texts:
<mask> (1765 or 1768, in London25 August 1818, in Venice) was a British opera singer. Life

She was probably born about 1768 in Litchfield Street, Soho, London. She was the daughter of Carl Weichsel, a native of Freiberg, in Saxony, principal oboist at the King's Theatre. Her mother, Frederika, née Weirman, an English vocalist of some distinction, was a pupil of Johann Christian Bach, and sang at Vauxhall with success between 1765 and 1775. <mask> received her earliest musical instruction, in company with her brother Charles (who afterwards was known as a violinist) from her father, under whom she studied the pianoforte with such assiduity that on 10 March 1774 she played at a concert at the Haymarket for her mother's benefit. In addition to her father's instruction she studied under Johann Samuel Schroeter, and before she was twelve years old published two sets of pianoforte sonatas. She now began to turn her attention to the cultivation of her voice, and at the early age of fourteen appeared at a public concert in Oxford.On 13 October 1783 she was married under her mother's maiden name, Wierman, at Lambeth Church to <mask>, a double-bass player in the Drury Lane orchestra, from whom she had had lessons in singing. Immediately after their marriage the <mask>s went to Dublin, where she made her first appearance on the stage in the part of Eurydice. After singing at Waterford and other towns in Ireland she returned to London in

masks:
Elizabeth Billington
Elizabeth Weichsel
James Billington
Billington


type: original

texts: 1786, and was offered an engagement at Covent Garden for three nights only, but she insisted on being engaged for twelve nights, at a salary of £12 a week. On these terms she was announced to appear on 14 Feb. 1786, but the renown she had already won in Dublin had preceded her, and 'by command of their majesties' she appeared on the 13th as Rosetta in Thomas Arne's Love in a Village. At the end of the twelve nights she was engaged for the rest of the season at a salary of £1,000. A contemporary account of her at this period says that her voice was of great sweetness, compass, and power, and that she possessed 'a great deal of genuine beauty and very unaffected and charming manners;' but the secret of her great success was the unremitting zeal with which she studied her art. Her brother-in-law, <mask>, says that she had originally 'a very indifferent voice and manner,' which she completely changed by the industry with which, throughout her public career, she pursued her studies.At the end of her first season she went to Paris, and had lessons from the Antonio Sacchini, whose last pupil she was, and at different periods of her career she also studied with Morelli, Ferdinando Paer, and Friedrich Heinrich Himmel. She returned to London for the season of 1786–7, and continued to sing there, at Covent Garden, the Concerts of Ancient Music, the so-called Oratorios, and the Handel Commemorations, until the end of 1793. William Shield


texts: wrote his operas of 'Marian' and 'The Prophet' for her, and in 1789 she appeared as Yarico in Dr. Arnold's long-popular compilation, 'Inkle and Yarico.' Others of her favourite parts were Mandane (in 'Artaxerxes'), and the heroines in 'Polly,' the 'Duenna,' the 'Castle of Andalusia,' 'Corali,' 'Clara,' the 'Flitch of Bacon'. In 1791 she was kind enough to take in <mask> who she had met in Dublin. Clendinning had a short singing career before she retired to have a family, but her husband was in Dublin debtor's prison and she came to England to find work and she found work initially in Bath. Mrs. <mask> was not happy in her marriage, and even before she had appeared on the London stage rumour had been busy with her fair fame.In 1792 there appeared an anonymous publication, which professed to contain her private correspondence with her mother. This work was of so disgraceful and scurrilous a description that Mrs. <mask> was forced to take legal proceedings against the publishers. An answer to the 'Memoirs' appeared in due course ; but it seems probable that the scandal induced Mrs. <mask> to abandon her profession and retire to the Continent. Accompanied by her brother and her husband, she left England early in 1794, and travelled by way of Germany to Italy. At Naples she was induced by Sir William Hamilton, the English ambassador, to sing in private before the royal family. This led to her singing at the San Carlo, where she

masks:
Elizabeth Clendining
Billington
Billington
Billington


texts: appeared in a new opera, 'Inez di Castro,' written expressly for her by Francesco Bianchi, on 30 May 1794. Her singing created an extraordinary impression, but her triumph was cut short by the sudden death of her husband, which took place the day after her first appearance, as he was preparing to accompany his wife to the theatre, after dining with the Bishop of Winchester.She stayed at Naples sixteen months, and then sang at Florence, Leghorn, Milan, Venice, and Trieste. In 1797, when singing at Venice, she was prostrated with a severe illness for six weeks. On her recovery the opera house was illuminated for three nights. At Milan she was received with much favour by the Joséphine de Beauharnais, and here she met a young Frenchman, M. Felissent, to whom she was married in 1799. After her second marriage she went to live at St. Artien, an estate she had bought between Venice and Treviso; but her life was rendered so insupportable by the ill-treatment she received from her husband that in 1801 she left him and returned to England. Felissent, who, it was said, had been publicly flogged as an impostor at Milan, followed her to London, but he was arrested and expelled the country as an alien. Mrs. <mask>'s return to London caused a great stir in the musical world, and the managers both of Covent Garden (Harris) and Drury Lane (Richard Brinsley Sheridan) were eager to secure her services.After some negotiation it was arranged


