texts: Phillips of the Chicago Tribune complimented her "fierce performance with a human pulse." She won the Gotham Independent Film Award for Best Actress and was nominated for the Independent Spirit Award for Best Female Lead for her performance. She starred in Wanderlust (2018), a BBC One drama series about the troubled relationship between <mask>'s character, Joy Richards, a therapist, and her husband. It was her first lead role in TV series since Hostages. She also served as an associate producer on the series. Ben Travers of IndieWire wrote "[she guides] the [series] through turbulent emotional seas with assurance" and Jen Chaney of Vulture remarked that the show was worth watching solely for her performance.Also that year, she appeared in the critically acclaimed comedy Hearts Beat Loud, which also premiered at Sundance. Peter Bradshaw called it "a likable heartwarmer" and praised the actor for "[giving the] film some sinew in her supporting role." That following year, <mask> returned to the horror genre in Dan Gilroy's Velvet Buzzsaw (2019), alongside Jake Gyllenhaal and Rene Russo. Partly a satire about the art world, it premiered at the Sundance Film Festival to polarising reactions. Chicago Sun-Times Richard Roeper gave it a positive review, "[she is] as good as we’d expect [her] to be." She played a supporting role as Joni Thrombey in Rian Johnson's critically acclaimed mystery thriller Knives Out, alongside an ensemble cast including Daniel Craig, Ana de Armas, Jamie Lee Curtis, Michael Shannon, and Christopher Plummer. It premiered at the Toronto International Film Festival and was a commercial success, grossing US$311.3


type: original

texts: million.Critics highlighted the performances of the cast: Joe Morgenstern wrote that <mask> "nails her character’s style with elan" and David Rooney considered her to be "divine as a deeply sincere phony." In 2019, <mask> took on the role of a detective, Grace Rasmussen, investigating a troubling rape case, with Merritt Wever and Kaitlyn Dever, in the Netflix miniseries Unbelievable. She had accepted it prior to reading the script, finding the topic "important and so meaningful." She prepared for the role by having a female cop on set who helped her with such particulars as where to place badges and guns and how to stage a medical examination with a rape victim. It had been seen by over 32 million people making it one of Netflix's highest viewed TV series. The artist received acclaim for her performance and several critics praised her chemistry with Wever: Jen Chaney of New York wrote, "Wever and <mask> both create fully authentic women who ooze integrity but also have enough insecurities and make enough mistakes to seem like actual human beings". For her performance, she received nominations for a Golden Globe Award and a Primetime Emmy Award, and won the Critics' Choice Television Award for Best Supporting Actress in a Movie/Miniseries.In 2020, she took on a leading role in the drama film Dream Horse, playing a middle-aged South Wales native who decides to train a racehorse. Dennis Harvey of Variety praised her for "easily [carrying] the film’s emotional weight." She appeared in Charlie Kaufman's psychological thriller film I'm Thinking of Ending Things, which was released on Netflix in September 2020. In 2021, she had lead roles in the

masks: Collette Collette Collette


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 science fiction thriller film Stowaway, and Guillermo del Toro's neo-noir thriller film Nightmare Alley. <mask> is also set to star in the Netflix thriller series Pieces of Her and the HBO Max limited series The Staircase. Music career
Despite cherishing music and singing at a young age, <mask> had stopped in the mid-1990s and explained, "[Singing] comes from a very personal place. It's your voice... and it's only in the last couple of years I felt comfortable in myself singing."In 1996 she sang three cover versions for the soundtrack of the film, Cosi: "Don't Dream It's Over" (originally by Crowded House), "Stand By Me" (Ben E. King) and "Throw Your Arms Around Me" (Hunters & Collectors). In 2000 she recorded nine tracks for the cast album, The Wild Party, for the eponymous Broadway musical. Elyse Sommer of CurtainUp, in a review of the musical, wrote that she was a "topnotch singer" and particularly praised her rendition of "People Like Us". For the soundtrack of Connie and Carla (2004), <mask>, and her co-star Nia Vardalos, recorded duets of several show tunes including, "I'm Gonna Wash That Man Right Outa My Hair", "Maybe This Time" and "Cabaret". David Haviland of Eye for Film praised the renditions, "The musical numbers are a camp triumph." She sang the track, "Sunday Morning", for the album Summertown by Deborah Conway and Willy Zygier. She has also performed songs for soundtracks of About a Boy, A Long Way Down, Miss You Already and Hearts Beat Loud.<mask> has been writing her own songs since early teens. In 2006 with encouragement of her husband Dave Galafassi on drums (ex-Gelbison), she formed <mask> & the Finish in Sydney. Also

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Collette
Collette
Collette
Collette
Toni Collette


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 joining the band were Amanda Brown on keyboards, Glenn Richards on guitar, David Lane on piano and keyboards and Pete Farley on bass guitar. Their first gig was at The Basement, Sydney, "I was completely petrified and I think once I got that out of the way, I have just been enjoying it... In the acting, the film world, they try to hide things from actors, keep them cushioned. So I am really enjoying getting my hands dirty." On 9 October 2006 the band released their debut album, Beautiful Awkward Pictures, on Hoola Hoop Records.Using her personal life as an inspiration, she wrote all eleven tracks under her married name, <mask>-Galafassi. It was recorded in two weeks: <mask> co-produced with Zygier. Eclectic of Sputnikmusic gave it a positive review, "<mask>'s subdued vocals aren't perfect, but they're close enough to love all the same." He did, however, rebuke the lyrics of some tracks remarking that they had "some stunningly bad lines." The album produced two singles, "Beautiful Awkward Pictures" (September 2006) and "Look Up" (March 2007). The latter reached the ARIA Singles Chart top 100. She appeared on the Australian TV show Cool Aid and performed "Look Up".In July 2007 <mask> & the Finish headlined the Sydney show of Live Earth, singing a cover of T. Rex's "Children of the Revolution". They toured Australia, but have not performed nor released any new material after 2007. In 2012 she expressed her desire to make another album, but said she found it difficult to find enough time to commit to that project. Humanitarian work
<mask> supports various charities including Doctors Without Borders, Amnesty International and Feeding America. She

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Toni Collette
Collette
Collette
Toni Collette
Collette


texts: expressed her support for PETA and, in July 2005, wrote a letter to then Australian Prime Minister John Howard, asking him to ban the practice of mulesing and the live export of sheep. Later that month, after speaking to sheep farmers, she reneged on supporting PETA's campaign against mulesing: "The issue is not as black and white as was previously presented to me. I was given to understand that there were 'effective and humane alternatives to prevent fly strike' and they are 'currently available.'I am now aware that there are no simple alternatives available to farmers at this time." In 2009, the actor auctioned off T-shirts of her own design to raise money for various charities. <mask> along with Drew Barrymore and Catherine Hardwicke, who all worked together on Miss You Already, wore pink ribbons to support Breast Cancer Awareness Month in October 2014. She has raised money for OzHarvest, an organisation which collects excess food from Australian restaurants and redistributes it to the homeless. She sold some of her personal items for an auction to raise money for the charity Cure Our Kids, which is dedicated to raising money for the oncology unit at The Children's Hospital at Westmead. In 2010, she was part of the host committee to hold the third annual Go Go Gala which will benefit the GO Campaign which seeks to help orphans and vulnerable children throughout the world. She took part in the promotion of the documentary The Lazarus Effect (2010), being featured in a small clip which sought to raise awareness of the positive impact of free antiretroviral drug therapy for those living with HIV in Africa.In 2012, <mask> has contributed an

masks: Collette Collette


texts:
 exclusive blog on the fight against hunger and a call to action for Giving Tuesday and the holiday season to the Huffington Post. In 2014, she was appointed as a global ambassador for Concern Worldwide. She made her first field visit with Concern to Haiti where she met families who, together with Concern, are working to break the cycle of extreme poverty. She had previously raised money for Concern's global campaign to fight hunger and malnutrition. She has taken part in multiple Public Service Announcements by Concern requesting the viewers to donate to Concern's various campaigns. In 2017, she attended the 25th Annual Elton John AIDS Foundation Academy Award Party which seeks to raise money to support innovative HIV prevention, education programs and direct care and support services to people living with HIV. She has expressed her support for the Me Too movement.Artistry

<mask> is described by Toby Creswell and Samantha Trenoweth in their book, 1001 Australians You Should Know (2006), "she proved her abilities as a serious actress in Rowan Woods' 1998 film The Boys and again in the big budget international hits The Sixth Sense and About a Boy." Sharon Waxman of The New York Times wrote that the artist often embraces characters who are pathetic, insecure or otherwise unattractive. However, the actor said she detests playing such characters, "If I keep perpetuating that image of myself — that of a downtrodden person — that's the only roles I'll get. And I'm getting tired of playing those roles." Despite achieving stardom early in her career with The Sixth Sense, she rarely acted in commerce-driven pictures. She prefers working in


texts: independent films over blockbusters where the latter prioritize box-office success over telling a story. Several journalists noted her gravitation towards playing dissatisfied and slightly neurotic mothers.When asked about being typecast in such roles, <mask> replied, "All people are different. All women are different. A lot of women haven't had children but it doesn't change the fact that they're individuals and have some kind of individuality and spark about them." <mask> listed Geoffrey Rush as one of her influences and remembered seeing him in The Diary of a Madman (1989): "When I watched him in that, it was like being in church, I had a full-on spiritual awakening. I even wrote him this letter – I don't remember what it said, but it was very complimentary." She does not find it difficult to detach herself from her roles, but reflected that after doing several heavy thematic films she, "[started] to find things were accumulating. I had to figure out a way to kind of shake it off.So I am figuring that out." When asked how she decides to play her characters, she replied, "When I look at a character, I never look at the size of the role. I always look at the whole person, no matter how much they're featured in the movie." She dislikes working with dialect coaches when preparing for an accent, as they usually make her feel self-conscious. Although she has gained weight to play characters in previous films, she dislikes doing so, and after filming In Her Shoes, said that she would never do so again. Brie Larson, who starred with <mask> in United States of Tara, has cited her as an inspiration and praised her for being able to "disappear" into


texts:
 her roles. Greg Kinnear, her co-star in Dinner with Friends and Little Miss Sunshine, called her "gifted" and commended her for being able to communicate without dialogue.In an analysis of <mask>'s acting style, Rilla Kingston compared her to character actress Thelma Ritter who was widely critically acclaimed for her supporting roles, and repeatedly typecast as the female comic second. Kingston took note of her use of physicality to convey her characters' emotions as in Emma and United States of Tara. She remarked that <mask>'s acting method references the components of Stanislavski's System of Acting. In studying her typecasting as mothers, Kingston wrote, "[<mask>] selectively chooses roles of women and mothers which she can portray in ways that are multidimensional and different from another." She also wrote that the actor makes conscious efforts to break from the typecasting, with leading roles in films like Miss You Already and Lucky Them. At the end of her analysis, Kingston concluded, "<mask> truly is a chameleon in both the versatility of her acting style and in the kind of roles she is willing to approach with a physicality-based method." <mask> is particularly known for her expressive and highly malleable face, distinctive versatility, physical transformations and accents.<mask>'s versatility as a performer is unique in that despite playing a wide range of characters with vastly different personalities and nuances they're usually portrayed through the medium of a mother character and they often deal with issues relating to motherhood. Personal life
In her twenties she found it difficult to adapt to being in the media spotlight and,

masks: Collette Collette Collette Collette Collette Collette


texts:
 as a result, struggled with bulimia and panic attacks. The panic attacks lasted eight months, she described having pains in her chest, blurred vision and profuse sweating. During this period she travelled extensively, shaved her head five times (once for a film role) and bought a flat in Brixton, London. Her aim was to "explore different ideas and just look at life and try to understand it." She left the Brixton flat after a few months because she saw a man "getting his head bashed in with a pole 30 metres away." <mask> dated her Velvet Goldmine co-star, Jonathan Rhys Meyers, for about a year ( 1997) before ending their relationship and described it as "hedonistic, drunken and probably dangerous."When asked about her faith, she remarked: "We're all spiritual... I'm not Buddhist but I am drawn to it because it seems the most beneficial of organised religions, and the most compassionate. It's an ongoing journey." She met musician Dave Galafassi at a 2002 album launch for his then-band Gelbison. The couple married in a traditional Buddhist ceremony on 11 January 2003. The couple have a daughter, Sage Florence, born on 9 January 2008, and a son, Arlo Robert, born on 22 April 2011. She has said that she is an avid camper and enjoys meditating.They lived in Sydney in the 2000s before moving to Los Angeles. The family returned to Sydney in 2019. Discography

