, reviews of CDs, recent concerts, playlist, articles
 Catalogue of works

masks:
Cyril Bradley
Rootham
Cyril Bradley
Rootham
Cyril Rootham


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 and an article by John France on musicweb-international.com
 Papers of <mask> <mask> – a list by the Janus Project

1875 births
1938 deaths
British male organists
English composers
English classical organists
Alumni of the Royal College of Music
Alumni of St John's College, Cambridge
Fellows of St John's College, Cambridge
People educated at Bristol Grammar School
Musicians from

masks:
Cyril Bradley
Rootham


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<mask> is an American physician. She currently serves as a Professor of Medicine as well as the Associate Chair of Diversity, Equity, and Inclusion for the Department of Medicine at Emory University School of Medicine in Atlanta, Georgia. <mask> has been recognized at the national level for her mentorship and teaching as well as her blogging and public speaking. She is the winner of the ACGME Parker J. Palmer Courage To Teach Award, the Evangeline Papageorge Award, and her blog “Reflections of a Grady Doctor” was named as one of the top four medical blogs by “O” The Oprah Magazine. Early life and education
<mask> was born in California and grew up in inner city Los Angeles. In high school, <mask>'s father told her that, as a Black man in Alabama, people warned him that becoming a physician was not attainable. Hearing this story from her father motivated her to pursue a career in medicine.Following high school, <mask> attended Tuskegee University in Alabama, a Historically Black College/University (HBCU) for her undergraduate education. <mask> completed her pre-medical studies, and is a part of the Delta Sigma Theta sorority. After completing her pre-medical studies in 1992, <mask> was still set on a path to a career in medicine. She pursued her medical degree training at Meharry Medical College, also an HBCU. Upon completion of her M.D. in 1996, <mask> attended one of Case Western's affiliates, MetroHealth, for her residency training. She completed a combined internal medicine and pediatrics residency.In 2000, she was Chief Resident at Case Western Reserve University/MetroHealth and was selected by her classmates for an honorary membership in the Alpha Omega Alpha Honor Medical Society. Career
In 2001, <mask> joined the Emory University School of Medicine faculty as a professor in

masks:
Kimberly Dyan Manning
Manning
Manning
Manning
Manning
Manning
Manning
Manning
Manning


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 the Department of Medicine. She has since become an Associate Professor of Medicine as well as the Associate Vice Chair of Diversity, Equity, and Inclusion in the Department of Medicine at Emory University School of Medicine. Her leadership led to the development of the strategic plan for Diversity, Equity, and Inclusion at Emory University School of Medicine. She also led the Emory University Task force on Diversity, Equity, and Inclusion and has been a critical mentor and advocate for underrepresented minorities in medicine throughout her time at Emory. In addition to the roles she plays in enhancing diversity and equity at Emory, she is also a prominent educator, and is known nationally for her teaching at both the level of medical students as well as residents. She was one of the 16 faculty chosen to lead the new medical school curriculum, started in 2007.She also serves as the director for the Transitional Year Residency Program at Emory where she provides a clinical base to students that match into Emory's residency program. At the medical school level, <mask> is an advisor for the Semmelweiss Society where she mentors and supports a small group of medical students throughout their time at Emory Medical School. She has been an advisor in this role since 2007. In addition to roles in promoting diversity and educating both pre-clinical students and residents, <mask> also treats patients at Grady Memorial Hospital, one of the largest public hospitals in the United States. Writing
<mask> preaches humanism in medicine and teaches how reflective writing can be used consecutively for personal mental health and community building. She embodies both of her educational lessons by writing the blog “Reflections of a Grady Doctor” to describe her personal experience in the medical field

masks: Manning Manning Manning


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 as a physician and educator at the Grady Memorial Hospital in Atlanta, Georgia. Her blog was recognized by Oprah.com as one of the best Doctor's Blogs in 2010.The practice of writing often, Grady calls “habitual reflection” and she teaches that it is vital in the practice of becoming a good doctor. As a Fellow of the American College of Physicians, <mask> is also a weekly writer for the American College of Physicians Hospitalist Blog, sharing narratives of medical experiences on the wards and educating readers on key topics in medicine such as owning medical mistakes, imposter syndrome, and physician burnout. In addition to her blogging, <mask> writes for several top tier journals and publishers including the Journal of the American Medical Association, the Annals of Internal Medicine, and Academic Medicine. She has also played a key role in writing the McGraw-Hill educational textbooks for teaching the Principals and Practice of Hospital Medicine. Awards and honors

 2019 Master Clinician Visiting Professor at University of California, San Francisco
 2019 Lifetime Achievement Award from the Association of  Black Women Physicians
 2018 ACGME Courage to Teach Award
 2016 Best Conference Faculty Teaching Award
 2013 Juha P. Kokko Teaching Award
 2011-2014 Voted “Best Attending” by the School of Medicine Graduating Class
 2011 Evangeline Papageorge Distinguished Teaching Award - Highest Honor in teaching that the School of Medicine Bestows
 2011 Juha P. Kokko Teaching Award for best overall teacher
 Three time Golden Apple Teaching Award Winner of Emory University School of Medicine
 2000 Honorary Membership in the Alpha Omega Alpha Honor Medical Society

Select media

 Blog - “Reflections of a Grady Doctor”, named in 2010 by The Oprah Magazine as one of 4 medical blogs you should

masks: Manning Manning


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 read. #50 Virtual Morning Report with the Clinical Problem Solvers Podcast
 The Curbsiders Podcast - Hotcakes: Imposter syndrome 2019
 Fox5 - The Importance of Vitamin D in 2018
 CNN - Discussing health concerns after the earthquake and tsunami in Japan
 WebMD Biography and Parenting
 Dr. Oz :”Top three reasons you dislike your doctor”

Select publications

 <mask> KD. Black Women in Medicine—A Documentary.JAMA. 2017;318(14):1306–1307. doi:10.1001/jama.2017.11551
 <mask> KD. Professionalism in Hospital Medicine. In: Principles and Practice of Hospital Medicine. McKean S, Ross J, <mask> D, Ginsberg J, Brotman D eds. McGraw-Hill, 2015
 <mask> KD.The Death of a Clinician-Educator. In: On Being a Doctor Volume 4, Laine C, LaCombe M eds. American College of Physicians. 2014
 <mask>D, Winawer N, Murali M. Allergy and Anaphylaxis. In: Principles and Practice of Hospital Medicine. McKean S, Ross J, <mask> D, Ginsberg J, Brotman D eds. McGraw-Hill, 2012
 <mask>is AP, Tellez I, Winawer NH, <mask> L, <mask> KD, Kripalani S. (2010) On-site Night Float by Attending Physicians: A Model to Improve Resident Education and Patient Care.Journal of Graduate Medical Education: Vol. 2, No. 1, pp. 57–61
 <mask> KD, Kripalani S. The use of standardized patients to teach low-literacy communication skills. American Journal of Health Behavior, 2007; 31 (Suppl) S105 – S110
 Kripalani S, Jacobson KL, Brown S, <mask> KD, Rask KJ, Jacobson TA. Development and implementation of a health literacy training program for medical residents. Medical Education Online 2006;11 (13):1-8

References

Living people
Year of birth missing (living people)
Place of birth missing (living people)
Date of birth missing (living people)
American physicians
Case Western Reserve University alumni
Emory University School of Medicine