texts: that she should appear alternately at both houses, the terms she was to receive being 3,000 guineas for the season, together with a benefit guaranteed to amount to £500, and £500 to her brother for leading the orchestra on the nights she appeared. Her reappearance took place at Covent Garden on 3 Oct. 1801, in Thomas Arne's Artaxerxes, in which she sang the part of Mandane, Incledon singing that of Arbaces. During 1801 she made from £10,000 to £15,000, and at one time her fortune is said to have amounted to £65,000. In 1802 Mrs. <mask> appeared in Italian opera at the King's Theatre, on the occasion of the farewell of Banti, when both these great artists sang in Sebastiano Nasolini's 'Merope.' A similar performance took place on 3 June of the same year, when she was induced to sing a duet with Mara, at the farewell concert of her great rival. From this time until her retirement in 1811 she continued to sing in Italian opera. Winter wrote his 'Calypso' (1803) expressly for her, and in 1806 she distinguished herself by producing, for her benefit, La Clemenza di Tito, the first opera by Wolfgang Amadeus Mozart performed in this country.During 1809-10 she suffered much from ill-health, and at length she retired from the profession, her last appearance being announced at her brother's benefit concert on 3 May 1811. She appeared, however, once more at Whitehall Chapel in 1814, at a concert in aid of the sufferers by the German war.


texts:
 After her retirement she lived in princely style at a villa at Fulham. In 1817 she was reconciled to her husband, and went with him to live near Venice, where she died on 25 August 1818. Her child by her first husband had died in infancy ; but it was believed that an adopted child, whom she had placed in a convent at Brussels, was her own daughter. Critical reception

Contemporary opinions as to the merits of Mrs. <mask> as a singer differ to a singular degree. It was always her misfortune to be forced into a position of rivalry with some other great artist, and thus partisanship often guided the judgments of her critics.As to the perfect finish of her singing all are agreed. The Earl of Mount Edgcombe says that her voice was sweet and flexible, her execution neat and precise, her embellishments in good taste and judicious, but that she lacked feeling, and was no actress. Miss Seward writes of her : 'She has too much sense to gambol like Mara in the sacred songs;' but George III, who was no mean judge—by suggesting in a written memorandum, that Lord Carmarthen 'if he can get her to sing pathetick songs, and not to over-grace them, will be doing an essential service to the court'—seems to imply that she had the great fault of the singers of that day, viz. the excessive and indiscriminate use of vocal embellishments. She was all through her life a finished pianist. Salomon used to say that 'she sang with her fingers,' and quite


texts:
 late in life she played a duet in public with J. B. Cramer.In person Mrs. <mask> was very handsome, though inclined to stoutness. Her portrait was painted by Sir Joshua Reynolds as Saint Cecilia, and has been engraved by James Ward, Pastorini, and Cardon. The exhibition of old masters at Burlington House in 1885 contained a small portrait by Reynolds, said to be of Mrs. <mask> in her youth, a statement which is probably inaccurate. Two miniatures of her were painted, one by Daniel, and there are engravings of her by T. Burke after De Koster, as Mandane by Heath after Stothard, by Bartolozzi after Cosway, by Dunkarton after Downman, and by Assen. A portrait of Clara in the 'Duenna,' painted and engraved by J. R. Smith in 1797, probably represents Mrs. <mask>. Haydn said of her, that Sir Joshua Reynolds should rather have painted the angels listening to Mrs Billington singing, than have depicted, as he did, Mrs Billington listening to the angels. References

Attribution:

 Endnotes:
Gent, Mag.lxiv. 671, lxxxviii. 69 ;
Georgian Era (1832), iv. 291 ;
Egerton MSS. 2169, ff. 57, 66;
Earl of Mount Edgcumbe's Musical Reminiscences (2nd ed. 1827), § vi.;
Busby's Concert Room Anecdotes, i. 151, 212, 217, ii. 4;
Eaton's Musical Criticism (1872), 172 ;
Seward's Letters (1811), i. 153 ;
Harmonicon for 1830, 93 ;
Public Characters (1802-3), 394 ;
H. Bromley's Cat. of Engraved Portraits, 431;
Memoirs of Harmonic Society;
Musical World,

masks: Billington Billington Billington


texts:
 viii. 109: Parke's Musical Memoirs (1830);
Fétis's Biographie des Musiciens, ii. 195 ;
Thos.<mask>'s St. George and the Dragon ;
Quarterly Musical Magazine, i. 175 ;
Registers of Lambeth ;
Thespian Dictionary (1805). Sources
A biographical dictionary of actors, actresses, musicians,..., volume 2
Memoir of Mrs. <mask>
H. Jachmann, intro. J.M. Lewis, Wagner and his First Elisabeth (Novello, London 1944). External links

1765 births
1818 deaths
18th-century classical composers
19th-century classical composers
English classical composers
English opera singers
English people of German descent
Singers from London
Women classical composers
19th-century British composers
19th-century women composers
18th-century women

masks: Billington Billington


texts:
Semerkhet is the Horus name of an early Egyptian king who ruled during the First Dynasty. This ruler became known through a tragic legend handed down by the historian Manetho, who reported that a calamity of some sort occurred during <mask>'s reign. The archaeological records seem to support the view that <mask> had a difficult time as king and some early archaeologists questioned the legitimacy of <mask>'s succession to the Egyptian throne. Length of reign
Manetho named Semerkhet Semêmpsés and credited him with a reign of 18 years, whilst the Royal Canon of Turin credited him with an implausibly long reign of 72 years. Egyptologists and historians now consider both statements as exaggerations and credit <mask> with a reign of 8½ years. This evaluation is based on the Cairo Stone inscription, where the complete reign of <mask> has been recorded. Additionally, they point to the archaeological records, which strengthen the view that <mask> had a relatively short reign.Name sources