 <mask> & the Finish: Beautiful Awkward Pictures (2006) – Hoola Hoop Records/MGM (HOOLAHOOP002)

Other appearances
 "Best Friend", "Finale: The Wild Party", "People Like Us" (by <mask> and Yancey Arias), "Queenie Was a Blonde", "This Is What It Is", "Welcome to My Party", "Wild Party" from The

masks:
Collette
Toni Collette
Toni Collette


texts:
 Wild Party: A Decca Original Broadway Cast Album (soundtrack album, 2000) – Decca Broadway/Universal Music Group (012 159 003–2)
 "Airport Medley: Oklahoma / Superstar / Papa Can You Hear Me? / Memory", "Let Me Entertain You", "Maybe This Time", "Don't Rain on My Parade", "Medley: Everything's Alright / Don't Cry for Me", "I'm Gonna Wash That Man Right Outa My Hair", "There Is Nothing Like a Dame", "Cabaret" (all by Nia Vardalos and <mask>) from Connie and Carla: Music from the Motion Picture (2004) Epic Records (5178262000, EK 92430)
 "Hello Halo (Cooper Todd Remix)" (by David Galafassi, <mask>, Nathan Cooper, Benjamin Todd) from Miss You Already (Original Motion Picture Soundtrack) (2015) – Sony Classical

Filmography

Awards and nominations

Among her numerous accolades, <mask> received five AACTA Awards from eight nominations, a Golden Globe Award from six nominations, a Primetime Emmy Award from four nominations, and a Screen Actors Guild Award from four nominations. She also received nominations for two British Academy Film Awards and the Academy Award for Best Supporting Actress. For her performance in Muriel's Wedding (1994), Collette received her first Golden Globe Award nomination. For her role in The Sixth Sense (1999), she was nominated for the Academy Award for Best Supporting Actress.She went on to earn BAFTA Award nominations for About a Boy (2002) and Little Miss Sunshine (2006). <mask> earned further acclaim for the comedy-drama series United States of Tara (2008–2011), for which she received a Primetime Emmy Award and a Golden Globe Award. For her performance in the acclaimed miniseries Unbelievable (2019), she earned a

masks:
Toni Collette
Toni Collette
Collette
Collette


texts:
 Critics' Choice Television Award and garnered further Golden Globe Award and Primetime Emmy Award nominations. References

External links

 <mask> at Emmys.com

1972 births
20th-century Australian actresses
21st-century Australian actresses
Actresses from Sydney
Australian film actresses
Australian stage actresses
Australian television actresses
Australian expatriates in the United States
Australian people of American descent
Best Musical or Comedy Actress Golden Globe (television) winners
Living people
National Institute of Dramatic Art alumni
Outstanding Performance by a Cast in a Motion Picture Screen Actors Guild Award winners
Outstanding Performance by a Lead Actress in a Comedy Series Primetime Emmy Award winners
Best Actress AACTA Award winners
Best Supporting Actress AACTA Award winners
21st-century Australian singers
21st-century Australian women singers
Theatre World Award


texts:
<mask> (1905–1951) was an American ballerina, choreographer, ballet teacher, and director. She founded the Philadelphia Ballet (originally the Littlefield Ballet) in Philadelphia, Pennsylvania in 1935. It was the first American ballet company to tour Europe and the first to present a full-length (or three-act plus prologue) version of The Sleeping Beauty in the United States. In addition to producing American-themed ballets such as Barn Dance, Terminal,  Cafe Society and Ladies' Better Dresses, <mask> choreographed Broadway musicals and Sonja Henie's professional ice skating shows. She was among the first class of inductees (1987) into the National Museum of Dance’s Hall of Fame. Childhood

<mask> was born in a Philadelphia rowhouse in 1905 to James H<mask> and <mask> (also known as "Mommie"). Her father was a native of Maine who worked for the YMCA and later founded a newsreel business.Her mother was raised by her German immigrant grandmother and studied piano at a local conservatory. <mask> had three younger siblings: Jimmie (b. 1910), Dorothie (b. 1912), and Carl (b. 1915). In 1908, Mommie began giving three-year-old <mask> and neighborhood children dancing lessons at a West Philadelphia YMCA. In addition, she managed a "kiddie" opera troupe along with her husband.Actress and singer Jeanette MacDonald and Ziegfeld Follies star Ann Pennington were members of this troupe as young girls. As a preteen, <mask> studied with C. Ellwood Carpenter, a third-generation member of a famous family of Philadelphia

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Catherine Littlefield
Littlefield
Littlefield
. Littlefield
Caroline Doebele Littlefield
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 dancing masters. Under Carpenter's tutelage, <mask> performed in stand-alone ballets and semi-professional opera performances. Carpenter also had a studio on the Ocean City, New Jersey, boardwalk, and <mask> took classes with him there during summers when her father worked as a lifeguard. After the <mask> family moved from Philadelphia to suburban Llanerch, Mommie opened a dance studio on the second floor of the Llanerch Firehouse. While Mommie nurtured her children's interest in music and dance, <mask>'s father encouraged their natural athleticism. He taught them horsemanship and acrobatic stunts, and coached Carl in long-distance swimming.Both of <mask>'s parents were gregarious and fun-loving, and the family was known to be sociable and close-knit. Early career

At age 15, <mask> was spotted by impresario Florenz Ziegfeld as she danced in the Philadelphia Junior League's presentation of Why Not? He offered her a role in his Broadway hit Sally, and she moved to New York to join the show in the fall of 1920. <mask> danced in various Ziegfeld productions for the next five years, eventually assuming solo roles and even a singing part. She appeared in the Follies, Annie Dear, and Louie the 14th. While in New York, she studied ballet with Luigi Albertieri and Ivan Tarasoff, becoming familiar with both Italian and Russian techniques. While <mask> was away, Mommie was hired to teach and stage recitals for the Philadelphia Music Club, an amateur women's musical group.This led to her appointment as ballet

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texts: mistress for the Philadelphia Civic Opera and later the Philadelphia Grand Opera. <mask> returned to Philadelphia from New York to dance lead roles for her mother. She also choreographed ballets and opera divertissements under her mother's name. By this time, Mommie's dancing studio had evolved into the full-fledged Littlefield School, and the Littlefields used their advanced students in their productions. They also hired several men, including William Dollar, to teach and perform. Zelda Fitzgerald, wife of novelist F. Scott Fitzgerald, studied with <mask> in 1927 and wrote a short story about her. The story was never published and the manuscript was subsequently lost.In the late 1920s and early 1930s, <mask> staged prologues and line shows at movie palaces around the city, including at the opulent Stanley and Mastbaum theaters. During this period, she traveled to Paris almost annually to train with Russian expatriate teachers, particularly Lubov Egorova. Mommie and <mask>'s sister, Dorothie, who was also a dancer, often accompanied her. In Paris, <mask> became friendly with Lucienne Lamballe, the etoile of the Paris Opera ballet, and George Balanchine, the Russian choreographer and eventual founder of the New York City Ballet. In 1932, <mask> choreographed her first attributed work, called H.P. (Horsepower). Composed by Carlos Chavez and designed by Mexican muralist Diego Rivera, it concerned the relationship between the United States and Mexico, a fashionable subject at the time.It drew a glittering

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 audience and enormous publicity but didn't fare well with the critics and was never repeated. Mid-career/Philadelphia Ballet

After a brief stint as ballet mistress at New York's Roxy Theatre, <mask> returned home and married Philadelphia lawyer/socialite Philip Ludwell Leidy. With Leidy's financial support, she started organizing a professional ballet troupe, which had long been a dream of hers. In the meantime, her friend Balanchine had arrived in New York from Europe to establish a school and company under the sponsorship of Lincoln Kirstein. Balanchine needed dancers and visited the Littlefield School to hold auditions, eventually offering scholarships to a half dozen of Littlefield's best students. These girls left for New York, accompanied by <mask>'s sister, Dorothie, whom Balanchine hired to teach, dance, and serve as ballet mistress for his incipient School of American Ballet and first company, called the American Ballet. Despite the loss of these dancers, <mask> followed through with her own plans to form a troupe.The Littlefield Ballet gave its inaugural performance at Haverford High School on October 25, 1935. Two months later, <mask> changed the company's name to the Philadelphia Ballet. She served as its director, choreographer, and premiere danseuse,  while Dorothie (who had left Balanchine's employ to help her sister) and <mask>'s brother Carl, who had been convinced by Mommie to learn dancing, joined as soloists. Mommie was the company's rehearsal pianist and musical director. Most of the

masks: Littlefield Littlefield Littlefield Littlefield Littlefield


texts: company's dancers were Philadelphia teenagers who had studied at the Littlefield School. During the Philadelphia Ballet's six-year existence, it presented a wide range of works: a three-act Sleeping Beauty and a three-act Daphnis and Chloe; ballets with American subjects and music such as Barn Dance, Terminal, Cafe Society, and Ladies' Better Dresses; one-act narrative pieces such as The Minstrel, The Snow Maiden,  and Viennese Waltz; a plotless one act called Classical Suite to music by Johann Sebastian Bach; an annual Christmas Die Puppenfee; and historical pageants such as The Rising Sun and Let the Righteous Be Glad. Although <mask> choreographed most of the company's repertoire, she also presented works by other choreographers including her Russian ballet master Alexis Dolinoff and modern dancer Lasar Galpern.<mask> was an excellent ballerina herself, known for her clean unmannered style. "Ethereal" was the word most often used to describe her dancing. Dorothie, on the other hand, was a lyrical, athletic ballerina with great technical capabilities. Dorothie's former student, Barbara Weisberger. who later founded the Pennsylvania Ballet, remarked: "There was nothing Dorothie could not do." Carl was naturally gifted and shone in both classical and comic roles. Besides <mask> and her siblings, the Philadelphia Ballet's leading dancers included Dolinoff, Thomas Cannon, Karen Conrad, Joan McCracken, Miriam Golden, Dania Krupska, and Norma Gentner.Conrad and Golden eventually left the company to become

masks: Littlefield Littlefield Littlefield


texts:
 original members of Ballet Theatre (later American Ballet Theatre). The Philadelphia Ballet was the first classical ballet company to tour Europe. In the spring and summer of 1937, the company performed to critical and audience acclaim in Paris, Brussels, London, and Deauville, France. Littlefield's American-themed works Barn Dance and Terminal proved especially popular with European audiences. Esteemed British critic Arnold Haskell declared that <mask>'s "Barn Dance [was] the first chapter in the history of American Ballet." Indeed, Barn Dance was the first highly successful and widely seen work of "ballet Americana," in which the theme, designs, music, and dancers were entirely American or American made. Following the European tour, the company reverted to its original name—the Littlefield Ballet—to dance for three seasons in Chicago as the resident troupe of the Chicago Civic Opera Company.It also undertook an eight-week domestic tour in early 1941, performing in college towns and at the Ohio State Fair. The company disbanded soon after the bombing of Pearl Harbor, when many of Littlefield's male dancers enlisted in the American military. Late career