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Manning
Manning
Dressler
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Manning K
Dressler
DeFilipp
Di Francesco
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<mask> (January 10, 1916 – November 26, 2015) was an African-American artist and printmaker. His work typically features elongated nude figures in intimate settings, influenced by both traditional African art and European surrealism. <mask> is known for his style of realism that makes accurate depictions of poor, Black living conditions look fantastic as he distorts perspective. Early life and education
<mask> was born in Richmond, Virginia, to John and <mask>. His family moved to Chicago when Cortor was about a year old, eventually settling in that city's South Side, where Cortor attended Englewood High School. His family was a part of the Great Migration of African Americans from the South to the industrial North. Fellow students at Englewood included the African-American artists Charles Wilbert White and Margaret Burroughs.<mask> attended the Art Institute of Chicago, along with artist Gus Nall, gaining a degree in 1936. While at the Art Institute, Cortor studied its collections extensively and grew an appreciation for traditions of Western Painting. Studying the African sculptures at an exhibit at the Field Museum transformed his work. He said "That was the most important influence in all my work, for to this day you will find in my handling of the human figure that cylindrical and lyrical quality I was taught...to appreciate in African art." Growing up, he was an avid reader of the Chicago Defender, which was a popular newspaper that focused on celebrating the successes of African Americans. He also had success in white publications and was featured in the Chicago Tribune in 1939 due to his involvement in the South Side Community Art Center.

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Eldzier Cortor
Cortor
Cortor
Ophelia Cortor
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 This is ultimately translated into the main thematic focus of his artwork, which is to portray African Americans in a positive light and highlight their beauty and achievements.For the majority of his career, <mask> played with different representations of the black female figure and how to represent her strength and beauty. <mask> saw Black women as the carriers of Black culture. His style is often described as experimenting with black physiognomy while infusing it with surrealism. Career
In 1940 he worked with the Works Progress Administration (WPA), where he drew scenes of Depression-era Bronzeville, a neighborhood on Chicago's South Side. Cortor often painted intimate scenes of the home. These surreal works emphasis the subject's role in society and relationship to the outer world. In 1949, he studied in Jamaica, Cuba, and Haiti on a Guggenheim Fellowship, and taught at the Centre d'Art in Port-au-Prince from 1949 to 1951.In 1944 and in 1945, <mask> won the Julius Rosenwald Foundation Fellowships consecutively, which allowed him to travel to the Sea Islands off the coast of Georgia and South Carolina. The Gullah people resided in these islands and Cortor was particularly interested in this area because of how untouched their culture had been by white people and American culture. In this regard, <mask> decided to explore a different African diasporic culture that had more African elements prevalent overall in their culture. He spent two years living on the islands and immersed himself into the Gullah culture. "As a Negro artist I have been particularly concerned with painting Negro racial types not only as such but in connection with particular

masks: Cortor Cortor Cortor Cortor


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 problems in color, design and composition…I have felt an especial interest in…painting Negroes whose cultural traditions had been only slightly influenced by whites…I should like to…paint a series of pictures which would reflect the particular physical and racial characteristics of the Gullahs." Cortor incorporated hints of traditional Africanisms within his art during his stay at the Gullah Islands. He would paint individuals with elongated necks, arms, legs, and faces.This elongation was a tribute to traditional African sculptures which often incorporated this elongation. <mask> through his time with the Gullah people, became passionate about the beauty of African Women, which he referenced in many of his paintings. He painted black women in a way to encapsulate their beauty, he wanted to bring light to the beauty of black women. He went against the beauty standards of his, as white, Eurocentric standards were the standard. <mask> rebelled against this standard, as he painted black women in a surrealistic style, surrealism being very common is Europe, this showed deep skin tones are just as beautiful as white skin tones. He painted black woman as he believed the black woman represented the black race as a whole he once stated, "“The Black woman represents the Black race. She is the Black spirit.She conveys a feeling of eternity and a continuance of life.”"

Through <mask>'s life his style varied wildly, he shifted from surrealism to print making and many other mediums. This changed in style could be attributed to the many places he traveled to and the vastly differing experiences he had. As well as to his desire to always learn new techniques and

masks: Cortor Cortor Cortor


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 styles from the places he visited. Cortor expressed in an interview through Bomb Magazine, that he often enjoyed changing his art style, and that he was proud of how his art style had evolved and shifted over the course of his very lengthy career. When an artists begins creating works in childhood and continues through their entire life it is highly likely the art style would change. Death
Eldzier <mask> died on November 26, 2015, at the age of 99 just months before his one-hundredth birthday. <mask> was one of the first African-American artists to make African-American women his dominant theme, explaining, "the Black woman represents the Black race, continuance of life."His treatment of women has been criticized, for instance in a 1985 article in Art, which described the figure in Southern Gate (1942–43) as, "Stripped of integrity and reduced to a mere object…" According to Adrienne Childs, <mask>’s Cuban Souvenir "presents an exoticized black woman whose red dress, red lips…evoke the stereotypical notion of the Latin female sexuality." (Childs 1998: 122). Mel Edwards mentions Cortor as an example of an African-American artist influenced by surrealism, "who often uses the female figure in a surreal interior and exterior environment." <mask> is considered to be the first African American artists to depict nude women as the central theme of his work. This was an unpopular choice for many artists at the time as a reaction to the dominant European and American cultural landscape at the time (Farrington 2004: 20). This was also unfavored because of the historical legacy of the sexual exploitation of black women during slavery. Cortor refutes these

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Cortor
Works Cortor
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Cortor


texts: notions by showing the nude black female body as a source of strength.<mask> also believed that the black woman conveys a sense of eternity and continuance of life (Jennings 1988:, 47). An example of this is <mask>’s famous painting named Southern Gate, which is illustrated in Figure 2. The central figure to this painting is a young, naked black woman. The background of the painting is very dark; the gate is in ruins and the clouds are indicative of a storm. Immediately behind the woman, there are less clouds and more light, which illuminates her figure. The woman also has a flower in her hair and a bird on her shoulder, perhaps indicating the dawn of a new day. The figure in the painting stands stall, giving an overall sense of a triumphant figure still standing throughout the crumbling ruins and the resilience of black women in general (Dallow 2004:98).<mask>'s 1948 work The Room No. VI was produced after <mask>'s time at the WPA creating portraits of people in Bronzeville. Cortor wanted to depict the living conditions in these poor, Black areas of Chicago in a way that was not exploitative of their poverty. The figures in the work have long, exaggerated bodies reminiscent of those in Africans sculpture. While these bodies are very thin with visible ribs, this sign of poverty adds to the graceful lines of the work. Cortor conveys the small size of the room through flattening the image and placing objects almost on top of on another with conflicting lines of perspective. These clashing patterns evoke the African American quilting tradition which continues <mask>'s dedication to depicting the beauty of Black culture.The four bodies create circular

masks: Cortor Cortor Cortor Cortor Cortor


texts: eye movement around the work. The vertical lines of the figures, wall paper, and wood-stove are contrasted by diagonal floor boards and horizontal patterns. This composition confuses the viewer's sense of space which adds a surreal quality to the piece. This painting depicts poverty without demanding the viewer's pity and gives its subject dignity and grace. Starting in the 1950s, <mask> became further inspired by African sculptures. In these works, one can see that he works more with cylindrical, graceful and elongated limbs. This is evident through <mask>’s painting Dance Composition No.31, which was produced in 1978 as a part of a series. It is seen as a reflection of his time that he spent with the Gullah people. In this painting, he evokes basketry and dance, which were two activities considered essential to the Gullah people. The swirling lines and the subtle incorporation of vibrant colors implies a sense of visual movement of the dancers (Bearden 1993: 57). The women’s faces’ are depicted like sculptures, giving them a marble feel within the painting, referencing African art along with the decorative patterning. The sculptural women are also conveyed with a sense of peacefulness. This shows how important basket weaving and dancing are to the Gullah people and their culture.This work is a prime example of the importance of depicting Black culture to <mask>'s work. Black women are shown as the harbingers of these traditions, and their physical beauty is an extension of their cultural beauty. Another example of this subtle shift in <mask>’s work is a painting of his named Classical Study No. 34 which was created in 1968 and also a part of a