<mask> is well attested in archaeological records. His name appears in inscriptions on vessels made of schist, alabaster, breccia, and marble. His name is also preserved on ivory tags and earthen jar seals. Objects bearing Semerkhet's name and titles come from Abydos and Sakkara. Semerkhet's serekh name is commonly translated as "companion of the divine community" or "thoughtful friend". The latter translation is questioned by many scholars, since the hieroglyph khet (Gardiner-sign F32)

masks: Semerkhet Semerkhet Semerkhet Semerkhet Semerkhet Semerkhet Semerkhet


texts: normally was the symbol for "body" or "divine community". <mask>'s birth name is more problematic.Any artefact showing his birth name curiously lacks any artistic detail of the used hieroglyphic sign: a walking man with waving cloak or skirt, a nemes head dress, and a long, plain stick in his hands. The reading and meaning of this special sign is disputed, since it doesn't appear in this form before association with king <mask>. Indeed, the hieroglyph of the cloaked man is extremely rare. It appears only twice in relief inscriptions depicting ceremonial processions of priests and standard bearers. Egyptologists such as Toby Wilkinson, Bernhard Grdseloff, and Jochem Kahl read Iry-Netjer, meaning "divine guardian". During the Old Kingdom period, this word is written with uniliteral signs of a netjer flag (Gardiner-sign R8) and a human eye (Gardiner-sign D4) nearby the ideogram of the man. Some contemporary ivory tags show the Nebty name written with the single eye symbol only.Thus, the scholars also read <mask>'s throne name as Iry (meaning "guardian") and the Nebty name as Iry-Nebty (meaning "guardian of the Two Ladies"). This reconstruction is strengthened by the observation that <mask> was the first king using the Nebty title in its ultimate form. For unknown reason <mask> did not use the Nebuy title of his predecessor. It seems that he felt connected with the 'Two Ladies', a title referring to the goddesses Nekhbet and Wadjet, the patron deities of the Ancient

masks: Semerkhet Semerkhet Semerkhet Semerkhet Semerkhet


texts:
 Egyptians who were worshiped by all after the unification of its two parts, Lower Egypt, and Upper Egypt. The Nebty title in turn was thought to function as an addition to the Nisut-Bity title. His prenomen is Nisut-Bity-Nebty-Iry, nsw.t-bty-nb.ty-irymeaning, King of Upper and Lower Egypt, he of the two ladies, and he who belongs to them or He whom the two ladies guard.M23:t-L2:t-G16-A21A

Scribes and priests of the Ramesside era were also confused, because the archaic ideogram that was used during <mask>'s lifetime was very similar to the sign of an old man with a walking stick (Gardiner sign A19). This had been read as Semsu or Sem and means "the eldest".It was used as a title identifying someone as the head of the house. Due to this uncertainty, it seems that the compiler of the Abydos king list simply tried to imitate the original figure, whilst the author of the Royal Canon of Turin seems to have been convinced about reading it as the Gardiner-sign A19 and he wrote Semsem with uniliteral signs. The Saqqara King List omits Semerkhet's throne name. The reason for that is unknown, but all kings from Narmer up to king Den also are missing their throne names. Identity

Virtually nothing is known about Semerkhet's family. His parents are unknown, but it is thought that one of his predecessors, king Den, might have been his father. Possibly, Semerkhet was born to queen Betrest.On the Cairo Stone she is described as his mother, but definite evidence for that view has not


texts:
 yet been found. It would be expected that Semerkhet had sons and daughters, but their names have not been preserved in the historical record. A candidate as a possible member of his family line is his immediate successor, king Qa'a. Reign

An old theory, supported by Egyptologists and historians such as Jean-Philippe Lauer, Walter Bryan Emery, Wolfgang Helck, and Michael Rice once held that Semerkhet was a usurper and not the rightful heir to the throne. Their assumption was based on the observation that a number of stone vessels with Semerkhet's name on them, originally were inscribed with king Adjib's name. Semerkhet simply erased Adjib's name and replaced it with his own. Furthermore, they point out that no high official and priest associated with Semerkhet was found at Sakkara.All other kings, such as Den and Adjib, are attested in local mastabas. Today this theory has little support. Egyptologists such as Toby Wilkinson, I. E. S. Edwards, and Winifred Needler deny the 'usurping theory', because <mask>'s name is mentioned on stone vessel inscriptions along with those of Den, Adjib, and Qa'a. The objects were found in the underground galleries beneath the Pyramid of Djoser at Saqqara. The inscriptions show that king Qa'a, immediate successor of Semerkhet and sponsor of the vessels, accepted Semerkhet as a rightful ancestor and heir to the throne. Furthermore, the Egyptologists point out that nearly every king of First Dynasty had the habit of taking special vessels


texts:
 (so-called 'anniversary vessels') from their predecessor's tomb and then replacing their predecessor's name with their own. Semerkhet not only confiscated Adjib's vessels, in his tomb several artefacts from the necropolis of queen Meritneith and king Den also were found.The lack of any high official's tomb at Saqqara might be explained by the rather short reign of Semerkhet. It seems that the only known official of Semerkhet, Henu-Ka, had survived his king: His name appears on ivory tags from Semerkhet's and Qaa's tomb. Seal impressions from Semerkhet's burial site show the new royal domain, Hor wep-khet, (meaning "Horus, the judge of the divine community") and the new private household Hut-Ipty (meaning "house of the harem"), which was headed by Semerkhet's wives. Two ivory tags show the yearly 'Escort of Horus', a feast connected to the regular tax collections. Other tags report the cult celebration for the deity of the ancestors, Wer-Wadyt ("the Great White"). And further tags show the celebration of a first (and only) Sokar feast. While the Cairo Stone reports the whole of Semerkhet's reign, unfortunately, the surface of the stone slab is badly worn and most of the events are now illegible.The following chart follows the reconstructions by Toby A. H. Wilkinson, John D. Degreef, and Hermann Alexander Schlögl:

Cairo Stone, main fragment:
 Year of coronation: Appearance of the king of Lower- and Upper Egypt; unifying the two realms; circumambulation of the White


texts:
 Wall of Memphis
 first year: Escort of Horus; destruction of Egypt
 second year: Appearance of the king; creation of a statue for Seshat and Sed
 third year: Escort of... (rest is missing)
 fourth year: Appearance of the king of Upper Egypt; creation of... (rest is missing)
 fifth year: Escort of... (rest is missing)
 sixth year: Appearance of the king of Upper Egypt... (rest is missing)
 seventh year: Escort of... (rest is missing)
 eighth year: Appearance of the king of Lower- and Upper Egypt... (rest is missing)
 year of death: The ...th month and ...th day. (damaged)

Egyptologists and historians pay special attention to the entrance "Destruction of Egypt" in the second window of Semerkhet's year records. The inscription gives no further information about that event, but it has a resemblance to the Manetho's report. The Eusebian version says: "His son, Semémpsês, who reigned for 18 years; in his reign a very great calamity befell Egypt." The Armenian version sounds similar: "Mempsis, 18 years. Under him many portents happened and a great pestilence occurred." None of the documents from after Semerkhet's reign provide any details about this "calamity".Tomb

Semerkhet's burial site was excavated in 1899 by archaeologist and Egyptologist Sir William Matthew Flinders Petrie at Abydos and is known as "Tomb U". While excavating, Petrie found no stairways as he did at the necropolis of Den and Adjib. He found a ramp, four metres wide and leading straight into the main


texts: chamber. The ramp starts approximately ten metres east outside the tomb and has a base slope of 12°. Inside the tomb the ramp shows irregular graduations. Petrie was also confused by the small number of clay seals. Only 17 seals were found.For archaeologists and Egyptologists, the complete arrangement of the burial site suggests that the builders were pressed for time. When Petrie freed the ramp from sand, he found that the complete ramp was thickly covered in aromatic oil, which still gave off a scent. Beside the ramp several wooden and hand-made baskets and earthen jars were found. These were dated to the Ramesside era. Scholars now think that <mask>'s tomb was re-opened and restored when Ramesside priests and kings saw the tomb of king Djer as the ritual burial of Osiris's head. The findings inside the main chamber included precious objects such as inlays and fragments of furniture (especially pedestals), copper-made armatures, and jewelry made of ebony, amethyst, and turquoise. Some vessels originating from the Levant were also found.They once contained Bescha oil, which was of great value to the Egyptians. Outside the tomb, close to the entrance, a damaged tomb stela made of black granite displaying Semerkhet's serekh name was excavated. The burial chamber measures 29.2 × 20.8 metres and is of simple construction. Petrie found that the king's mastaba once covered the whole of the subsidiary tombs. Now the royal burial formed a unit with the 67 subsidiary tombs.


texts:
 Egyptologists such as Walter Bryan Emery and Toby Wilkinson see this architectural development as proof that the royal family and household were killed willingly when their royal family head had died. Wilkinson goes further and thinks that <mask>, as the godlike king, tried to demonstrate his power over the death and life of his servants and family members even in their afterlife.The tradition of burying the family and court of the king when he died was abandoned at the time of king Qaa, one of the last rulers of the First Dynasty. The tombs of Second Dynasty founder, Hotepsekhemwy, onward have no subsidiary tombs. References

External links

 Francesco Raffaele: Semerkhet - nisut-bity Iry

30th-century BC Pharaohs
Pharaohs of the First Dynasty of


texts:
<mask>s (b 1969) is an Australian optometrist and outcomes researcher in ophthalmology; recognised as the leading optometrist researcher worldwide in terms of H-Index and total citations. He is SHARP Professor of Optometry and Vision Science at the University of New South Wales (2020-). He was the Foundation Chair of Optometry and Vision Science at Flinders University from 2009 to 2017. Professional career
Pesudovs won a National Health and Medical Research Council (NHMRC) Sir Neil Hamilton Fairley Fellowship to be a post-doc at the University of Bradford with Prof David Elliott (2001-2003). He then moved to the University of Houston as a post-doc with Prof Raymond A. Applegate (2003-2004). In late 2004, he returned to Flinders University where he became a clinical research fellow funded by an NHMRC Career Development Fellowship. In 2005, he was Chief Investigator A on the successful funding of the NHMRC Centre of Clinical Research Excellence in Ophthalmology Outcomes Research.Since then he has received a number of NHMRC project grants with a career total NHMRC funding of over US$5million and total career grant funding of over US$9million. In 2009, he was appointed Foundation Chair of Optometry and Vision Science at Flinders University and set the task of creating a new 5 year optometry double degree program. The course design incorporated innovative teaching and learning strategies including integrated teaching, case-based learning and other student-centred learning strategies, e-learning, communication skills, business skills, evidence-based practice, simulation, high volume clinical exposure, clinical placements using the parallel clinical consulting model, and regional, remote and indigenous student recruitment and training strategies. The