Even before <mask> disbanded her company, she had been pursuing commercial work. Her most ambitious and widely seen undertaking was American Jubilee, an historical pageant at the 1940 New York World's Fair that featured a 350-member cast of singers, actors, and dancers. It was performed multiple times each day for 24 weeks in an outdoor arena. Its most

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 innovative routine, “My Bicycle Girl,” featured 75 men and women riding bicycles “with extended limbs and elevation assisted by the use of pedals and handlebars, and in elaborate ground maneuvers.”  Kirstein praised the routine as a “clear if complex blending of human anatomy, solid geometry, and acrobatics offered as a symbolic demonstration of manners.”

Throughout the 1940s, <mask> also choreographed Broadway musicals, including Hold onto Your Hats, Crazy with the Heat, Follow the Girls, The Firebrand of Florence, and Sweethearts. In addition, she choreographed ice-skating shows for Broadway's Center Theatre (which had converted its stage into a permanent ice rink) and for Sonja Henie's touring Hollywood Ice Revues.Although <mask> never learned to skate, she understood how to apply a dancer's sensibility to skating. The hard-to-please Henie trusted her implicitly. Toward the end of her life, <mask> entered the field of television, staging skits for Jimmy Durante's Four-Star Revue, a variety show broadcast live by NBC. She saw a future for herself in the burgeoning television industry as well as in directing and producing on Broadway, but cancer took her life prematurely at age 46. Personal life

Among her family, friends, and close associates, <mask> was warm, funny, and down to earth, while in professional situations she maintained her distance and radiated authority. With her blue eyes, platinum blonde hair, fine jewelry and well-tailored clothes (including an ever-present floor-length fur coat), she

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texts: cut a glamorous figure. In 1940, she was named one of the country's "Ten Best-Dressed Women."Young dancers often claimed her as their role model. <mask> was musically adept, able to read scores and conduct orchestras during rehearsals when necessary. Although she never graduated from high school, she was well read and informed about current events. She was politically conservative, unlike many of her colleagues in the dance world. She was a Francophile and could speak French fluently. The Littlefields remained unusually close into adulthood. <mask>'s brother Jimmie was the only sibling not to dance professionally.A musician like his mother, he formed and directed a nightclub orchestra and published his own songs, some of which were used in his older sister's ice shows at Centre Theatre. He later married a Philadelphia widow and moved with her to a farm on the Potomac River near Montross, Virginia. <mask> bought a bungalow nearby and the extended family often retreated to the area to be together and relax. Jimmie died at the farm at age 37 after moving hay on an extremely hot day. As for the other family members: Dorothie married twice and had one daughter before succumbing to a heart attack at age 43. Carl became a highly decorated pilot in World War II. He later married Lois Girard, had three children, and moved to California to work in the airline industry.He died in 1966. <mask>'s father had died in 1934, while Mommie died in 1957 at age 75, having outlived three of her four children. <mask> and Philip


texts:
 Leidy separated around 1940 and divorced amicably in 1946. He had developed a progressive neurological disease that necessitated a wheelchair and didn't want his ambitious wife to feel obligated to nurse him. After their divorce, Leidy remained close to the Littlefields and continued to handle their legal affairs. In 1947, <mask> married Sterling Noel, a newspaper editor and novelist, whose most successful book was entitled I Killed Stalin. The couple lived in a penthouse apartment overlooking the East River in New York and socialized frequently with theatrical and literary friends.Besides her two husbands, <mask> was romantically linked at different points in her life with singer/actor Nelson Eddy, ice skater Jimmy Caesar, and German emigre composer Kurt Weill. <mask> developed breast cancer and died in November 1951, having just completed work on the 1951-52 edition of Sonja Henie's Hollywood Ice Revue. She is buried in Philadelphia's Chelten Hills Cemetery. Legacy

While <mask> is best remembered for producing ballet Americana, she worked successfully in a wide variety of dance genres, including movie palace stage shows, Broadway musicals, stadium pageants, ice-skating routines, and television skits. Critic Walter Terry summarized her versatility: “<mask> is becoming a theater figure of the first rank, a girl who is leaving her mark in the revue, in the ballet and on ice.”  Her legacy as a teacher is less well known but equally as important. The dancer/choreographers with whom she is most often

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Littlefield
Littlefield
Littlefield
Littlefield
Catherine Littlefield


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 compared—Ruth Page, for example—never ran a school on the scale that she did. (Nor did they dance as well.)Littlefield's protegees were foundational to the two most influential ballet companies that exist in America today: the New York City Ballet and American Ballet Theatre. In May 2010, the Philadelphia Sinfonia youth orchestra gave a rousing, multi-media performance of Cafe Society at Philadelphia's Kimmel Center. The performance combined the Ferde Grofe ballet music Littlefield had commissioned with critic Ann Barzel's film footage and still photographs. References

Resources

 Aloff, Mindy. “In Philadelphia: The Littlefield Ballet Lives for an Afternoon- Ferde Grofé’s Café Society.” Explore Dance, Last modified May 2, 2010. http://www.exploredance.com/article.htm?id=3005
 “<mask> (1905-1951)”. National Museum of Dance. Accessed March 20, 2015. https://web.archive.org/web/20110719063324/http://www.dancemuseum.org/hall_of_fame/<mask>.html
 Friedler, Sharon E., and Glazer, Susan B..Dancing Female: Lives and Issues of Women in Contemporary Dance. Hoboken: Taylor and Francis, 2014. Liebman, Elizabeth A. “<mask>’s Bicycle Ballet and the 1940 World’s Fair.” Dance Chronicle 36 no. 3 (2013): 326-351. Accessed March 26, 2015. http://www.tandfonline.com/doi/full/10.1080/01472526.2013.834539
 Skeel, Sharon. <mask>: A Life in Dance.New York: Oxford University Press, 2020; www.catherinelittlefield.com

American ballerinas
Ballet choreographers
1951 deaths
1908 births
20th-century American women
20th-century

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Catherine Littlefield
Catherine Littlefield
Catherine Littlefield
Catherine Littlefield


texts: <mask>,   born <mask> (23 August 1977) (Hebrew: נחום נחמיה פבזנר), was an influential sculptor, theorist, and key figure in Russia's post-Revolution avant-garde and the subsequent development of twentieth-century sculpture. His work combined geometric abstraction with a dynamic organization of form in small reliefs and constructions, monumental public sculpture and pioneering kinetic works that assimilated new materials such as nylon, wire, lucite and semi-transparent materials, glass and metal. Responding to the scientific and political revolutions of his age, <mask> led an eventful and peripatetic life, moving to Berlin, Paris, Oslo, Moscow, London, and finally the United States, and within the circles of the major avant-garde movements of the day, including Cubism, Futurism, Constructivism, the Bauhaus, de Stijl and the Abstraction-Création group. Two preoccupations, unique to Gabo, were his interest in representing negative space—"released from any closed volume" or mass—and time. He famously explored the former idea in his Linear Construction works (1942-1971)—used nylon filament to create voids or interior spaces as "concrete" as the elements of solid mass—and the latter in his pioneering work, Kinetic Sculpture (Standing Waves) (1920), often considered the first kinetic work of art. <mask> elaborated many of his ideas in the Constructivist Realistic Manifesto, which he issued with his brother, sculptor Antoine Pevsner as a handbill accompanying their 1920 open-air exhibition in Moscow. In it, he sought to move past Cubism and Futurism, renouncing what he saw as the static, decorative use of color, line, volume and solid mass in favor of a new element he called "the kinetic rhythms (…) the basic forms of our perception of real time."<mask> held a utopian belief in the power of sculpture—specifically abstract, Constructivist sculpture—to express human experience and spirituality in tune with modernity, social progress, and advances in science and technology. After working on a smaller scale in England during the war years

masks:
Naum Gabo
Naum Neemia Pevsner
Gabo
Gabo
Gabo


texts:
 (1936-1946), <mask> moved to the United States, where he received several public sculpture commissions, only some of which he completed. These include Constructie, a  commemorative monument in front of the Bijenkorf Department Store (1954, unveiled in 1957) in Rotterdam, and Revolving Torsion, a large fountain outside St Thomas Hospital in London. The Tate Gallery, London held a major retrospective of <mask>'s work in 1966 and holds many key works in its collection, as do the Museum of Modern Art and Guggenheim Museum in New York. Work by <mask> is also included at Rockefeller Center in New York City and The Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, New York, US. Early life and education
<mask> grew up in a Jewish family of six children in the provincial Russian town of Bryansk, where his father Boris (Berko) Pevsner worked as an engineer. His older brother was fellow Constructivist artist Antoine Pevsner; Gabo changed his name to avoid confusion with him.<mask> was a fluent speaker and writer in German, French, and English in addition to his native Russian. His command of several languages contributed greatly to his mobility during his career. “As in thought, so in feeling, a vague communication is no communication at all," <mask> once remarked. After school in Kursk, <mask> entered Munich University in 1910, first studying  medicine, then the natural sciences, and attended art history lectures by Heinrich Wölfflin. In 1912 <mask> transferred to an engineering school in Munich where he discovered abstract art and met Wassily Kandinsky and in 1913-14 joined his brother Antoine (who by then was an established painter) in Paris. <mask>'s engineering training was key to the development of his sculptural work that often used machined elements. During this time he won acclamations by many critics and awards like the $1000 Mr and Mrs Frank G. Logan Art Institute Prize at the annual Chicago and Vicinity exhibition of 1954.Constructivism