texts: different series. In this painting, the woman is resting her head on her hand in a profile representation. Cortor plays with her features and makes them rather elongated, which gives a sculptural feel to the subject. She is also wearing a red, yellow and green scarf which is symbolic of the Pan-African flag, which pays homage to her African roots.The figure also resembles ancient marble sculptures, which were used in the past to celebrate someone. This painting is representative of celebrating the beauty and strength of black women, while emphasizing her African roots. <mask> <mask> was well known for his prints. Two of these prints being L'Abbatoire No. III and L'Abbatoire No.I. Cortor mainly used the intaglio printing process, however during the 1950s made several woodblock prints with Japanese printmaker Jun’ichiro Sekino. Woodblock printing is a form of relief printing where the parts that are not to be printed are simply cut out.L'Abbatoire was made with acid to etch the designs and <mask> used formaldehyde to prevent mold from growing on the work. These two materials are very reflective of the tone of these prints. The French word L’Abbatoire translates to a slaughterhouse in English. He was inspired to make the L’Abbatoire series by his experiences in Haiti when several of his friends were killed by François “Papa Doc” Duvalier’s dictatorial regime. He based the imagery on a slaughterhouse that he had visited while he was there. The gore is symbolic of the brutality of humanity. Looking closely, you can see hooks chains within the paintings, as well as a furnace on the right indicating a slaughterhouse.The print on the left is reminiscent of

masks: Eldzier Cortor Cortor


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 rotting meat whereas the print on the right seems slightly less grotesque. I believe this is intentional as the print on the left was made about ten years later and is reflective of how the event had been festering in <mask>'s mind. On the right there appears to be human figures burning in the background. It is possible that these figures are symbolic of his friends. Both pictures include vague outlines of carcasses, and specifically within L'Abbatoire No. III, you can see what looks like ribs, a skull, and various other bones. Exhibitions and collections
Cortor exhibited in the 1938 interracial show "An Exhibition in Defense of Peace and Democracy", which was sponsored by the Chicago Artists' Group.In 1940 he was one of the young artists exhibited at "The Exhibition of the Art of the American Negro" in Chicago. He also contributed to the 1967 City College of New York exhibition "The Evolution of Afro-American Artists: 1800 - 1950". In 1976 his painting Interior was included in the Los Angeles County Museum of Art exhibition "Two Centuries of Black American Art", curated by David Driskell, which toured the U.S in 1977. The 1988 group exhibition "Three Masters", at New York's Kenkeleba Gallery, featured <mask>'s work alongside that of Hughie Lee-Smith and Archibald Motley. Michael Brenson, in The New York Times review of the show, expressed a preference for <mask>'s still-life paintings, rather than his paintings of people. The solo show "Eldzier Cortor: Master Printmaker" was exhibited at the Boston Psychoanalytic Society and Institute in 2002. In 2010 his works were included in an exhibition at the Library of Congress, and a selection of his works


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 on paper exhibited at the Indiana University Art Museum.In 2013 <mask>'s prints were featured in an exhibition at the San Antonio Museum of Art

His works are held in the collections of Howard University, the Smithsonian American Art Museum and The Art Institute of Chicago, among others. Awards and Fellowships

 Recipient Bertha A. Florsheim award Art Institute Chicago, 1945; recipient William H. Bartels award, 1946, Carnegie Institute award, 1947; Julius Rosenwald fellow, Chicago, 1945–47; John Simon Guggenheim fellow, New York City, 1949-50. References

Further reading

Monographs
 Bearden, Romare, and Harry Henderson. A History of African-American Artists: From 1792 to the Present. New York: Pantheon Books, 1993. 978-0-394-57016-7  pp. 272–279.Bucknell University. Since the Harlem Renaissance 50 Years of Afro-American Art. Lewisburg, PA. The Center Gallery of Bucknell University, 1985. pp. 80–82, 119
 Fine, Elsa Honig. The Afro American Artist: A Search For Identity. New York: Holt, Rinehart and Winston, 1973.Gips, Terry, Adrienne L. Childs et al.Narratives of African American Art and Identity: The David C. Driskell Collection. San Francisco, CA: Pomegranate, 1998. Catalog of a traveling exhibition first held at the Art Gallery of the University of Maryland, College Park, Maryland, Oct. 22-Dec. 19, 1998 et al. Jennings, Corrine L. "<mask> Cortor: The Long Consistent Road." Three Masters: <mask> <mask>, Hughie Lee-Smith, Archibald John Motley, Jr.: May 22, 1988-July 17, 1988. New York, N.Y. (214 E. 2nd St., New York 10009): Kenkeleba Gallery, 1988. Exhibition catalog.Powell, Richard J. Black Art and Culture in the 20th Century. New York, NY:

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 Thames & Hudson, 1997. Rogers, Denise. Becoming Black Women: <mask> <mask>'s Visualization of the Black Female Body. Ph. D. Thesis/dissertation, Visual Studies University of California, Irvine: 2009.Trachtenberg, Alan. Reading American Photographs: Images As History: Mathew Brady to Walker Evans. New York: Hill and Wang, 2008. Articles
 Backer, Matthew, <mask> <mask>, and Jennifer Heusel. Black Spirit: Works on Paper by <mask> <mask>. Bloomington, IN: IU Art Museum Publications, 2006. Published in conjunction with an exhibition held at the Indiana University Art Museum, Mar.7-May 7, 2006. Dallow, Jessica. "Reclaiming Histories: Betye and Alison Saar, Feminism, and the Representation of Black Womanhood." Feminist Studies. Vol. 30, No. 1.(Spring 2004): pp. 74–113. Farrington, Lisa E. "Reinventing Herself: The Black Female Nude." Woman's Art Journal. Vol. 24, No. 2: (Autumn, 2003 - Winter, 2004): pp.15–23. Images
 Miller, Wayne. Chicago's South Side, 1946-1948. Berkeley: University of California Press published in association with the Graduate School of Journalism, Center for Photography, University of California, Berkeley, 2000. External links
 <mask> <mask> papers at Smithsonian Archives of American Art
 <mask> <mask> at Smithsonian Institution National Portrait Gallery
 <mask> Coror at askART

1916 births
2015 deaths
20th-century American painters
American male painters
Painters from Virginia
Artists from Chicago
School of the Art Institute of Chicago alumni
Federal Art Project artists
20th-century American printmakers
Painters from Illinois
20th-century male artists
African-American printmakers
20th-century African-American painters
21st-century