texts: Bachelor of Medical Science(Vision Science) /Master of Optometry double degree has been accredited by the Optometry Council of Australia and New Zealand and the Optometry Board of Australia. The first students graduated in 2015. He was the course coordinator of the optometry program, has administrative responsibility for the Discipline of Optometry and oversight of the clinical service: Flinders Vision until December 2017. He was the lead organiser of the annual Evidence-Based Optometry Conference (established 2014).He was also a Visiting Professor, School of Optometry and Ophthalmology and Eye Hospital, Wenzhou Medical College, Key Laboratory of Vision Science, Ministry of Health P.R. China, Wenzhou, Zhejiang, China. He sits on 3 journal editorial boards: Journal of Refractive Surgery, Journal of Cataract & Refractive Surgery, and Ophthalmic and Physiological Optics (2020-)   having previously sat on 6 others: Archives of Medical Science (2007-2013),  Clinical & Experimental Optometry (2007-2017), The Open Translational Medicine Journal (2008-2014), Journal of Optometry (2008-2016), Ophthalmic and Physiological Optics (2010-2015) and Optometry and Vision Science (2010-2015). He was Chairman of the Board of Administration of the National Vision Research Institute (2015-2016). He was a member of the Governing Council of the Australian College of Optometry (2010-2020), serving as president from 2016 to 2020. He also served as a member of the Steering Committee for the Australian College of Optometry Ocular Therapeutics Course (2011-2012). He has previously served as a state councilor of the Australian Optometrical Association (1992-1996) and the Contact Lens Society of Australia (1993-2000) including 3 years as President (1994-1996).He has been


texts:
 a Committee Member of the Publications Committee for the Association for Research in Vision and Ophthalmology (2012-2014) and was a member of the International Consortium for Health Outcomes Measurement (ICHOM) Health Outcomes Measurement for Cataract Surgery working group. Pesudovs is trained in Contact Lenses (under AJ Phillips). Wine

<mask> is passionate about wine, founding the Adelaide Single Bottle Club, is a member of the 2nd Thursday Club (est. 1966), has won the WInestate options competition, makes wine, and in 2018 gained a Diploma in Wine and Spirits from The Wine and Spirit Education Trust. Honours
Pesudovs was awarded the J Lloyd Hewitt Award in 1994 by the editorial board of Clinical and Experimental Optometry and the Australian Optometrical Association. He was awarded the Peter-Abel Preis in 2006 by Die Vereinigung Deutscher Contactlinsen-Spezialisten e.V. (VDC).He was awarded the Waring Medal in 2006 by the International Society of Refractive Surgery. He was awarded a Young Tall Poppy Science Award, South Australia, for 2007-2008 by the Australian Institute of Policy and Science. He was awarded the Irvin M. and Beatrice Borish Award by the American Academy of Optometry in 2008. He was awarded the Garland W. Clay Award by the American Academy of Optometry in 2009 and again in 2011. He shared The American Public Health Association Vision Care Section 2014 Outstanding Scientific Paper Award with the Vision Loss Expert Group of the Global Burden of Disease 2010. In 2018, <mask> was named International Optometrist of the Year. In 2020, <mask>vs was awarded the H Barry Collin Medal by Optometry Australia.In 2021, <mask> was identified as the leading optometrist researcher worldwide in terms of H-Index and total citations. In 2021,

masks:
Konrad
Konrad Pesudovs
Konrad Pesudo
Konrad Pesudovs


texts:
 <mask>s was awarded the Glenn A Fry Lecture Award by The American Academy of Optometry. Selected works
Complete list of peer-reviewed journal articles on the PubMed:

Book chapters:
 Elliott DB, Prokopich L, Pesudovs K.  Variations in appearance of the normal eye. In Elliott DB ed. Clinical Procedures in Primary Eyecare. 3rd ed. Edinburgh: Elsevier Butterworth Heinemann, 2007, p222-235.Pesudovs K.  Influence of Refractive Surgery Complications on Quality Of Life. In Alio JL, Azar D eds. Management of Complications in Refractive Surgery. Berlin: Springer-Verlag. 2008, p9-13. Pesudovs K.  Assessment of Visual Performance in Keratoconus. In Wang M, Swartz T.  Keratoconus and Keratectasia: New Modalities of Diagnosis, Prevention and Treatment.Thorofare, NJ: Slack. 2009. Pesudovs K, Elliott DB. Quality of Life after Laser Surgery for Eye Disorders. In Preedy VR, Watson RR eds. Handbook of Disease Burdens and Quality of Life Measures. New York: Springer.2010, p2379-2394. Lamoureux E, Fenwick E, Pesudovs K.  The impact of cataract, diabetic retinopathy, diabetic macular edema; and associated treatment interventions on quality of life. In Scholl, Massof RW, West S eds. Ophthalmology and the Ageing Society. Berlin: Springer; 2013, p141-164. Elliott DB, Pesudovs K.  Variations in appearance of the normal eye. In Elliott DB ed.Clinical Procedures in Primary Eyecare. 4th ed. Edinburgh: Elsevier Butterworth Heinemann, 2013, p272-293. References