After the outbreak of war, <mask> moved first to Copenhagen then

masks: Gabo Gabo Gabo Gabo Gabo Gabo Gabo Gabo Gabo Gabo


texts: Oslo with his older brother Alexei, making his first constructions under the name Naum <mask> in 1915. These earliest constructions originally in cardboard or wood were figurative such as the Head No.2 in the Tate collection. He moved back to Russia in 1917, to become involved in politics and art, spending five years in Moscow with his brother Antoine. <mask> contributed to the Agit-prop open air exhibitions and taught at 'VKhUTEMAS' the Higher Art and Technical Workshop, with Tatlin, Kandinsky and Rodchenko. During this period the reliefs and construction became more geometric and <mask> began to experiment with kinetic sculpture though the majority of the work was lost or destroyed. <mask>'s designs had become increasingly monumental but there was little opportunity to apply them; as he commented, "It was the height of civil war, hunger and disorder in Russia. To find any part of machinery … was next to impossible".Gabo wrote and issued jointly with Antoine Pevsner in August 1920 a "Realistic Manifesto" proclaiming the tenets of pure Constructivism – the first time that the term was used. In the manifesto <mask> criticized Cubism and Futurism as not becoming fully abstract arts and stated that the spiritual experience was the root of artistic production. <mask> and Pevsner promoted the manifesto by staging an exhibition on a bandstand on Tverskoy Boulevard in Moscow and posted the manifesto on hoardings around the city. In Germany <mask> came into contact with the artists of the de Stijl and taught at the Bauhaus in 1928. During this period he realised a design for a fountain in Dresden (since destroyed). <mask> and Antoine Pevsner had a joint exhibition at the Galerie Percier, Paris in 1924 and the pair designed the set and costumes for Diaghilev's ballet La Chatte (1926) that toured in Paris and London. To escape the rise of the Nazis in Germany the pair stayed in Paris in 1932–35 as members of the Abstraction-Creation group with Piet Mondrian.<mask> visited London in 1935, and settled in 1936, where he found a "spirit of

masks: Gabo Gabo Gabo Gabo Gabo Gabo Gabo Gabo Gabo


texts:
 optimism and sympathy for his position as an abstract artist". At the outbreak of World War II he followed his friends Barbara Hepworth and Ben Nicholson to St Ives in Cornwall, where he stayed initially with the art critic Adrian Stokes and his wife Margaret Mellis. While in Cornwall he continued to work, albeit on a smaller scale. His influence was important to the development of modernism within St Ives, and it can be seen most conspicuously in the paintings and constructions of John Wells and Peter Lanyon, both of whom developed a softer more pastoral form of Constructivism. In 1946 <mask> and his wife and daughter emigrated to the United States, where they resided first in Woodbury, and later in Middlebury, Connecticut. <mask> died in Waterbury, Connecticut, in 1977. Gabo's theory of art

The essence of Gabo's art was the exploration of space, which he believed could be done without having to depict mass.His earliest constructions such as Head No.2 were formal experiments in depicting the volume of a figure without carrying its mass. <mask>'s other concern as described in the Realistic Manifesto was that art needed to exist actively in four dimensions including time. <mask>'s formative years were in Munich, where he was inspired by and actively participated in the artistic, scientific, and philosophical debates of the early years of the 20th century. Because of his involvement in these intellectual debates, <mask> became a leading figure in Moscow’s avant garde, in post-Revolution Russia. It was in Munich that Gabo attended the lectures of art historian Heinrich Wölfflin and gained knowledge of the ideas of Einstein and his fellow innovators of scientific theory, as well as the philosopher Henri Bergson. As a student of medicine, natural science and engineering, his understanding of the order present in the natural world mystically links all creation in the universe. Just before the onset of the First World War in 1914, <mask> discovered contemporary art, by reading Kandinsky’s Concerning the Spiritual in Art, which

masks: Gabo Gabo Gabo Gabo Gabo Gabo


texts: asserted the principles of abstract art.<mask>’s vision is imaginative and passionate. Over the years his exhibitions have generated immense enthusiasm because of the emotional power present in his sculpture. <mask> described himself as "making images to communicate my feelings of the world." In his work, <mask> used time and space as construction elements and in them solid matter unfolds and becomes beautifully surreal and otherworldly. His sculptures initiate a connection between what is tangible and intangible, between what is simplistic in its reality and the unlimited possibilities of intuitive imagination. Imaginative as <mask> was, his practicality lent itself to the conception and production of his works. He devised systems of construction which were not only used for his elegantly elaborate sculptures but were viable for architecture as well.He was also innovative in his works, using a wide variety of materials including the earliest plastics, fishing line, bronze, sheets of Perspex, and boulders. He sometimes even used motors to move the sculpture. Caroline Collier, an authority on Gabo’s work, said, "The real stuff of Gabo’s art is not his physical materials, but his perception of space, time and movement. In the calmness at the ‘still centre’ of even his smallest works, we sense the vastness of space, the enormity of his conception, time as continuous growth." In fact, the element of movement in <mask>’s sculpture is connected to a strong rhythm, more implicit and deeper than the chaotic patterns of life itself. The exactness of form leads the viewer to imagine journeying into, through, over and around his sculptures. <mask> wrote his Realistic Manifesto, in which he ascribed his philosophy for his constructive art and his joy at the opportunities opened up by the Russian Revolution.<mask> saw the Revolution as the beginning of a renewal of human values. Five thousand copies of the manifesto tract were displayed in Moscow streets in 1920. <mask> had lived through a revolution and two world wars; he was also Jewish

masks: Gabo Gabo Gabo Gabo Gabo Gabo Gabo Gabo


texts:
 and had fled Nazi Germany. <mask>’s acute awareness of turmoil sought out solace in the peacefulness that was so fully realized in his “ideal” art forms. It was in his sculpture that he evaded all the chaos, violence, and despair he had survived. Gabo chose to look past all that was dark in his life, creating sculptures that though fragile are balanced so as to give us a sense of the constructions delicately holding turmoil at bay. Printmaking
<mask> began printmaking in 1950, when he was persuaded to try out the medium by William Ivins, a former curator of prints at the Metropolitan Museum of Modern Art, New York.His first print was a wood engraving in a section of wood taken from a piece of furniture and printed onto a piece of toilet paper. He went on to produce a significant and varied body of graphic work, including much more elaborate and lyrical compositions, until his death in 1977. Rejecting the traditional notion that prints should be made in editions of identical impressions, <mask> instead preferred to use the monoprint format as a vehicle for artistic experimentation. Art conservation challenges
<mask> pioneered the use of plastics, such as cellulose acetate, in his sculptures. The Tate Gallery in London, which has the world's largest collection of his early works, is battling their chemical degradation. They have commissioned replicas of some sculptures to preserve a visual record of their appearances. Writings
 Of Divers Arts (1962).New York: Faber and Faber. See also
 List of Russian artists

References

External links

<mask> <mask> at the Tate Gallery Archive
<mask> <mask> at the Nasher Sculpture Center
Naum Gabo Papers. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. 1890 births
1977 deaths
People from Bryansk
People from Oryol Governorate
Russian Jews
Modern sculptors
Russian avant-garde
Honorary Knights Commander of the Order of the British Empire
Vkhutemas faculty
Constructivism (art)
Jewish sculptors
20th-century Russian sculptors
20th-century male artists
Russian male

masks: Gabo Gabo Gabo Gabo Naum Gabo Naum Gabo


texts: <mask> (; 20 November 1930 – 1 October 2008) was a Chinese-born Taiwanese composer. Yen was born in Nanjing, China, and was educated in National Taiwan Normal University, Mannes College, City University of New York, and University of Pennsylvania. He received Taiwan's  in 1993 and 1998. As a pupil of William Jay Sydeman, Mario Davidovsky, George Rochberg and George Crumb, <mask> was well known of his atonal writings combining counterpoint skills. George Rochberg commented that <mask>'s music "has a unique scent". <mask> wrote in his article "My Artistic Journey" that he wished to write "music praising mother nature's great beauty and powers." During 1967–2008, <mask> wrote 6 solo instrumental works, 70+ chamber ensemble works (excluding art songs), 5 Chinese chamber works, 16 orchestral works, 1 Chinese orchestra piece, and 11 art songs.Among these works, there was a repeated theme about the sound of bell, which <mask> always remembered from his childhood in the Jiangnan region of China. Two biographies were published in Taiwan, <mask>n: A Cold Fire of Music, written by Taiwanese poet Chen Li (陳黎) in 1997 and A Poetic Journey of Nostalgia, by Canadian-Taiwanese composer Shyh-ji Chew () and Taiwanese composer Janet Jieru Chen () in 2004, both published by Taiwan's China Times Publishing Co. Digitalization data of <mask>'s art song manuscripts and analytic entries are available at Nation Music Archive and Taiwan Music Center of the National Center for Traditional Arts, Taipei, Taiwan. <mask> died in Taipei, Taiwan. Soochow University (Taipei, Taiwan), where he taught music composition and counterpoint for 30 years, has a memorial room and a growing collection of <mask>'s manuscripts. <mask>'s music could be heard in albums published by Music Forum, International Society for Contemporary Music-Taiwan Section, Asian Composers League – Taiwanese

masks:
Lu Yen
Lu
Lu
Lu
Lu
Lu
Lu Ye
Lu
Lu
Lu
Lu


texts:
 Composers Association and National Taiwan Symphony Orchestra. His parents were Gan <mask> (), and Bi-cheng Wang (). 1937(7y)
When Sino-Japanese War began, the <mask>'s fled to Jiangxi and Sichuan.Yen grew up in Sichuan, where he entered the Christian Shengguang Elementary and Junior High Schools till he was 15 years old. 1945(15y)
Sino-Japanese War ended and Yen returned to Nanjing. He graduated from junior high school and then entered Soochow's Shengguang Senior High School. 1946(16y)
Education was suspended due to Malignant Malaria and Gastric ulcer. 1947(17y)
Applied Nanjing Conservatory of Music in summer but was rejected. He returned to Shengguang Senior High School and started from the first year. 1948(18y)
Applied Nanjing Conservatory of Music for the second time, and failed again.1949(19y)
Visited Taiwan for the first time in life, but returned to Shanghai shortly and then went to Taiwan again. Entered National Taiwan Normal University Department of Music
1953(23y)
Finished all courses of college, and started a one-year internship in Taoyuan School of Agriculture. 1954(24y)
Graduated from NTNU with Bachelor of Arts. Started one-year military service. 1955(25y)
Studied harmony and counterpoint with composer Er-hua Hsiao(蕭而化) while teaching in Taipei Municipal Jianguo High School’s night division. 1958(28y)
Taught harmony and counterpoint in Taiwan’s National Arts School (today’s National Taiwan University of Arts) till 1962. Exploration (U.S.Era)