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<mask>iang (, 3 June 1901 – 15 October 2001), also romanized as Zhang Xueliang, nicknamed the "Young Marshal" (少帥), known in his later life as Peter H. L<mask>, was the effective ruler of Northeast China and much of northern China after the assassination of his father, Zhang Zuolin (the "Old Marshal"), by the Japanese on 4 June 1928. He was an instigator of the 1936 Xi'an Incident, in which Chiang Kai-shek, the leader of China's ruling party, was arrested in order to force him to enter into a truce with the insurgent Communist Party of China and form a united front against Japan, which had occupied Manchuria. Chiang agreed, but when he had an opportunity, he seized <mask>, who then spent over 50 years under house arrest, first in mainland China and then in Taiwan. <mask> is regarded by the Communist Party of China as a patriotic hero for his role in the Xi'an Incident. He was also known for having an affair with Edda Mussolini. Biography

Early life
<mask>iang was born in Haicheng, Liaoning province on 3 June 1901, <mask> was educated by private tutors and, unlike his father, felt at ease in the company of westerners. He graduated from Fengtian Military Academy, was made a colonel in the Fengtian Army, and appointed the commander of his father's bodyguards in 1919.In 1921 he was sent to Japan to observe military maneuvers, where he developed a special interest in aircraft. Later, he developed an air corps for the Fengtian Army, which was widely used in the battles that took

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Chang Hsüeh l
. Chang
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 place within the Great Wall during the 1920s. In 1922, he was promoted to Major General and commanded an army-sized force. Two years later, he was also made commander of the air units. Upon the death of his father in 1928, he succeeded him as the leader of the Northeast Peace Preservation Forces (popularly "Northeast Army"), which controlled China's northeastern provinces of Heilongjiang, Fengtian, and Jilin (Kirin). In December of the same year he proclaimed his allegiance to the Kuomintang (KMT; Chinese Nationalist Party). Warlord to republican general

The Japanese believed that <mask>-liang, who was known as a womanizer and an opium addict, would be much more subject to Japanese influence than was his father.On this premise, an officer of the Japanese Kwantung Army therefore killed his father, Zhang Zuolin (the "Old Marshal"), in the Huanggutun incident, by exploding a bomb above his train while it crossed under a railroad bridge. Surprisingly, the younger <mask> proved to be more independent and skilled than anyone had expected and declared his support for Chiang Kai-shek, leading to the reunification of China in 1928. With the assistance of Australian journalist William Henry Donald, he overcame his opium addiction in 1933. He was given the nickname "Hero of History" () by PRC historians because of his desire to reunite China and rid it of Japanese invaders; and was willing to pay the price and become "vice" leader of China (not because it was good that he was supporting

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Chang Hsüeh
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texts: the Kuomintang). In order to rid his command of Japanese influence, he had two prominent pro-Tokyo officials executed in front of the assembled guests at a dinner party in January 1929. It was a hard decision for him to make. The two had powers over the heads of others.In May 1929, relations between the Kuomintang Nanjing and the excessively strengthened Feng Yuxiang worsened. In addition, the Japanese government, dissatisfied with the pro-Kuomintang policy of Zhang Zuolin, and now his son, threatened to "take the most decisive measures to ensure that the Kuomintang flag never flies over Manchuria". The" young Marshal " supported Nanjing, and Feng's troops were pushed back to the outlying provinces of Chahar and Suiyuan, and in July 1929, Japan officially recognized Kuomintang China. At the same time, Zhang Xueliang and Chiang Kai-shek held a personal meeting in Beiping, at which a decision was made on the armed seizure of the Chinese Eastern Railway or CER. By pushing Zhang Xueliang to take this step, Chiang Kai-shek sought to make the young marshal completely dependent on Nanjing and at the same time raise his prestige and get most of the profits from the operation of the CER at the disposal of Nanjing. Zhang Xueliang, in turn, believed that the capture of the CER would strengthen his position in the Northeast, allow him to personally manage the profits of the CER, and ensure his independence from Nanjing. As a result, on July 10, 1929, the Conflict on the CER began.However,


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 the Red Army showed a higher combat capability, and the conflict ended with the signing of the Khabarovsk Protocol of December 22, 1929. In 1930, when warlords Feng Yuxiang and Yan Xishan attempted to overthrow Chiang Kai-shek's Kuomintang government, <mask> stepped in to support the Nanking (Nanjing)-based government against the Northern warlords in exchange for control of the key railroads in Hopeh (Hebei) and the customs revenues from the port city of Tianjin. A year later, in the September 18 Mukden Incident, Japanese troops attacked <mask>'s forces in Mukden (Shenyang) in order to provoke a full-on war with China, which Chiang did not want to face until his forces were stronger. In accordance with this strategy, Zhang's armies withdrew from the front lines without significant engagements, leading to the effective Japanese occupation of Zhang's former northeastern domain. There has been speculation that Chiang Kai-Shek wrote a letter to <mask> asking him to pull his forces back, but Zhang later stated that he himself issued the orders. Apparently, <mask> was aware of how weak his forces were compared to the Japanese and wished to preserve his position by retaining a sizeable army. Nonetheless, this would still be in line with Chiang's overall strategic standings.<mask> later traveled in Europe before returning to China to take command of the Encirclement Campaigns, first in Hopeh-Honan (Henan)-Anhui and later in the Northwest. Xi'an incident

On 6 April 1936, <mask> met

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 with CPC delegate Zhou Enlai to plan the end of the Chinese Civil War. KMT leader Generalissimo Chiang Kai-shek at the time took a non-aggressive position against Japan and considered the communists to be a greater danger to the Republic of China than the Japanese, and his overall strategy was to annihilate the communists before focusing his efforts on the Japanese. He believed that "communism was a cancer while the Japanese represented a superficial wound." Growing nationalist anger against Japan made this position very unpopular, and led to <mask>'s action against Chiang, known as the Xi'an Incident. On 12 December 1936, <mask> and General Yang Hucheng kidnapped Chiang and imprisoned him until he agreed to form a united front with the communists against the Japanese invasion. After two weeks of negotiations, Chiang agreed to unite with the communists and drive the Japanese out of China.When Chiang was released on 26 December, <mask> chose to return to the capital city of Nanking with him; once they were away from <mask>'s loyal troops, Chiang had him placed under house arrest. From then on, he was under constant watch and lived near the Nationalist capital city, wherever it moved to. Later life from 1949

In 1949, <mask> was transferred to Taiwan, where he remained under loose house arrest for the next 40 years in a villa in Taipei's northern suburbs, where he received the occasional guests. Much of his time was spent studying Ming dynasty literature, the Manchu language,

masks: Chang Chang Chang Chang Chang


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 collecting Chinese fan paintings, calligraphy and other works of art by illustrious artists (a collection of more than 200 works, using his studio's name "Dingyuanzhai" (), was auctioned with tremendous success by Sotheby's on 10 April 1994). Zhang studied the New Testament Bible. In 1964, he formally married Edith Chao, daughter of a senior official, who left her family in her teens to become his companion and later followed him into exile. His first wife, Ms. Yu, said she was so moved by Ms. Chao's devotion that she released her husband from his vows.<mask> and his wife, Edith, became devout Christians who also regularly attended Sunday services at the Methodist chapel in Shilin, a Taipei suburb, with Chiang Kai-Shek's family. After Chiang's death in 1975, his freedom was officially restored. <mask> immigrated to Honolulu, Hawaii in 1995. There were numerous pleas for him to visit mainland China, but <mask> declined, citing his political closeness to the KMT. He died of pneumonia at the age of 100 at Straub Hospital in Honolulu, and was buried in Hawaii. Honours

  Order of Rank and Merit (1920)
  Order of National Glory
  Order of Blue Sky and White Sun
  Order of Wen-Hu (1919, 1921)
  Legion of Honour
  Order of the Rising Sun
  Order of the Sacred Treasure

Family
Parents
Zhang Zuolin (張作霖 <mask>so-lin) (1875-1928), father of <mask>, Warlord of Manchuria, assassinated by the Japanese
Zhao Chungui (趙春桂) (?-1912), mother of <mask>

Spouses
Yu Feng Tze (于鳳至 Yu Fengzhi) (c.