External links
  on University of New South Wales
 <mask>udovs on Pesudovs.com

Living people
20th-century births
Australian optometrists
Australian people of Latvian descent
University of Melbourne alumni
Flinders University alumni
Year of birth missing (living people)
People educated at Trinity Grammar School,

masks:
Konrad Pesudov
Konrad Pes


texts:
<mask> (born Betty Jo Haskins, January 29, 1946) is an American soul singer-songwriter who made her first record at sixteen, but achieved only intermittent fame until 2005, when her album I've Got My Own Hell to Raise was released to widespread critical acclaim, and was named on many critics' "Best of 2005" lists. Her next album, The Scene of the Crime, debuted at number one on Billboard's Top Blues Albums chart and was nominated for Best Contemporary Blues Album at the 2008 Grammy Awards. <mask>'s eclectic musical style combines elements of soul, blues, rock and roll, funk, gospel, and country music. In 2020, she was inducted into the Blues Hall of Fame. Life and career
<mask> was born in Muskegon, Michigan, and raised in Detroit. Unlike many of her contemporaries, she did not begin singing in the church, but in her parents' living room, singing R&B and country and western music. She was signed by Johnnie Mae Matthews, a local record producer.In 1962, aged sixteen, she recorded a single, "My Man — He's a Lovin' Man", with Matthews: the disc was credited to Betty LaVett, the surname being "borrowed" from Sherma Lavette Anderson, the singer's friend who had introduced her to Matthews. Picked up by Atlantic Records, LaVette's disc became a major R&B hit over the fall and winter of 1963–64 – eventually reaching the R&B Top Ten – resulting in LaVette touring with such Atlantic Records R&B hitmakers as Clyde McPhatter, Ben E. King, Barbara Lynn, and rising star Otis Redding. After two overlooked single releases in respectively 1963 and 1964, LaVette in 1965 returned to the R&B charts

masks:
Bettye LaVette
LaVette
LaVette


texts: with "Let Me Down Easy" on Calla Records, her first release to be credited to <mask>: the spelling of the singer's first name as <mask> would date from her 1977 Bubbling Brown Sugar gig. Though only a peripheral success with an R&B chart peak of No. 48, "Let Me Down Easy" afforded LaVette sufficient cachet to briefly tour with The James Brown Revue. After recording several singles for local Detroit labels, LaVette signed to the Silver Fox label in 1969. She cut a handful of tracks, including two Top 40 R&B hits: "He Made A Woman Out Of Me" and "Do Your Duty".The Memphis studio musicians on these recordings have since become known as The Dixie Flyers. In 1972, she signed once again with Atlantic/Atco. She was sent to Muscle Shoals Sound Studio in Alabama to record what was to be her first album. Titled Child of the Seventies, it was produced by Brad Shapiro and featured the Muscle Shoals Rhythm Section, now known as The Swampers, but Atco chose not to issue the album. The mid-1970s saw a brief stint and two 45s with Epic, and in 1978 LaVette released the disco smash on West End Records "Doin' The Best That I Can". In 1982, she was signed by her hometown label, Motown, and sent to Nashville to record. The resulting LP (her first album actually issued), titled Tell Me A Lie, was produced by Steve Buckingham.The first single, "Right In The Middle (Of Falling In Love)", hit the R&B Top 40. She briefly gave up recording for a six-year run in the Broadway smash Bubbling Brown Sugar, appearing alongside Honi Coles and Cab Calloway. After LaVette had played her personal mono recordings of

masks:
Betty LaVette
Bettye


texts: Child of the Seventies for Gilles Petard, a French soul music collector, he sought the master recordings at Atlantic, whose personnel had previously thought they had been lost in a fire some years back. In 1999, he finally discovered the masters and then licensed the album from Atlantic and released it in 2000 as Souvenirs on his Art and Soul label. At the same time, Let Me Down Easy – Live in Concert was issued by the Dutch Munich label. Both albums sparked a renewed interest in LaVette and in 2003, A Woman Like Me (produced by Dennis Walker) was released. The CD won the 2004 W. C. Handy Award for "Comeback Blues Album of the Year".In an interview, <mask> identified A Woman Like Me as the first album in the second phase of her career and said her 2012 autobiography was named after the album. After she was signed to The Rosebud Agency for live bookings, Rosebud president Mike Kappus brought her to the attention of ANTI- president Andy Kaulkin. Upon seeing LaVette perform, Kaulkin signed her to a three-record deal. For the first project, he paired her with Joe Henry, and suggested an album of songs written entirely by women. The resulting CD, I've Got My Own Hell to Raise, was on many critics' "Best of 2005" lists. The title is taken from the lyrics of Fiona Apple's 1996 hit "Sleep to Dream", which is covered on the album. (Other notable songwriters on the album were Aimee Mann, Sinéad O'Connor, Lucinda Williams, Joan Armatrading, and Dolly Parton.)The album was released by ANTI- and produced by Joe Henry. In 2006, capitalizing on the success of I've Got My Own Hell To Raise and


texts: the reviews of her live shows, Child of the Seventies was reissued by Rhino Handmade with some previously unreleased tracks. The album was met with critical acclaim. Varèse Sarabande then issued Take Another Little Piece of My Heart, a CD containing all of the songs that she cut for Silver Fox and SSS International in 1969 and 1970. The CD included three unreleased tracks, as well as two duets with Hank Ballard. In 2006, <mask> received a "Pioneer Award" from the Rhythm and Blues Foundation. Her 2007 album, The Scene of the Crime, was mostly recorded at FAME Studios in Muscle Shoals, Alabama, with alt rockers Drive-By Truckers.The Scene of the Crime was nominated for a Grammy Award for "Best Contemporary Blues Album" and landed on numerous "Best of 2007" lists. <mask> talked about her experiences at Muscle Shoals Sound and FAME in an interview conducted by Edd Hurt in September 2007. Drive-By Truckers frontman Patterson Hood produced the album together with LaVette. The album also features one song co-written by <mask> and Patterson Hood. In 2008, she received a Blues Music Award for "Best Contemporary Female Blues Singer". Also in 2008, Reel Music re-issued on CD her Motown LP, Tell Me A Lie. The album contained the original cover design that was not used when the LP was released.In December 2008 at the Kennedy Center Honors, LaVette sang her version of 1973's "Love, Reign o'er Me" in tribute to Roger Daltrey and Pete Townshend of The Who, who were among the year's honorees. The performance was widely considered one of the event's highlights. On January 18, 2009, at the We Are