1963(33y)
Traveled on a cargo ship in summer to the U.S for further studies. Entered Northeast Missouri State University for Master of Music Education program. 1965(35y)
Gave up master’s degree and entered New York’s Mannes College of Music, started from undergraduate program, where he majored in music composition, studying with William Sydeman
1966(36y)
Hospitalized due to Gastrorrhagia, received

masks: Lu Lu


texts:
 stomach surgery in Columbia University Hospital. 1967(37y)
Presented his first music composition, Septet for flute, clarinet, trumpet, horn, cello and two percussion parts. 1971(41y)
Graduated from Mannes College of Miusic. 1972(42y)
Entered City College of New York to study music composition and electronic music with Mario Davidovsky, at the same time worked in Seesaw Music Corp. Started writing song Long Tao Sha with lyrics by an American poet, which was re-written in 1976 with Lee Houchu (李後主)’s poem.This is the first work in <mask>’s Ancient Chanting Series. 1976(46y)
Invited by colleague composer  () to teach in Taiwan's Soochow University's Music Department as a visiting professor for one year. 1977(47y)
Entered University of Pennsylvania graduate program, studying with George Rochberg and George Crumb. 1979(49y)
Received a master's degree from U.Penn. In the same year, he returned to Taiwan and taught at Soochow University Music Department as a lecturer. Reflection and Heart-Searching

1988(58y)
Received Taiwan's Golden Tripod Awards with the publication of his Piano Four-Hand, recorded by Lina Yeh and Rolf-Peter Wille. 1993(63y)
Received Taiwan's Miniarey of Education's 18th National Award for Arts of Taiwan with his Fantasy for Orchestra I – Sea Winds and a Singing Voice.1994(64y)
Presented works at Taipei Theater in New York on September 4 with fellow Taiwanese composers. 1995(65y)
 Beyond the Smoke/A Bird Flies By-<mask>n’s Musical World, a concert featuring <mask> <mask>'s music, was held in Taiwan's National Concert Hall on October 26, presented by Contemporary Chamber Orchestra Taipei, conducted by Chun-Fung Lee(). 1996(66y)
Retired from Soochow University and continued to teach as an associate professor. Maturity and Freedom

1998(68y)
Received Taiwan's Second National Arts and Cultural Medal. 1999(69y)
In Forum of <mask> Yen’s Music

masks:
Lu
Lu Ye
Yen
Lu
Lu


texts:
 on June 6 at Music Forum Musique Theatre, his Septet, Long Tao Sha, Duet for Flute and Piano, Moon, A Postcard for Messiaen, and Piano Prelude were performed. 2000(70y)
Concert Parnassus from <mask>n featuring Yen’s 10 art songs was held to celebrate his 70th birthday on January 5, performed by Contemporary Chamber Orchestra Taipei, conducted by Chun-Fung Lee. 2002(72y)
Received the honor of Chair Professor of Soochow University.2003(73y)
Received TECO Award’s Music Composition Medal. Song Album of Yen Lu, which contains Four Luofu Songs, Tower in the Woods, and Furniture Music, was published in March, sponsored by Department of Cultural Affairs of Taipei. Tower in the Woods were performed and discussed in Contemporary Music Forum of Yen Lu’s Music at Music Forum Musique Theatre. 2004(74y)
Presented My Artistic Journey in Ethno Music Composition Forum in March. 2005(75y)
Yen Lu 75 th Birthday Concert was held on November 20th at Music Forum's Recital Hall, in which Four Preludes for Piano (1979), Piano Four-Hand (1987), Two Preludes for Piano (1999), Impromptu for Piano (2005), and Song for Cello (1997) were presented along with students’ music compositions as gifts. Pianists Daming Zhu (諸大明), Lina Yeh (), Rolf-Peter Wille, Mei-Ya Lo () Hsin-Jung Hsieh (), and cellist Hsien-Liang Lien () joined this concert. 2007(77y)
Married for the first time in life, with Ms. Ya-shih (a.k.a.Alice, Su-Chih, Shih-Ya) Cherng. Diagnosed with oral cancer by the end of 2007. 2008(78y)
Died of oral cancer on October 1. References

20th-century classical composers
21st-century classical composers
Taiwanese classical composers
National Taiwan University alumni
Mannes School of Music alumni
City College of New York alumni
University of Pennsylvania alumni
1930 births
2008 deaths
Musicians from Nanjing
Male classical composers
20th-century male musicians
21st-century male


texts:
<mask> (born October 2, 1980) is a Canadian trampoline gymnast. She won a bronze medal at the 2000 Summer Olympics in the individual event. She won a gold medal at the 2003 Trampoline World Championships in Hannover, Germany in the same event and a bronze in the team event. At the 2004 Summer Olympics and 2008 Summer Olympics, she won a silver medal in the individual event. <mask> was born in Toronto and grew up in North York, Ontario. She began trampolining at age 11, and is a student at York University. She is a member of the Skyriders Trampoline Place and is coached by Dave Ross.Following the Lake Placid and Quebec City World Cup competitions that took place in April 2007, the FIG World Rankings were updated. The women's ranking saw four time World Champion and five time World Cup Final winner Irina Karavaeva of Russia retake top place from <mask> in Women's Individual Trampoline after Karavaeva won the gold medal at both of the World Cups. <mask> and her partner, Rosannagh MacLennan, were ranked first in Women's Synchronised Trampoline following their two winning performances in 2007. Career
After winning the Canadian National Trampoline Championships seven years in a row, <mask> made an error in her second routine (of three) and came in 6th place in the 2005 finals on June 1, 2005. She was beaten by her partner in synchronized trampoline, Rosannagh MacLennan. Later in June, she competed in the Trampoline World Cup and came in 3rd in the individual competition and won gold in synchronized trampoline with Rosannagh MacLennan. In September 2005 at the Trampoline World Championships in Eindhoven, Netherlands, the pair came 2nd in synchronized trampoline and <mask> came 6th in the individual event.In the 2006 Canadian National Trampoline championships

masks:
Karen Cockburn
Background Cockburn
Cockburn
Cockburn
Cockburn
Cockburn


texts: in Quebec City, <mask> regained her title beating MacLennan into second place, on May 20, 2006. On November 25, 2006, <mask> won both the Individual gold medal and, with MacLennan, the synchronized gold medal at the Trampoline and Tumbling World Cup Final competition in Birmingham. In April 2007 at the Lake Placid Trampoline World Cup, the <mask> and MacLennan achieved a new female synchronised trampoline routine world record for difficulty with a DD of 14.20. At the 2007 Canadian Trampoline Championships in Regina, Saskatchewan, <mask> took first place, edging out MacLennan by 2.5 points with a score of 106.90 in the Women's Senior Individual trampoline category. In the category of synchronized trampoline, <mask> and MacLennan won the gold with a score of 131.70. On November 3, 2007, at the 2007 Trampoline World Championships in Quebec City, <mask> and MacLennan won the synchronised event, maintaining their unbroken string of nine first-place finishes in World Cup and World Championships. In the individual final, <mask> did not complete her routine and finished in 8th place.However, her and MacLennan's rankings in the preliminary round earned two women's places at the 2008 Olympic Games for Canada. On June 7, 2008, <mask> won her 10th Senior Women's Trampoline Canadian Championship in Calgary, beating MacLennan into second place. Both women, however, with Jason Burnett were named to compete for Canada at the 2008 Summer Olympics in Beijing. <mask> qualified for the finals in 4th place, and on August 18, 2008, she won a silver medal in the women's final at the 2008 Summer Olympics in Beijing. She was the only trampoline athlete to have won a medal at every Olympic Games at which the event has been competed until her 4th-place finish in the 2012 London

masks: Cockburn Cockburn Cockburn Cockburn Cockburn Cockburn Cockburn Cockburn Cockburn


texts: Olympics. She was selected as Canada's flag bearer for the closing ceremonies of the Beijing 2008 Olympics. Following the 2008 Olympic Games, <mask> did not compete again until the 2009 Canadian National Championships in Hamilton, Ontario.She came in second place after Rosannagh MacLennan. In the synchronised competition, she paired with MacLennan but they did not complete one routine and came in second place. She regained the Canadian National Championship in 2010 at Kamloops, British Columbia with MacLennan coming in 2nd place. In the 2009 Trampoline World Championships in St Petersburg, Russia, <mask> won the Bronze medal in Individual trampoline in her first international competition since the Beijing Olympics. She also won a silver medal in Synchronised Trampoline with her usual partner Rosannagh Maclennan. In 2011, <mask> did not compete in the Canadian National Championships and was sick for the Finals of the 2011 Pan American Games. In the 2011 Trampoline World Championships in Birmingham, England, <mask> and MacLennan secured two places for Canadian women in the 2012 Summer Olympics and <mask> won a Silver medal for the synchronised trampoline event (with MacLennan) and a Bronze medal for the Team competition.In 2012, <mask> finished in 4th place in the 2012 Summer Olympics's individual trampoline. In 2014, <mask> resumed training after giving birth to a daughter in 2013. She is attempting to qualify for the 2015 Pan-American Games to be held in Toronto. She stated that she wanted to compete in a major international event before her hometown crowd before she retired. She competed in the 2014 Canadian National Champuionships in Ottawa and was third. While training at the Trampoline World Championships in Daytona Beach, Florida, in November

masks: Cockburn Cockburn Cockburn Cockburn Cockburn Cockburn Cockburn


texts:
 2014, she landed badly and broke her ankle forcing her to withdraw from the competition. <mask> received the honour of being selected to pronounce the athletes' oath in front of her home crowd in Toronto during the opening ceremonies of the 2015 Pan-American Games.Competing at these games, she placed third in the women's individual trampolining event. On July 16, 2017, at the 2017 Canadian National Trampoline and Tumbling Championships, <mask> officially retired at a ceremony held to honour her contribution to the sport. As of 2019 she was the National Team Director for Trampoline Gymnastics at Gymnastics Canada. Personal life
<mask> married her fellow-Olympian and former training partner Mathieu Turgeon on December 22, 2007. In September 2013, she gave birth to a daughter. Her autobiography, called <mask>: Soaring High, was published in November 2007. References

External links

1980 births
Living people
Canadian female trampolinists
Olympic gymnasts of Canada
Olympic medalists in gymnastics
Olympic silver medalists for Canada
Olympic bronze medalists for Canada
Gymnasts at the 2000 Summer Olympics
Gymnasts at the 2004 Summer Olympics
Gymnasts at the 2008 Summer Olympics
Gymnasts at the 2012 Summer Olympics
Medalists at the 2000 Summer Olympics
Medalists at the 2004 Summer Olympics
Medalists at the 2008 Summer Olympics
Pan American Games gold medalists for Canada
Pan American Games bronze medalists for Canada
Pan American Games medalists in gymnastics
Gymnasts at the 2007 Pan American Games
Gymnasts at the 2011 Pan American Games
Gymnasts at the 2015 Pan American Games
Medalists at the Trampoline Gymnastics World Championships
Gymnasts from Toronto
Karen
Canadian autobiographers
Competitors at the 2009 World Games
Medalists at the 2015 Pan American

masks:
Cockburn
Karen Cockburn
Cockburn
Karen Cockburn


texts:
<mask> (born 14 April 1948) is a Polish lyrical abstraction painter and neofiguration painter and performance artist. Early life & family
Karwowski was raised in a small town in Eastern Poland near Biebrza National Park. His father, Jozef Karwowski, was a social worker and promoter of culture and his mother Larysa (maiden name Zub) was a hairdresser. He has one younger brother, Maciej. Karwowski grew up in a multigenerational family under the strong influence of his father and Russian grandfather, Szymon Zub. His father gave him his first drawing lesson, and his grandfather was also creative, writing poetry and singing old Russian songs. His later work was influenced by Polish and Russian culture and traditions, as well as a childhood surrounded by the wilderness that encouraged his sensitivity and strong feelings of individualism.Painting and performance art