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 1899-1990), known in the U.S. as Feng Tze <mask>, first wife of <mask> (m. 1916; div. 1964), immigrated to the U.S. in 1940, died in Los Angeles, CA
Gu Ruiyu (谷瑞玉) (1904-1946), concubine of <mask> (m. 1924; div.Zhang Xuequan (張學銓 <mask>eh-chuan) (1925-1992 or 1996), died in Tianjin

In popular culture
 <mask> was portrayed by Andy Lau in a cameo appearance in the 1994 martial arts film Drunken Master II. <mask> was centrally featured in the 1981 Chinese film The Xi'an Incident (Xi'an Shibian), directed by Cheng Yin, with <mask> played by Jin Ange. A 2007 TV series on the Xi'an Incident was produced and aired in mainland China, with <mask>üeh-liang being portrayed by Hu Jun. <mask> is a main figure in the American novel Soul Slip Peak (2013). The Peter H. L. <mask> reading room at Columbia University's Butler Library is named after <mask>. The library hosts a collection of <mask>'s papers. Beijing microbrewery Great Leap Brewing named its Little General IPA after <mask>.A Chinese TV series titled  is based on <mask>'s life. See also

 Warlord era
 History of the Republic of China
 Military of the Republic of China
 Politics of the Republic of China
 Sino-German cooperation (1911–1941)

Notes

References

Further reading
 Matray, James I., ed. East Asia and the United States: an encyclopedia of relations since 1784. (2 vol, Greenwood, 2002) 2:700. Mitter, Rana. "The Last Warlord" History Today (Feb 2004), Vol. 54 Issue 2, p28-33 online
 Itoh, Mayumi.The Making of China’s War

masks:
Chang
Chang
Chang
Chang Hsu
Chang
Chang
Chang
Chang Hs
Chang
Chang
Chang
Chang
Chang
Chang


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 with Japan: Zhou Enlai and Zhang Xueliang (Springer, 2016). Shai, Aron. Zhang Xueliang: The General Who Never Fought (Springer, 2012)
 Yilin, Jin. "Yan Xishan’s Activities Opposing Chiang Kai-shek and Zhang Xueliang before and after the Nanjing-Guangdong Conflict." Modern Chinese History Studies 5 (2005): 2. Obituaries

External links

1901 births
2001 deaths
Politicians from Anshan
Chinese Christians
Chinese centenarians
Men centenarians
Converts to Christianity from Buddhism
National Revolutionary Army generals from Liaoning
Republic of China warlords from Liaoning
Deaths from pneumonia in Hawaii
Children of national leaders
Taiwanese people from Liaoning
Chinese Civil War refugees
People of the Northern Expedition
People of the Central Plains


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Swami Pāndurangāshram( Devanagari: पाण्डुरङगाश्रम्, ) was the eighth guru of the Chitrapur Saraswat Brahmin community(Head of the community) for 52 years, from 1863 to 1915 (the longest on record as of 2012). He had succeeded his teacher Swami Krishnāshram after the latter attained Mahā-Samādhi(died) in 1857. Pāndurangāshram was a Sanskrit scholar, a Yogi and was a Jyothishi(astrologer) as well. He believed in the Dharma(the correct way to live one's life) and was trained in the Sanskrit Scriptures under Swami Raghunāth Shāstri and 8 other special scholars from Kashmir. Under his administration, several infrastructural changes were brought about in Chitrapur Village in Shirali and it was made as a "model village" with aspects of town-planning. Moreover all the samādhis(Shrines) of the previous Mathādhipatis(or Gurus) were reconstructed. He brought about many social changes in the community.He was a firm believer in Dharma and reprimanded those who did not follow it. He imposed a ban on foreign visits and excommunicated anyone who went abroad. Pāndurangāshram died in 1915 and was succeeded by his shishya(disciple) Ānandāshram. His samādhi(Shrine) is located within the premises of the Chitrapur Math in Shirali. Taking Charge
Pāndurangāshram was born to Nāgar Shāntapayya and his wife on the 6th day of the month of Jyēshta in 1847. He was named Nāgar Kālappa. As a child he enlisted among the students of the Chitrapur Math.He was a bright, intelligent and handsome young boy. He became a favourite of the incumbent head of the community, Swami Krishnāshram. He was ordained as the shishya(disciple) of the incumbent Mathādhipati(Head of the community) Swami Krishnāshram at the age of 10 in 1857. For 5 years he received guidance under the tutelage of his guru. He was formally crowned the Mathādhipati


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 after Krishnāshram attained died on the 8th day of the month of Mārghshīrsha in 1863 (See Months of the Hindu Calendar). He mooted the idea of organizing the Rathōtsav (See Rathōtsav) and was involved with the execution of the first Rathōtsav. "...the young Shishya, <mask> Swami used to play games in which items such as a Palki and a Chariot featured.The Chariot game blossomed into a Car Festival in the four years following the Shishya Sweekar. Two separate appeals helped this development. First, during the tours of North and South Kanara which the Guru Swami undertook with His young Shishya, the local Grihasthas at various places suggested that a Car Festival be held at Shri Chitrapur Math as was done at several other religious centres. Second, about three years after the ordination, <mask> Swami was very keen on attending the Car Festival in nearby Bhatkal but was dissuaded by His Guru as it was not befitting Their Order. However, the Guru was so impressed by the Shishya’s fervent desire to see the Car Festival that He promised to hold such a function at Chitrapur. Accordingly, arrangements were made for constructing a Rath (Car). Carpenters and artisans were invited from Goa to execute the work and the Car was built in due course.H.H. Shrimat Krishnashram Swami inaugurated the Car Festival at Shri Chitrapur Math, Shirali, on 14 April 1862 (Saka 1784, Dundubhi Samvatsara, Chaitra Sh 15). The festival was established according to Agamokta Vidhi followed by the ancient temples in South India." Infrastructure development
Pāndurangāshram collected vanitga(Donations) from devotees and used it for developmental activities of the matha and the community in general. After becoming the Head of the community, he made a four-step plan of development. Reconstruction/Renovation of Samādhis
 Planned

masks: Pandurangashram Pandurangashram


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 construction of Chitrāpur Village
 Development of the Chitrapur Math
 Renovation of Temples and mathas(Monasteries)

 Reconstruction/renovation of Samādhis
Renovation of the samādhis(Shrines) of the previous Swamijis of the Guru Parampara was an important part of Pāndurangāshram's agenda of development. All the samādhis had so far been built with thatched roofs.Under the renovation drive, the thatched roofs were replaced by proper tiled roofs. The samadhi of each guru was reconstructed such that the guru was made seated in the Lotus position(Padmāsana or Tāmarashāsan). Chitrapur village development
Swamiji had wanted Chitrapur village to be a model village. Its infrastructure was improved. A road was constructed from the main road up to the entrance of the Chitrapur Math which had street lights on either sides. Houses were built in files on the side of the roads. Gardens were made on either side of the central road.The roads were swept clean every day. Schools were constructed for the children.A Post Office was built with all facilities including staying quarters for the Post Master.Separate market was constructed with stalls for selling commodities. This allowed people to go only to one place to do their shopping. Chitrapur Math development
The stable financial state allowed several changes to be brought about in and around the Chitrapur Math. A tank (Shiv-Ganga Sarōvar) was dug near the math premises. A bhojan shālā(Kitchen and eating place) was constructed. New living quarters were built at the premises where devotees who visited could stay for free.At the Govardhan Hill nearby, a building by name "Panchavati" was constructed. Renovation of temples and Mathas
The mathas(Monasteries) at Mallāpur, Gokarn and Mangalore were in a bad state. Under Pāndurangāshram's supervision, mathas