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texts: One: The Obama Inaugural Celebration at the Lincoln Memorial she performed a duet of Sam Cooke's 1964 song "A Change Is Gonna Come" with Jon Bon Jovi. In April 2009, she shared the stage with Sir Paul McCartney and Ringo Starr at Radio City Music Hall for the David Lynch Foundation's "Change Begins Within" benefit concert promoting teaching Transcendental Meditation to children in inner city schools. In 2009 Sundazed released on CD the album Do Your Duty, which consisted of her eleven solo tracks cut for Silver Fox and SSS International. In June 2009 a six-song EP, Change Is Gonna Come Sessions, was released as a download only. In 2010, LaVette released Interpretations: The British Rock Songbook, which included unique arrangements and performances of classic songs by artists including The Beatles, The Rolling Stones, The Animals, and Pink Floyd.Included is the complete unedited version of her Kennedy Center Honors performance of The Who's "Love, Reign O'er Me". The CD was critically acclaimed and nominated for a Grammy Award for Best Contemporary Blues Album. She has appeared on National Public Radio's Mountain Stage, World Cafe, All Things Considered and Wait Wait... Don't Tell Me!. She has appeared in a Mississippi Public Broadcasting series, Blues Divas, and is in a film of the same name, both produced by Robert Mugge. She has also appeared on Late Night with David Letterman, Conan, The Late Late Show with Craig Ferguson, The Tonight Show with Jay Leno, Austin City Limits, The Today Show, Good Morning America, and Live from the Artists Den. LaVette also joined the 9th 10th and


texts: 11th annual Independent Music Awards judging panel to assist independent musicians' careers. LaVette contributed a cover of "Most of the Time" for the album Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International.On December 31, 2012, she appeared in the UK on BBC Two's Jools Holland Annual Hootenanny. In 2013 and 2014, LaVette was nominated for a Blues Music Award in the "Contemporary Blues Female Artist" category. LaVette's album Worthy was nominated for a Grammy Award in 2016 for Best Blues Album. In 2016, <mask> won a Blues Music Award as the Soul Blues Female Artist of the Year. On March 6, 2017, she took part in a benefit concert at Carnegie Hall celebrating the music of Aretha Franklin, whom she has known since 1962. Lavette performed a rendition of the song "Ain't No Way", which she mentioned was written by Caroline Franklin, her older sister, with whom Bettye was friends. In 2017, LaVette appeared in the award-winning documentary film The American Epic Sessions.The film featured an interview between director Bernard MacMahon and LaVette in which they discussed her "heartfelt recollections of being pushed away from early blues as 'Uncle Tomish' in the '60s." Following the interview, LaVette recorded "Nobody's Dirt Business", a song by early blues musician Frank Stokes, direct-to-disc on the first electrical sound recording system from the 1920s. A soundtrack for the film, entitled Music from The American Epic Sessions, also featured a second song she recorded for the film, "When I Woke Up This Morning", which L. Kent Wolgamott in the Lincoln


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 Journal Star praised as "among its highlights." In 2018, <mask> <mask> was inducted into the Michigan Rock and Roll Legends Hall of Fame. Her 2018 album Things Have Changed, an album of all Bob Dylan songs, was nominated for Best Americana Album and the song "Don't Fall Apart On Me Tonight" was nominated for Best Traditional R&B Performance at the 61st Annual Grammy Awards. In May 2020, LaVette garnered another Blues Music Award in the "Soul Blues Female Artist of the Year" category. The same year, LaVette was inducted into the Blues Hall of Fame.On August 28, 2020, she released a new studio album, Blackbirds, which is an album of songs by women from the 1950s who were the "bridge she came across on". Blackbirds was nominated for Best Contemporary Blues Album at the 63rd Annual Grammy Awards. In 2021, Bettye again received the Blues Music Award for "Soul Blues Female Artist of the Year". On February 8, 2022, <mask>'s vocals from "Let Me Down Easy" were sampled as the focal point for ODESZA's newest single, "The Last Goodbye". Personal life
LaVette is married to Kevin Kiley, a recorded music and antiques dealer who is also a singer and musician. They live in West Orange, New Jersey. Discography

Albums

Compilations

Compilation appearances

Singles

Bibliography
 A Woman Like Me by <mask> Lavette with David Ritz (Blue Rider Press, New York 2012)

References

External links

 Official website
 <mask> <mask> on ANTI-

 West End Records
 Articles and interviews
 Bettye Lavette Interview on Rundgren Radio 2020
 "Bettye <mask>: When the Blues Catch up to You" at Crawdaddy!Bettye

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 talks about her CD, The Scene of the Crime, at Soul Express
 The Complete <mask> <mask> Story at Soul Express (2004)
 <mask> <mask> talks about "Worthy" at Soul Express (January 2015)
 Bettye LaVette 2015 Audio Interview at Soul Interviews
 Bettye talks about her CD, Things Have Changed, at Soul Express
 <mask> <mask> talks about her Blackbirds CD at Soul Express

1946 births
African-American women singer-songwriters
American rhythm and blues singer-songwriters
American soul singers
Living people
West End Records artists
Singer-songwriters from New Jersey
People from Muskegon, Michigan
People from West Orange, New Jersey
Atco Records artists
Singers from Detroit
21st-century African-American women singers
Singer-songwriters from Michigan
20th-century African-American women singers
Anti- (record label)