After graduating high school Karwowski started painting more and experimenting with different forms of art. He changed homes and universities several times while looking for a place where he could fully develop his talents. He worked as a miner while conducting his search, and later joined the Fine Arts Faculty at the Nicolaus Copernicus University in Toruń, where he became a professional artist. In early 80s Karwowski and Zbigniew Oleszynski started a Polish performance group known as "Group A". From that time on, Karwowski has been heavily engaged in performance art, both as an organizer and a participant. Since 2003 he has organized the International Performance & Intermedia Festival in Szczecin. Throughout his career Karwowski has created his own style of which a Berlin art critic said, "From his images comes colorful light, which is created by perfection in his workshop.Metaphor of this light gives magical, surreal meaning to figurative elements in his paintings. The power of his paintings, aside from illuminating colors,


texts:
 comes from the richness of symbolic meanings and certain multilayer by which Karwowski ’s paintings are far from simple decorative function." Karwowski's paintings focus on color and light. His paintings are housed in various private collections in Europe. He has also been commissioned by compound corporations and institutions, such as the Clinic in Dortmund (Germany) in 2005. For the clinic, he created 53m long wall panels that have received attention from a wide audience. Zwijndrechts echtpaar ijvert voor Oost-Europese kunst, De Zwijndrechtse Kombinatie, 04.02.1987.Lillemor Svensson, Polska målare i Vänersborg, Trollhättans Tidning, 26.03.1988. C.F.Garde, Kvindelighed på flere måder, Politiken, 25.02.1992. Polska abstraktioner hos Några Målare, Ela, 11.02.1993. Kulturen blomstrar på landet, Svenska Dagbladet, 26.02.1993. Ingeborg Schwenke-Runkel, In die Wiesen längs der Oder, Kölner Stadt – Anzeiger, 05.03.1996. Wolfgang Cassel, Vielfalt der polnischen Kunst, Lübecker Nachreichten, 22.06 1996. Vier Künstler aus Stettin, Ostholsteiner Anzeiger, 28.06.1996.Licht, Dunkelheit und flammende Energie, Hamburger Abendblatt, 12.04.1997. Zwei Künstler aus Stetin, Altländer Tageblatt, 12.04.1997. Karin M.Erdtmann, Mit Tauchsieder und Toilettenfrau- Neue Galerie zeigt <mask> Karwowski, Kölner Stadt-Anzeiger, 28.05.1997. Im Tabakspeicher Kunst erleben, Schwedter Stadtanzeiger, 25.06.2000. Marita Poschitzki, Ausstellung auch in Stettin geplant, Uckemärker, 03.05.2001. Sprache der Natur, Kölner Stadt-Anzeiger, 19.04.2002
Performance polsko-niemiecki, Karwowski i Deimling, Głos Szczeciński, 13.06.2003

External links

 68Elf Gallery, Cologne
 Galerie Anders, Luenen
 Klinikum Dortmund
 ArtNews.org
 AND - Artist Network Database
 rhiz.eu

1948 births
Living people
Polish artists
Polish people of Russian descent
Nicolaus Copernicus University in Toruń alumni
Nicolaus Copernicus University in Toruń


texts:
<mask> of Ghana, also known as Kofi Ghanaba (4 May 1923 – 22 December 2008), was a Ghanaian musician, best known as the inventor of Afro-jazz — "the reuniting of African-American jazz with its African roots" — and as a member of The Tempos, alongside E. T. Mensah. He also inspired musicians such as Fela Kuti. <mask>'s virtuosity on the African drums earned him the appellation "The Divine Drummer". At different stages of his life, he also worked as a journalist, DJ and broadcaster. Biography
He was born <mask> in Accra in the then Gold Coast on 4 May 1923 to Richard Mabuo Akwei, founder of the Ghana National School, and Susana Awula Abla Moore. Named by his parents after <mask>, the 29th president of the United States, he changed his name in 1943 to <mask>. When he was in the U.S. it became "<mask> of Ghana".He changed it to "Ghanaba" on 1 July 1974, Ghana's Republic Day. He was educated at the Government Boys' School, Accra, from 1928 to 1939. During this time, he developed his interest in music by playing for the school band. After passing with distinction, he enrolled at Odorgonno Secondary School in 1940. During the same year, he joined the Accra Rhythmic Orchestra under Yeboah Mensah as a drummer. He won a government teacher training scholarship to Achimota College, Accra, in 1941 with the intention of becoming a teacher at his father's school. While at Achimota, he participated in sports.He dropped out of the college in 1942 because, as he later said, "I was bored stiff with my studies and the stern discipline of the college, which attempted to change me into an Englishman." In 1943 <mask> enlisted in the Office of Strategic Services, a branch of the United States Army that dealt with overt and covert operations in World War II. He returned to Accra in the same year and joined the Spectator Daily as a reporter under the editor Robert Wuta-Ofei. He was editor of the Daily Echo, Gold Coast Independent, and Star of West

masks:
Guy Warren
Warren
Warren Gamaliel Kpakpo Akwei
Warren Gamaliel Harding
Guy Warren
Guy Warren
Warren Akwei


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 Africa between 1950 and 1952. In 1944 he began broadcasting jazz programs while working at the Gold Coast Broadcasting Service under the name <mask>, which he continued using for the next three decades. In 1951, he did a series of jazz programs for the British Broadcasting Corporation (BBC), becoming the first African to host programs with the service. He also acted in the 1951 film The Boy Kumasenu, playing the role of Yeboah.He worked at Station ELBC, the National Broadcasting Service of Liberia, as assistant director and disc jockey between 1953 and 1955. He joined E. T. Mensah and others to form the jazz band The Tempos but left the band in 1951. In 1955 <mask> left for Chicago and joined the Gene Esposito Band as co-leader, percussionist, and arranger. With them he recorded his first album, Africa Speaks, America Answers (Decca, 1956). African music was popular, but it had not been integrated with world music until <mask>. Fela Anikulapo Kuti and Osibisa popularized Ghanaba's music. During his stay in America, he worked with Duke Ellington, Max Roach, Charlie Parker, and Louis Armstrong.By 1974 he had returned to Ghana, where on 1 July 1974, Republic Day, he changed his name to "Ghanaba". He later said: "After the United States disillusioned me, I wanted to resurrect the African component of jazz. African interpretations of jazz were different than African American version I heard in the U.S. I discovered Africanness in the U.S. ... I wanted to do African music." In the 1990s, he played a role in the film Sankofa (1993), written and directed by Haile Gerima, who was working in the United States. It was filmed also in Ghana and Burkina Faso.Ghanaba continued to make music until his death on 22 December 2008. He was buried in a coffin designed as a drum by Eric Adjetey Anang of Kane Kwei Carpentry Workshop. Family
Ghanaba's parents were Susana Awula Abla Moor and Richard Mabuo Akwei, founder and first headmaster of Ghana

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 National School in Accra. As a child Ghanaba was a boisterous free spirit who found little peace and comfort with the strictness of his father. Richard Akwei, a disciplinarian, was an educationist and founder of the Akwei Memorial School in central Accra; also a sports administrator, he is credited with being the first Ghanaian Chief Executive of the Central Organization of Sports (COS), later known as the Sports Council. Ghanaba was married twice and had six children. His first son, <mask> Jr., a.k.a."Odinga Oginga", is an artist specialising in sculpting, painting and carving. His second child, Glenn Gillespie <mask>, also called "Ghanababa" (the son of Ghanaba), is a jazz drummer who played on the album That Happy Feeling (Safari, 1979). He recorded Bomdigi (Safari, 2008), the last album featuring Ghanaba. Glenn was chosen by Ghanaba to carry on his work, which was formally marked when Ghanaba handed Glenn his drumsticks. Ghanaba's third son, Gamal Abdel Nasser <mask>, a.k.a. The President, was named after president Nasser of Egypt. His fourth son, Gamaliel <mask>, inherited his father's musical talent as a jazz drummer.In 1976, Ghanaba met and married Mrs Felicia Ghanaba, a Togolese living in Ghana. She bore Ghanaba a daughter whom they named Medie ("mine"); she is known as Medie Ghanaba Lemay. In 1982 the couple had a second daughter named Gye Nyame Hosanna Ghanaba. Music career

1940–80
He began his career under the name <mask> as a disc jockey in 1944 with several jazz programs on the Gold Coast Broadcasting Service (later Ghana Broadcasting Corporation) and Z.O.Y. Accra. He described his performance on the drums as love-making, seeing the African drums as a woman who could not be satisfied. While the punch and power of his playing easily tore the vinyl covering on Western-made drums, the animal skin covering the African drums remained intact.Nii Anum Telfer describes climbing on stage with Ghanaba as a feeling he would

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texts: always remember. A firecracker would announce their entrance. As Seth Paris notes, "With fellow musicians, like saxophonist Joe Kelly and bassist Oscarmore Ofori, <mask> was part of the generation to bring the influences of African-American musical styles into mainstream Ghanaian culture. During 1948, <mask> worked with Kenny Graham's Afro-Cubists in the UK, and when he returned to Ghana, helped introduce Afro-Cuban rhythms to the country." Travelling to the U.S. in 1954, he spent some years working there although he found little commercial success. Once before a U.S. show <mask> appeared backstage in authentic African wear. But the owner of the club (African Room) was trying to force him to wear what he considered an "Uncle Tom" outfit with a tattered straw hat, which was the norm for Calypso and African musicians at the time.Ghanaba adamantly refused to change, beginning a trend that was copied both on and off stage. Ghanaba said in a 1973 interview with John Collins, "I had to make a choice between being a poor imitation of Buddy Rich or playing something they couldn't. I could play jazz well, but I possessed something nobody else had, so I started to play African music with a little bit of jazz thrown in, not jazz with a little African thrown in." In 1956 his first album, Africa Speaks, America Answers, was recorded for Decca. It confirmed Ghanaba's reputation as a credible musician. It cross-fertilized African and Western rhythms and introduced authentic instrumentation into the music. In 1964, Decca and German musician Bert Kaempfert released an orchestral version of "That Happy Feeling", the most popular song on Africa Speaks, America Answers, under its original title "Eyi Wala Dong (An African's Prayer)" on Kaempfert's 1962 album A Swingin' Safari.A year later, Ghanaba worked on the release of Themes for African Drums (RCA Victor, 1958), on which he wanted to use voices, drums, and trombone, with an African influence.