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 were renovated. The temples that were in a dilapidated condition, were renovated. Temple renovation was done by the people in the respective villages(in a decentralized manner) where the temple existed. Trusts were established where people contributed to and this money was used by the trust to renovate that particular temple. Social reforms and controversy

 Dharma: The way of life
Pāndurangāshram wanted all his devotees to strictly adhere to curtailing one's senses and not falling to temptations.He would reprimand those who would disobey to follow the Dharma. Ban on foreign visits
The most important reform of his that caused a lot of tension within the community was Ban on foreign visits. The community members had migrated to greener pastures in Bombay and Madras during British rule that helped them gain important posts. This meant that people had to go abroad on duties. Pāndurangāshram excommunicated anyone who travelled abroad. Pāndurangāshram believed that foreign visits would expose a man to temptations of other cultures which would blatantly oppose Dharma. A person's life would be filled with gross materialism and a new culture of forgetting ones roots and even neglecting aged parents, would creep into society.A person would readily forget his spiritualism for the sake of financial benefits. Pāndurangāshram readily excommunicated anyone who went abroad. If anyone associated with a person excommunicated, then that person too would be excommunicated. This much criticised. Miracles

 The sick boy from Mangalore

There once lived a poor devotee in Mangalore whose son was dying from an illness that seemed to have no cure. Abject poverty prevented the boy from gaining access to top quality medical care. Usually when Pāndurangāshram visited a place, devotees would light up the streets


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 with diyas and flowers.But this family could not afford this. When Pāndurangāshram visited their household, he gave them sandalwood paste (Gāndh) which was smeared on the head of the boy. He also gave the dying child teerth(holy or blessed water) which he drank. It is said that the boy recovered immediately. Legal cases
Swami Pāndurangāshram is said to have acted as the agency of Lord Bhavānishankara in helping devotees entangled in unfair legal cases to be freed from conviction by his sincere prayers. The most notable was the forgery case of Kallē Manjunāthaiya. Forgery case of Kallē Manjunāthaya and Rām Rao

In the town on Bantwāl, there lived a document writer by the name of Kallē Manjunāthaiya who worked under the then Sub-Registrar Rām Rao.One day a Brahmin came to him to create a document regarding property. Manjunāthaiya created the document and got it registered by Rām Rao. But without the knowledge of Manjunāthaiya a forged document was placed at his table which was then registered. A case of forgery was later discovered. The two of them were called to the Sessions Court at Mangalore facing trail for forgery of important property documents. They were helpless as all the evidence pointed against them. Rām Rao pleaded to Pāndurangāshram, who happened to be in Mangalore at that time, to pray for justice.Pāndurangāshram went to the samādhi(Shrine) of Swami Vāmanāshram at the Mangalore matha(monastery) and prayed for justice to Lord Bhavānishankara. This case had created quite a stir in Karnataka and soon the trial was nearing an end with the sessions court judge having the opinion that the accused were guilty. It was days before judgement that the Judge was suddenly transferred. His successor heard the entire case and then pronounced Kallē Manjunathaiya and Rām Rao innocent. A


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 description of the other court cases can be obtained. here(July 1954 edition of Sunbeam under title "H.H.Shrimat Pandurangashram Swamiji")

 Shishya Sweekar
As time passed by, the devotees got anxious about the continuation of the Guru Parampara and asked Pāndurangāshram to accept a shishya (disciple) who would succeed him as the Head of the community, but he did not. Pāndurangāshram was greatly perturbed by the disobedience of community members under his reign: The people who firmly abided by the Dharma and maintained the tradition of the ancestors, were few in number.The large number of excommunications that Pāndurangāshram carried out also played its part in his silence. The devotees had pleaded him to accept a disciple Eight times and each time he had remained silent. He would always pray to Lord Bhavānishankar(The community deity) to give him strength to hold firm in his decision. But the Lord had ordained otherwise. In the month of Vaiśākha(around time of June) in 1915, Swamiji made a decision to accept a shishya. The son of a priest named Haridās Rāmchandra Bhat was the one anointed. His name was Shantamoorthy.He was ordained as Ānandāshram' during the Shishya Sweekār ceremony(A ceremony where the guru accepts his disciple). Death
Eight days after the Shishya Sweekār of Ānandāshram, Swami Pāndurangāshram's health deteriorated and he died, on the second day of the month of Jyeshtha). He was 68. His of 52 years was the longest ever on record. His samādhi(Shrine) is located inside the Chitrapur Math premises and to the left to the samādhi of Swami Shankarāshram I.

 References

Hattiangdi, Gopal S. Pandurang, Pandurang. (1965,'' Bombay). via http://www.chitrapurebooks.com

Notes

1847 births
Scholars from Mangalore
Mangaloreans
1915 deaths
19th-century Indian scholars
20th-century


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<mask> (May 16, 1909 – January 1, 1960) was an American actress of stage and film. Sullavan began her career onstage in 1929. In 1933, she caught the attention of film director John M. Stahl and had her debut on the screen that same year in Only Yesterday. Sullavan preferred working on the stage and made only 16 films, four of which were opposite James Stewart in a popular partnership that included The Mortal Storm and The Shop Around the Corner. She was nominated for an Academy Award for Best Actress for her performance in Three Comrades (1938). She retired from the screen in the early 1940s, but returned in 1950 to make her last film, No Sad Songs for Me, in which she played a woman who was dying of cancer. For the rest of her career, she appeared only on the stage.Sullavan experienced deafness and depression during the 1950s. She died of an overdose of barbiturates, which was ruled accidental, on January 1, 1960, at the age of 50. Early life
Sullavan was born in Norfolk, Virginia, the daughter of a wealthy stockbroker, <mask>, and his wife, Garland Councill <mask>. She had a younger brother, Cornelius, and a half-sister, Louise Gregory. The first years of her childhood were spent isolated from other children. She suffered from a painful muscular weakness in the legs that prevented her from walking, so that she was unable to socialize with other children until the age of six. After her recovery she emerged as an adventurous and tomboyish child who preferred playing with the children from the poorer neighborhood, much to the disapproval of her class-conscious parents.She attended boarding school at Chatham Episcopal Institute (now Chatham Hall), where she was president of the student body and delivered the salutatory oration in 1927. She moved to Boston and lived with her half-sister, Weedie, while she studied dance at the Boston Denishawn studio and (against her parents' wishes) drama at the Copley Theatre. When her

masks:
Margaret Brooke Sullavan
Cornelius Sullavan
Sullavan


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 parents cut her allowance to a minimum, Sullavan defiantly paid her way by working as a clerk in the Harvard Cooperative Bookstore (The Coop), located in Harvard Square, Cambridge. Career

Early years
Sullavan succeeded in getting a chorus part in the Harvard Dramatic Society 1929 spring production Close Up, a musical written by Harvard senior Bernard Hanighen, who was later a composer for Broadway and Hollywood. The President of the Harvard Dramatic Society, Charles Leatherbee, along with the President of Princeton's Theatre Intime, Bretaigne Windust, who together had established the University Players on Cape Cod the summer before, persuaded Sullavan to join them for their second summer season. Another member of the University Players was Henry Fonda, who had the comic lead in Close Up. In the summer of 1929 Sullavan appeared opposite Fonda in The Devil in the Cheese, her debut on the professional stage.She returned for most of the University Players' 1930 season. In 1931 she squeezed in one production with the University Players between the closing of the Broadway production of A Modern Virgin in July and its tour in September. She rejoined the University Players for most of their 18-week 1930–31 winter season in Baltimore. Sullavan's parents did not approve of her choice of career. She played the lead in Strictly Dishonorable (1930) by Preston Sturges, which her parents attended. Confronted with her evident talent, their objections ceased. "To my deep relief," Sullavan later recalled, "I thought I'd have to put up with their yappings on the subject forever."A Shubert scout saw her in that play as well and eventually she met Lee Shubert himself. At the time, Sullavan was suffering from a bad case of laryngitis and her voice was huskier than usual. Shubert loved it. In subsequent years Sullavan would joke that she cultivated that "laryngitis" into a permanent hoarseness by standing in every available draft. Sullavan


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 made her debut on Broadway in A Modern Virgin (a comedy by Elmer Harris) on May 20, 1931. At one point in 1932, she starred in four Broadway flops in a row (If Love Were All, Happy Landing, Chrysalis (with Humphrey Bogart), and Bad Manners), but the critics praised Sullavan for her performances in all of them. In March 1933, Sullavan replaced another actor in Dinner at Eight in New York.Movie director John M. Stahl happened to be watching the play and was intrigued by Sullavan. He decided she would be perfect for a picture he was planning, Only Yesterday. At that time Sullavan had already turned down offers for five-year contracts from Paramount and Columbia. Sullavan was offered a three-year, two-pictures-per-year contract at $1,200 per week. She accepted it and had a clause put in her contract that allowed her to return to the stage on occasion. Later in her career, Sullavan signed only short-term contracts because she did not want to be "owned" by any studio. Hollywood
Sullavan arrived in Hollywood on May 16, 1933, her 24th birthday.Her film debut came that same year in Only Yesterday. She chose her scripts carefully. She was dissatisfied with her performance in Only Yesterday. When she saw herself in the early rushes, she was so appalled that she tried to buy out her contract for $2,500, but Universal refused. In his November 10, 1933, review in The New York Herald Tribune, Richard Watts, Jr. wrote that Sullavan "plays the tragic and lovelorn heroine of this shrewdly sentimental orgy with such forthright sympathy, wise reticence and honest feeling that she establishes herself with some definiteness as one of the cinema people to be watched". She followed that role with one in Little Man, What Now? (1934), about a couple struggling to survive in impoverished post–World War I Germany.Originally, Universal was reluctant to make a movie about unemployment, starvation and homelessness, but Little Man was an important


texts: project to Sullavan. After Only Yesterday she wanted to try "the real thing". She later said that it was one of the few things she did in Hollywood that gave her a great measure of satisfaction. The Good Fairy (1935) was a comedy that Sullavan chose to illustrate her versatility. During the production, she married its director, William Wyler. King Vidor's So Red the Rose (1935) dealt with people in the South in the aftermath of the Civil War. It preceded by one year the publication of <mask>'s bestselling novel Gone With the Wind, and the novel's film adaptation by four years; the latter became a blockbuster.Sullavan played a childish Southern belle who matures into a responsible woman. The film also dealt with the situation of characters who were freed black slaves. In Next Time We Love (1936), Sullavan plays opposite the then-unknown James Stewart. She had been campaigning for Stewart to be her leading man, and the studio complied for fear that she would stage a threatened strike. The film dealt with a married couple who had grown apart over the years. The plot was unconvincing and simple, but the gentle interplay between Sullavan and Stewart saves the movie from being a soapy and sappy experience. Next Time We Love was the first of four films made by Sullavan and Stewart.In the comedy The Moon's Our Home (1936), Sullavan played opposite her ex-husband Henry Fonda. The original script was rather pallid, and Dorothy Parker and Alan Campbell were brought in to punch up the dialogue, reportedly at Sullavan's insistence. Sullavan and Fonda play a newly-married couple, and the movie is a cavalcade of insults and quips. Her seventh film, Three Comrades (1938), is a drama set in post–World War I Germany. Three returning German soldiers meet Sullavan, who joins them and eventually marries one of them. She gained an Oscar nomination for her role and was named the year's best actress by the New York Film Critics Circle.


texts: Sullavan reunited with Stewart in The Shopworn Angel (1938).Stewart played a sweet, naive Texan soldier on his way to Europe (World War I) who marries Sullavan on the way. Her ninth film was The Shining Hour (1938), playing the suicidal sister-in-law of Joan Crawford's character. In The Shop Around the Corner (1940), Sullavan and Stewart worked together again, playing colleagues who do not get along at work, but have both responded to a lonely-hearts ad and are (without knowing it) exchanging letters with each other. The Mortal Storm (1940) was the last movie Sullavan and Stewart did together. Sullavan played a young German girl engaged in 1933 to a confirmed Nazi (Robert Young). When she realizes the true nature of his political views, she breaks the engagement and turns her attention to anti-Nazi Stewart. Later, trying to flee the Nazi regime, Sullavan and Stewart attempt to ski across the border to safety in Austria.Sullavan is gunned down by the Nazis (under orders from her ex-fiancé). Stewart, at her request, picks up the dying Sullavan and takes her by skis into Austria, so she can die in what was still a free country. Back Street (1941) was lauded as one of the best performances of Sullavan's Hollywood career. She wanted Charles Boyer to play opposite her so much that she agreed to surrender top billing to him. Boyer plays a selfish and married banker and Sullavan his long-suffering mistress. Although he loves Sullavan, he is unwilling to leave his wife and family in favour of her. So Ends Our Night (1941) was another wartime drama.Sullavan (on loan for a one-picture deal from Universal) plays a Jewish girl perpetually on the move with falsified passport and identification papers and always fearing that the officials will discover her. On her way across Europe, she meets up with a young Jewish man  (Glenn Ford) and the two fall in love. A 1940 court decision obligated Sullavan to fulfill her original 1933