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texts: He collaborated on this album with trombonist Lawrence Brown, who said what Ghanaba was doing was uncommon in jazz. Cover versions of "Love, the Mystery of" were recorded by Art Blakey and Randy Weston, who used it as his theme song for 40 years. In December 1959 readers of Drum magazine voted Ghanaba the number one drummer. His album African Rhythms (Decca, 1962), was supposed to be released a year earlier by Columbia but the deal collapsed. He then joined Martin Salkin and Milt Gabler of Decca. Ghanaba is listed in the Encyclopaedia of Jazz as a trailblazer who injected African rhythms and instrumentation into mainstream jazz.On one occasion in the early 1970s, when he performed a concert at the Ohene Djan Stadium in Accra, the crowd walked out. He had given up on live performances and stopped playing drums. He only released two albums in the 1970s: The African Soundz (RCA Victor, 1972) and The Divine Drummer (1978). He asked Nii Anum Telfer to trace a letter from Africa Obonu, later to be known as Ghanababii, a drums and percussion ensemble based at La in Accra that had written to Ghanaba. It was after Ghanababii were contacted that he began to perform again. He played many gigs, including the monthly Free South Africa shows that he and Nii Anum Telfer organized at the Accra Community Centre in solidarity with Nelson Mandela, who was at the time in prison, and the people of South Africa who were fighting against apartheid. By March 1979 he had brought together Zagba Oyortey, Ofei Nkansah, Wendy Addae, Dorothy Gordon (aiti-KACE), Akuoko, Akwasi Adu Amankwa, Anthony Akoto Ampaw (Che-Che), Tsatsu Tsikata, Fui Tsikata, Prof. Akilagpa Sawyerr, Nii Kwate Owoo, George Quaynor-Mettle, Takyiwa Manu, Kwaku Opoku, F. Ato Austin and James Quarshie.Their intent was to collect, preserve, document, and promote African arts and culture. During the Soul to Soul concert in Accra on 8 March 1971, Ghanaba performed with an ensemble of gourd


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 players from Benin. 1980–2008
By the early 1980s Ghanaba had moved to Achimota and had his second daughter, Gye Nyame Hosanna Ghanaba. In 1983, in search of more peace and quiet, he moved to Korleman village. Although he released no major albums during this period, he remained active in the music industry in Ghana. He was instrumental in setting up the Musicians Union of Ghana and led the union as its National President from 1989 to 1992, advocating the need for Ghanaian musicians to use indigenous musical instruments. Ghanaba considered his greatest work to be the African talking drums interpretation of the "Hallelujah Chorus" by Handel.In 1981, he was enstooled as Odomankoma Kyrema (The Divine Drummer) by Aklowa, the African Heritage Village, based at Takeley, near London, England. Three historical concerts in dedication of Africa's Contribution to the World took place at London's Royal Albert Hall in March 1986. From this period he performed at the National Theatre, the Goethe-Institut, the DuBois Centre, and other venues in Ghana. In 2001, he participated as The Divine Drummer in the stage show Yaa Asantewaa: Warrior Queen written by Margaret Busby. It was produced by Adzido Pan-African Dance Ensemble, the African and Caribbean Music Circuit, Black Voices, the Pan-African Orchestra and West Yorkshire Playhouse, which toured the UK and performed in Accra and Kumasi. Ghanaba liked to share ideas with musicians. Introduced to Robyn Schulkowsky, a female drummer from the U.S. living in Germany, by Sabine Hentzch of the Goethe-Institut in Accra, he said, "My whole life I thought I was the only one on earth who is crazy enough to deal with music the way I do.And now I have to recognize that there is another one; a woman, a white one." In 1992 he also set up and edited Hwe (Observe), a weekly newspaper. In February 2005 during Black History Month celebrations, Ghanaba was awarded a Lifetime Achievement Award at the W. E. B.


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 Dubois Centre in Accra. On 18 January 2008, Ghanaba handed his drumsticks to his son Glenn "Ghanababa" <mask> at a ceremony at the National Theatre in Accra. Ghanaba died on 22 December 2008. On 21 June 2009, a tribute was held at the Jazz Gallery in New York with Randy Weston, Obo Addy, and Kwaku Martin Obeng. Africa first
On 1 July 1974, the anniversary of Ghana's Republic Day, he adopted the name Ghanaba.From a young age he wanted to remain true to his African roots. His pride in his African heritage was revealed in his music and the clothes he wore. His goal was to make the African presence felt in world music. Max Roach said in 1974 that Ghanaba wanted to strengthen "Afro-American music" by turning to African music for inspiration. He was disturbed by the desire of many Ghanaians for material goods manufactured outside the country. Ghanaba was among three people picked by Osagyefo Kwame Nkrumah to give advice on political, spiritual, and personal matters. He repeated the same service to Jerry John Rawlings when he became head of state.In the 1970s Ghanaba joined African Obonu (later known as the Ghanababii) and others to perform the monthly Free South Africa Shows. These were organized at the Accra Community Centre in solidarity with Nelson Mandela and the people of South Africa in the fight against apartheid. Other shows were organized to commemorate important dates in African history, such as Namibia's Independence Day, and also to honor Africans such as boxers Azumah Nelson and Ike Quartey. He was an avid reader who had a sign in his house that read "I would rather read". He collected books, newspapers, and other material that he hoped could be catalogued. New York University expressed interest in his collections. A professor of African Studies at the school established the African Heritage Library in Accra with most of the material coming from Ghanaba's collections.Decades earlier, he had wanted to donate it to the


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 government of Nigeria because of its commitment to the second edition of the World Festival of Black Arts in 1977. A supporter of Pan-Africanist, he opined that if political and economic developments do not go hand in hand with cultural developments no progress would be made. The Ghanaba Afro-Jazz Gallery is an independent art project "dedicated to honouring, and preserving, the legacy of the legendary Kofi Ghanaba" and to promoting Afro-Jazz music and culture. The title of Robin D. G. Kelley's book Africa Speaks, America Answers (2012) is taken from Ghanaba's 1956 album of the same name. Hallelujah! a film by Steven Feld about Ghanaba, was screened at the 6th Annual New Mexico Jazz Festival, Albuquerque, followed by a post-screening discussion with Randy Weston and Steven Feld. Publications
 I Have a Story to Tell …, by <mask>, Accra [Ghana]: Printed by the Guinea Press, c. 1962.Tells the story of <mask>'s sojourn in America as an African jazz musician. Hey Baby! Dig Dat Happy Feelin''' – A biographical retrospective; produced by Roger Davies, Chelmsford, UK, 2003. Discography
 Africa Speaks America Answers (Decca, 1956)
 Themes for African Drums (RCA Victor, 1959)
 African Rhythms (Decca, 1962)
 Emergent Drums (Lansdowne, 1964)
 Afro-Jazz (Columbia, 1969)
 Native Africa (KPM Music, 1969)
 The African Soundz of <mask> of Ghana (Regal Zonophone, 1972)

 References

Further reading
 Steven Feld, Jazz Cosmopolitanism in Accra: Five Musical Years in Ghana, Duke University Press, 2012. . External links
 Donald's Encyclopedia of Popular Music
 GhanaWeb
 "Ghanaba and the Heritage of African Jazz", Hartigan, Royal. pp. 145–164."Kofi Ghanaba: Ghanaian drummer and bandleader", The Times'', 13 February 2009. 1923 births
2008 deaths
Ghanaian expatriates in the United States
Alumni of Achimota School
Ga-Adangbe people
Ghanaian jazz musicians
Ghanaian radio journalists
Ghanaian radio presenters
Jazz drummers
Musicians from

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<mask> (March 14, 1804 – July 31, 1842) was an early leader in the Latter Day Saint movement. He served as a counselor in the bishopric in Kirtland, Ohio, from 1835 to 1838, then as bishop in Adam-ondi-Ahman in Daviess County, Missouri, from 1838 to 1839, and finally as bishop of the Lower Ward in Nauvoo, Illinois, having been called by Joseph Smith through revelation to that office in January 1841. <mask> served as bishop in Nauvoo until his sudden death at age 38. Early years

<mask> was born March 14, 1804, in Norwich, Hampshire County, Massachusetts, to Doctor <mask> and Rizpah Lee (daughter of American Revolutionary War Captain Sherebiah Lee). Following his father's death when he was five years old, his mother moved the family to upstate New York. Here <mask> married Martha McBride, daughter of itinerant pre-Campbellite minister Daniel McBride and Abigail Mead, on July 26, 1826. They ran a farm in Perrysburg, New York and had seven children: five sons and two daughters.Starting in 1833, members of the McBride family began converting to the Latter Day Saint church. <mask> was baptized into the church in 1834 in Perrysburg, after having been taught in his home by church founder Joseph Smith. Kirtland and Missouri period

In June 1835, <mask> moved his family to Kirtland, Ohio, to gather with other Latter Day Saints. They resided in a \home on the corner of Cowdery and Joseph Streets near the Kirtland Temple. (This home is still standing.) <mask> was called as a counselor in the Kirtland bishopric. <mask> and Martha received their patriarchal blessings on June 24, 1835, at the hands of Joseph Smith Sr. Martha gave birth to one son in Kirtland, <mask>, in 1835 (for whom the name was selected by Joseph Smith Sr.); he died on October 31, 1836.<mask> was ordained an elder and a high priest earlier that year. In January 1837, <mask> joined the Kirtland Safety Society. He also saw the completion of the

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Vinson Knight
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Knight
Randolphus Knight
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 Kirtland Temple and the dedication of the School of the Prophets. In September 1837, <mask> left for Missouri with Joseph Smith and was away for two months. Deep apostasy and persecution took hold in Kirtland during that period. The <mask> family moved with other faithful Latter Day Saints in the spring of 1838 to Missouri, arriving at the end of May 1838 at Far West, Caldwell County, Missouri. They settled in Adam-ondi-Ahman in Daviess County, where <mask> was appointed bishop on June 28, 1838.Very quickly persecution again descended upon the <mask> family and others. Within a very brief period, <mask> and his family, suffering greatly, were driven from their home by a mob. <mask> later executed an affidavit in October 1839 itemizing a bill of damages against the State of Missouri for $10,000 in compensation for property lost and expenses incurred during the expulsion—one of the largest claims made by a Latter Day Saint family for damages suffered in Missouri. Forced to flee Missouri following Governor Bogg's Extermination Order, <mask> and his family found refuge with some friends in Pike County, near the Mississippi River, where Martha gave birth to Martha Abigail <mask> on February 9, 1839. Nauvoo period

In April 1839, <mask> traveled to Iowa to purchase land on which the Latter Day Saints could settle. He and his family moved to Commerce (later Nauvoo), Hancock County, Illinois. Here, on land that <mask> helped select, he constructed a two-story red brick home on Main Street, said to be the first brick house in Nauvoo, on the same block as the homes of apostles Brigham Young and John Taylor.(This home is still standing.) In Nauvoo, <mask> was actively involved in community and religious affairs. Soon after arriving in Nauvoo, <mask> was designated aide-de-camp to Joseph Smith in the Nauvoo Legion. In January 1841, <mask> was called as bishop of the Lower Ward in Nauvoo. He also served as a member

masks: Knight Knight Knight Knight Knight Knight Knight Knight Knight Knight Knight Knight Knight


texts: of the first Nauvoo city council and as Regent of the University of the City of Nauvoo. During the April 1841 general conference, apostle Ezra T. Benson stayed with the <mask> family. The story is told that <mask>'s wife, Martha, knew something was worrying her husband and he could not seem to tell her about it.One evening, as Martha was sitting in the grape arbor behind the house, <mask> returned home carrying a basket. He explained to Martha that he had taken some fruit and vegetables to Philindia Clark Eldredge Merrick (Myrick), widow of Levi N. Merrick, whose husband had been killed in the Haun's Mill Massacre. <mask> explained to Martha that he had been told to enter plural marriage and that, if he had to, this Sister Merrick would be the one he could help best. Martha's reply is said to have been, "Is that all?" Because the conversation at the grape arbor apparently occurred in the fall of 1841, it is possible <mask>'s initial activities related to plural marriage were not authorized by Joseph Smith. As Helen Mar Kimball would relate, "Before my father [Heber C. Kimball] ever heard that such a principle had been revealed to Joseph Smith he said to some friends in my hearing that if 'all things were to be restored again as they were in the beginning,' as the scriptures declare them, the principle of a plurality of wives must also be restored". However it appears that by the spring of 1842, <mask> <mask> had repented of any unauthorized plural marriage activity he may have been engaged in.This is seen in the minutes of the Women's Relief Society of Nauvoo, of which <mask>'s wife, Martha, was a founding member. The organization meeting was held on March 17, 1842, in Nauvoo, which also happened to be Martha's 37th birthday. The founding purpose of Relief Society was "not only to relieve the poor, but to save souls." <mask> was possibly present on March 31, 1842, when Emma Smith read a letter warning

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 the women of Relief Society about seducers. The letter was signed by <mask> <mask> along with Joseph Smith, Hyrum Smith, Brigham Young, and Heber C. Kimball. An excerpt reads:

"...such men... say they have authority from Joseph, or the First Presidency, or any other Presidency of the Church; and thus, with a lie in their mouth, deceive and debauch the innocent, under the assumption that they are authoriz'd from these sources? May God Forbid!"there are those, and we therefore warn you, & forewarn you, in the name of the Lord, to check & destroy any faith that any innocent person may have in any such character; for we do not want any one to believe any thing as coming from us... you are authoriz'd on the very first intimation of the kind, to denounce them as such, & shun them as the flying fiery serpent, whether they are prophets, Seers, or revelators; Patriarchs, twelve Apostles, Elders, Priests, Mayers, Generals, City Councillors, Aldermen, Marshalls, Police, Lord Mayors or the Devil, are alike culpable & shall be damned for such evil practices..."

Death and legacy

Just when he was increasingly involved in the affairs of Nauvoo, <mask> suddenly took ill and died on July 31, 1842, in Nauvoo. Joseph Smith preached at the funeral, stating that <mask> was the "best friend he ever had on earth." One month later, on September 3, 1842, Martha lost her and Vinson's youngest child, Rodolphus Elderkin <mask>, who was less than one year old. After Vinson's untimely death in July 1842, Martha would enter into covenant with Joseph Smith. In 1843, William Clayton documented a conversation he had with Joseph Smith discussing "delicate matters." The 23 June journal entry reads in part: "Also <mask> he [Joseph Smith] gave him one but he [<mask>] went to loose conduct and he [Joseph Smith] could not save him." As one other men mentioned in the 23 June journal entry had died and another had suffered a heart attack, the

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Knight
Knight
Knight
Knight
Brother Knight
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 reference to saving may refer to the fact that Vinson died despite likely attempts to prolong his life via faith healing, rather than asserting that Vinson was damned for the "loose conduct."When it became possible to solemnize eternal marriages with deceased spouses in the Nauvoo temple in 1845-1846, Martha chose to be eternally united or sealed to Joseph Smith rather than <mask>. Heber C. Kimball acted as Joseph's proxy in the ceremony, and thus became Martha's husband "for time". The woman traditionally considered to have become <mask>'s plural wife in 1841, Philindia Clark Eldredge Merrick (Myrick), also declined to unite herself with <mask> in eternity. Notable descendants of <mask> include Francis M. Gibbons and Larry W. Gibbons, both of whom became general authorities in The Church of Jesus Christ of Latter-day Saints (LDS Church). Possible first Presiding Bishop

According to an analysis by D. Michael Quinn, <mask> could be considered the first Presiding Bishop of the LDS Church. Edward Partridge, the first man called to be a Mormon bishop, died in 1840. This was before <mask> <mask> was called "to preside over the bishopric" (See D&C 124:141).Though the office of Presiding Bishop arguably didn't exist until 1847, Edward Partridge, rather than <mask> <mask>, is recognized by the LDS Church as the first Presiding Bishop. See also
 Belnap Family Organization

References

External links
 Belnap Family Organization: Histories and Documents: <mask> <mask> (1804–1842)

Vinson Knight account book, L. Tom Perry Special Collections, Harold B. Lee Library, Brigham Young University
Gilbert Belnap papers, L. Tom Perry Special Collections, Harold B. Lee Library, Brigham Young University

1804 births
1842 deaths
People from Huntington, Massachusetts
American Latter Day Saint leaders
Presiding Bishops (LDS Church)
Converts to Mormonism
Doctrine and Covenants people
Harold B. Lee Library-related 19th century

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John Edward "<mask><mask> (born December 4, 1951) is an American sports columnist, commentator, and television personality. He is well-known for his work as a commentator on the ESPN2 show First Take with Stephen A. Smith, a show which he left in June 2016. <mask> debuted his new show Skip and Shannon: Undisputed with Shannon Sharpe on Fox Sports 1 on September 6, 2016. Early years

<mask> was born as <mask> II in Oklahoma City, Oklahoma. His father, John Sr., immediately began calling him Skip – his father also had called his mother "Skip", as in "skipper of the ship". The name instantly stuck, and <mask> was never called John by his parents, to the point that he eventually had his name legally changed to <mask>. His parents owned and operated the Hickory House restaurant in Oklahoma City, which specialized in barbecue.<mask> worked in the restaurant in his youth, but never considered it as a career path. His younger brother <mask> carried on the family tradition and became a chef, restaurateur and television personality. He also has a younger sister. <mask>'s interest in sports began at an early age and he played baseball and basketball <mask> was the salutatorian of Northwest Classen's graduating class of 1970. He was a two-year member of the National Honor Society and president of the school's Fellowship of Christian Athletes chapter. He was also an officer in the letterman's club. At the urging of one of his English teachers, <mask> became the primary sports columnist for the school newspaper his junior and senior years.Prior to his senior year, <mask> represented Northwest Classen at Oklahoma Boys State. Upon graduation, he was awarded the Grantland Rice Scholarship (named for the sportswriter of the same name) to attend Vanderbilt University (Rice's alma mater). While at Vanderbilt, he majored in English and history, and graduated cum laude in 1974. He was a member of Phi Kappa Sigma fraternity, serving two

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Skip
" Bayless II
Bayless
Bayless
John Edward Bayless
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Rick Bayless
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 years as the chapter's "rho" (sports director). He was also the sports editor of The Hustler, the university's student newspaper, and spent the summer of 1969 interning under sports editor Frank Boggs at The Daily Oklahoman. Career

Print journalism

<mask> went directly from Vanderbilt to The Miami Herald, where he wrote sports features for a little more than two years. He then took a position at the Los Angeles Times in August 1976.There, he was best known for investigative stories on the Los Angeles Dodgers' clubhouse resentment of "golden boy" Steve Garvey and his celebrity wife Cyndy, and on Rams owner Carroll Rosenbloom's behind-the-scenes decisions to start different quarterbacks each week. <mask> won the Eclipse Award for Outstanding Newspaper Writing in 1977 for his coverage of Seattle Slew's Triple Crown victory. At 26, <mask> was hired by The Dallas Morning News to write its lead sports column, and three years later, joined the Dallas Times Herald. This caught the attention of The Wall Street Journal, prompting the paper to do a story on the development. <mask> was voted Texas sportswriter of the year by the National Sportscasters and Sportswriters Association three times (1979, 1984 and 1986). In 1989, <mask> wrote his first book, God's Coach: The Hymns, Hype and Hypocrisy of Tom Landry's Cowboys, about the rise and fall of Tom Landry's Dallas Cowboys. Following the Cowboys' Super Bowl victory in 1993, <mask> wrote The Boys: The Untold Story of the Dallas Cowboys' Season on the Edge, and following the third Cowboys Super Bowl win in four seasons, <mask> wrote a third book about the Cowboys, Hell-Bent: The Crazy Truth About the "Win or Else" Dallas Cowboys.Hell-Bent caused a stir, in part, because in the course of writing about the conflict between Cowboys coach Barry Switzer and star quarterback Troy Aikman, <mask> reported on speculation by Switzer and people close to him within the Dallas organization

masks: Bayless Bayless Bayless Bayless Bayless Bayless Bayless Bayless


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 that Aikman was gay. In 1998, <mask> left Dallas after 17 years and become the lead sports columnist for the Chicago Tribune. In his first year there, <mask> won the Lisagor Award for excellence in sports column writing, presented by the Chicago Headline Club (the Chicago chapter of the Society of Professional Journalists). In 2000, he was voted Illinois sportswriter of the year by the National Sportscasters and Sportswriters Association. <mask> left the Chicago Tribune in July 2001. <mask>'s work has also appeared in various national sports publications, including Sports Illustrated. Radio

In 1991, <mask> began a two-year stint hosting a sports talk radio show from 6–8 p.m. Monday through Friday for Dallas radio station KLIF.In 1994, he became one of the original investors in the Fort Worth radio station KTCK ("the Ticket"), and hosted The <mask> <mask> Show from 6–9 a.m. weekdays from 1994–96. In 1996, the original owners sold the station to Cumulus Media, which bought out <mask>' contract. Also in the mid-1990s, he was a frequent guest on ESPN Radio's first national weekday show, The Fabulous Sports Babe. After moving to Chicago, he began making regular appearances on Chet Coppock's show on the Sporting News Radio network, Coppock On Sports. In 2001, he became the primary guest host of the syndicated radio program, The Jim Rome Show. Soon thereafter, <mask> began co-hosting a weekend show on ESPN Radio with former SportsCenter anchor Larry Beil, which aired until 2004, when he moved full-time into television. Television

In 1989, <mask> joined host Dick Schaap as a panelist on ESPN's The Sports Reporters, and over the next decade, he was a regular on the Sunday morning show.In 1992, <mask> became a member of the original debate team on NFL Prime Mondays "Knights of the Roundtable" segments with Mitch Albom and Michael Wilbon. In 1999 and 2000, he provided commentary for the Golf Channel from the major golf

masks: Bayless Bayless Bayless Bayless Bayless Skip Bayless Bayless Bayless Bayless Bayless