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 agreement with Universal, requiring her to make two more films for them. Back Street (1941) came first. The light comedy, Appointment for Love (1941), was Sullavan's last picture with that company. In the film, Sullavan appeared with Boyer again. Boyer's character marries Sullavan, who tells him that his past affairs mean nothing to her.She insists that each must have an apartment in the same building and that they meet only once a day, at seven o'clock in the morning. Cry 'Havoc' (1943) is a World War II drama and a rare all-female film. Sullavan played the strong mother figure who keeps a crew of nurses in line in a dugout in Bataan, while they are awaiting the advance of Japanese soldiers who are about to take over. It was the last film Sullavan made with Metro-Goldwyn-Mayer. After its completion, she was free of all film commitments. She had often referred to MGM and Universal as "jails". When her husband, Leland Hayward, tried to read her the good reviews of Cry 'Havoc''', she responded with usual bluntness: "You read them, use them for toilet paper.I had enough hell with that damned picture while making it – I don't want to read about it now!" Films with James Stewart
Sullavan's co-starring roles with James Stewart are among the highlights of their early careers. In 1935, Sullavan had decided on doing Next Time We Love. She had strong reservations about the story, but had to "work-off the damned contract". The script contained a role she thought might be ideal for Stewart, who was best friends with Sullavan's first husband, actor Henry Fonda. Years earlier, during a casual conversation with some fellow actors on Broadway, Sullavan predicted Stewart would become a major Hollywood star. By 1936, Stewart was a contract player at MGM but getting only small parts in B-movies.At that time Sullavan worked for Universal and when she brought up Stewart's name, they were puzzled. The Universal casting people had never


texts: heard of him. At Sullavan's suggestion Universal agreed to test him for her leading man and eventually he was borrowed from a willing MGM to star with Sullavan in Next Time We Love. Stewart had been nervous and unsure of himself during the early stages of production. At that time he had only had two minor MGM parts which had not given him much camera experience. The director, Edward H. Griffith, began bullying Stewart. "Maggie, he's wet behind the ears," Griffith told Sullavan."He's going to make a mess of things." She believed in Stewart and spent evenings coaching him and helping him scale down his awkward mannerisms and hesitant speech that were soon to be famous around the world. "It was <mask>n who made James Stewart a star," director Griffith later said. "And she did, too," Bill Grady from MGM agreed. "That boy came back from Universal so changed I hardly recognized him." Gossip in Hollywood at that time (1935–36) was that William Wyler, Sullavan's then-husband, was suspicious about his wife's and Stewart's private rehearsing together. When Sullavan divorced Wyler in 1936 and married Leland Hayward that same year, they moved to a colonial house just a block down from Stewart.Stewart's frequent visits to the Sullavan/Hayward home soon restoked the rumors of his romantic feelings for Sullavan. Sullavan and Stewart's second movie together was The Shopworn Angel (1938). "Why, they're red-hot when they get in front of a camera," Louis B. Mayer said about their onscreen chemistry. "I don't know what the hell it is, but it sure jumps off the screen." Walter Pidgeon, who was part of the triangle in The Shopworn Angel later recalled: "I really felt like the odd-man-out in that one. It was really all Jimmy and Maggie ... It was so obvious he was in love with her.He came absolutely alive in his scenes with her, playing with a conviction and a sincerity I never knew him to summon away from her." Eventually the duo made four


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 movies together between 1936 and 1940 (Next Time We Love, The Shopworn Angel, The Shop Around the Corner, and The Mortal Storm). Later years

Sullavan took a break from films from 1943 to 1950. Throughout her career, Sullavan seemed to prefer the stage to the movies. She felt that only on the stage could she improve her skills as an actor. "When I really learn to act, I may take what I have learned back to Hollywood and display it on the screen", she said in an interview in October 1936 (when she was doing Stage Door on Broadway between movies). "But as long as the flesh-and-blood theatre will have me, it is to the flesh-and-blood theatre I'll belong.I really am stage-struck. And if that be treason, Hollywood will have to make the most of it". Another reason for her early retirement from the screen (1943) was that she wanted to spend more time with her children, Brooke, Bridget and Bill (then 6, 4 and 2 years old). She felt that she had been neglecting them and felt guilty about it. Sullavan still did stage work on occasion. From 1943 to 1944, she played the sexually inexperienced but curious Sally Middleton in The Voice of the Turtle (by John Van Druten) on Broadway and later in London (1947). After her short return to the screen in 1950 with No Sad Songs for Me, she did not return to the stage until 1952.Her choice then was as the suicidal Hester Collyer, who meets fellow sufferer Mr. Miller (played by Herbert Berghof) in Terence Rattigan's The Deep Blue Sea. In 1953, she agreed to appear in Sabrina Fair by Samuel Taylor. She returned to the screen in 1950 to do one last picture, No Sad Songs for Me. She played a suburban housewife and mother who learns that she will die of cancer within a year and who then determines to find a "second" wife for her soon-to-be-widower husband (Wendell Corey). Natalie Wood, then 11, plays their daughter. After No Sad Songs for Me and its favorable reviews, Sullavan had a number of


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 offers for other films, but she decided to concentrate on the stage for the rest of her career. In 1955–1956, Sullavan appeared in Janus, a comedy by playwright Carolyn Green.Sullavan played the part of Jessica who writes under the pen name Janus, and Robert Preston played her husband. The play ran for 251 performances from November 1955 to June 1956. In the late 1950s, Sullavan's hearing and depression were getting worse. However, in 1959, she agreed to do Sweet Love Remembered by playwright Ruth Goetz. It was to be Sullavan's first Broadway appearance in four years. Rehearsals began on December 1, 1959. She had mixed emotions about a return to acting, and her depression soon became clear to everyone: "I loathe acting", she said on the day she started rehearsals."I loathe what it does to my life. It cancels you out. You cannot live while you are working. You are a person surrounded by an unbreachable wall". On December 18, 1955, Sullavan appeared as the mystery guest on the TV panel show What's My Line?Personal life
Sullavan had a reputation for being both temperamental and straightforward. On one occasion, Henry Fonda had decided to take-up a collection for a 4th of July fireworks display. After Sullavan refused to make a contribution, Fonda complained loudly to a fellow actor.Sullavan rose from her seat and doused Fonda from head to foot with a pitcher of ice water. Fonda made a stately exit, and Sullavan, composed and unconcerned, returned to her table and ate heartily. Another of her blowups almost killed Sam Wood, who was a keen anti-Communist. He died from a heart attack shortly after a raging argument with Sullavan, who had refused to allow the firing of a writer on a proposed film (No Sad Songs for Me) on account of his left-wing views. Louis B. Mayer always seemed wary and nervous in her presence. "She was the only player who outbullied Mayer", Eddie Mannix of MGM later said of Sullavan. "She gave him the


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 willies".Marriages and family

Sullavan was married four times. At age 22, she married actor Henry Fonda on December 25, 1931, while both were performing with the University Players in its 18-week winter season in Baltimore, at the Congress Hotel Ballroom on West Franklin Street near North Howard St. Sullavan and Fonda separated after two months and divorced in 1933. After separating from Fonda, Sullavan began a relationship with Broadway producer Jed Harris. She later began a relationship with William Wyler, the director of her next movie The Good Fairy (1935). They married in November, 1934 and divorced in March 1936. Sullavan's third marriage was to agent and producer Leland Hayward, Sullavan's agent since 1931. At the time of the marriage on November 15, 1936, Sullavan was pregnant with the couple's first child.Their daughter, Brooke, later became an actress and a writer. The couple had two more children, Bridget, and William Hayward III ("Bill"), who became a film producer and attorney. In 1947, Sullavan filed for divorce after discovering that Hayward was having an affair with socialite Slim Keith. Their divorce became final on April 20, 1948. In 1950, Sullavan married for a fourth and final time, to English investment banker Kenneth Wagg. They remained married until her death in 1960. Mental breakdown
By 1955, when Sullavan's two younger children told their mother that they preferred to stay with their father permanently, she suffered a nervous breakdown.Sullavan's eldest daughter, Brooke, later wrote about the breakdown in her 1977 autobiography Haywire; Sullavan had humiliated herself by begging her son to stay with her. He remained adamant, and his mother had started to cry. "This time she couldn't stop. Even from my room the sound was so painful I went into my bathroom and put my hands on my ears". In another scene from the book, a friend of the family (Millicent Osborne) had been alarmed by the sound of