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<mask><mask> (; born February 10, 1949) is an American linguistic anthropologist known primarily for his contributions to establishing and developing language ideology as a field of research. He is professor of anthropology, applied linguistics, and American Indian Studies at the University of California, Los Angeles. He is the past President of the Society for Linguistic Anthropology and past Chair of the American Indian Studies program at the University of California, Los Angeles. <mask>'s research focuses on language ideologies, language and identity, verbal art and performance, language contact, and language endangerment and revitalization. He specializes in the indigenous languages of the Kiowa-Tanoan and Uto-Aztecan language families, and has worked in the Western Pueblo region and Central California. Biography

<mask><mask> grew up in Brooklyn. He received his Bachelor's degree from Columbia College, Columbia University where he studied Oriental Studies, Comparative Literature, and Comparative Religion.For graduate school he moved to Indiana University and was the last student of linguist <mask>in. He also worked with Allen D. Grimshaw, Charles S. Bird, and Raymond J. DeMallie. <mask>in inspired his interest in American Indian languages and suggested that he conduct research with the Arizona Tewa. <mask> earned his PhD from Indiana in anthropology in 1977 with a dissertation titled "Aspects of Arizona Tewa Language Structure and Language Use". In 1978 <mask> was hired as a professor of anthropology at the University of California, Los Angeles, where he has been teaching ever since. Research

Among <mask>'s contributions to linguistic anthropological research and theory, he is best known for helping to develop and establish the research field of language ideology. In the early 1990s a group of linguists and anthropologists,

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 working on the relationship of cultural conceptions of language to linguistic structure, language use, and social context, convened on several occasions to bring scholarly attention to what soon became known in the discipline as "language ideology".<mask> organized and co-organized sessions at meetings of the American Anthropological Association (1991, 1994) and at the School of American Research in Santa Fe (1994), and served as the editor and co-editor of three of the resulting volumes. Arizona Tewa language ideologies

<mask>'s interest in the ideological dimension of language use and their relationship to linguistic structure, cultural identity, and ethnohistory can be traced to the beginning of his career. When he started his dissertation research in the Arizona Tewa communities on the First Mesa Hopi Reservation (Northeastern Arizona) in 1973, <mask> was primarily interested in Tewa grammar and language contact, but the Tewa themselves kept reminding him of the importance of the link between language, culture, and religious ceremonies. "My language is my life" is a popular saying in Tewa, which suggests a strong link between language and identity. Language and identity became a central theme in <mask>'s later work, interpreting Tewa cultural phenomena in the light of the emerging theory of language ideology. His early research concentrated on linguistic variation, language contact, linguistic borrowing, and areal influences in Tewa. The Tewa language presents unique data for the study of language contact because despite a history of about 300 years of contact with their Hopi neighbors and widespread multilingualism, the Arizona Tewa have adopted almost no loanwords from Hopi.This is a common pattern in many Pueblo cultures, usually known as "linguistic conservatism". <mask> re-analyzed this pattern as an indigenous ideology of

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 Linguistic purism. But rather than being a result of the rejection of foreign elements by the Tewa community, <mask> traces this ideology to the prominence of kiva speech, a type of ceremonial speech confined in its use to religious authorities. Associated with the highly valued religious domain, kiva speech embodies four cultural preferences: regulation by convention, indigenous purism, strict compartmentalization, and linguistic indexing of identity. These preferences are reflected in Arizona Tewa linguistic ideologies concerning non-kiva language as well, and turn kiva speech thus into a folk model for language in general. <mask> has coined the term "dominant language ideology" to describe these underlying conceptions of language, where linguistic and cultural forms specific to one domain come to serve as a model for other forms. In relation to research on the relative metalinguistic awareness that speakers have of their language, <mask> points out that this dominant ideology is most influential on the Tewa lexicon, since lexical differences are most accessible to awareness and therefore most easily controlled by the speakers.Western Mono language ideologies

In addition to research with the Arizona Tewa, <mask> has also worked with the Western Mono communities of central California since 1980. In stark contrast to the Arizona Tewa, linguistic purism was absent in the Western Mono communities. <mask> identifies three precolonial language ideologies: syncretism, the valorization of linguistic borrowings and hybridity; variationism, that dialectal variation is seen as the natural outcome of family and individual differences; and utilitarianism, the idea of language as tool or technology. These ideologies have most likely contributed to language shift toward English. In precolonial times among indigenous groups on the Pacific coast of


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 the present-day United States, lexical borrowings between different languages were common and not perceived as dangerous to the vitality of any language, let alone ethnic identity. In this context, the adoption of English items into the lexicon of Western Mono was welcomed rather than condemned, partly because the Western Mono language was never indexical or iconic of a unified ethnic identity, owing to internal differentiation; and partly because in colonial and post-colonial society, English was becoming increasingly useful. These traditional language ideologies alongside educational politics proved to be detrimental to language maintenance.Language ideological clarification

<mask>'s work demonstrates the importance of language ideologies for understanding language maintenance and shift. While in the case of the Arizona Tewa, a dominant language ideology of purism and an association of the Tewa language with ethnic identity has contributed to language maintenance, the traditional language ideologies of the Western Mono have contributed to rapid language shift. In light of these findings, <mask> has more recently called for "language ideological clarification". Language ideological clarification is the process of identifying issues of language ideological contestation within a heritage language community, including both beliefs and feelings that are indigenous to that community and those introduced by outsiders (such as linguists and government officials), that can negatively impact community efforts to successfully engage in language maintenance and renewal. This process of identifying and raising consciousness about linguistic and discursive issues enables appropriate discourses to occur between community members, or between members and either linguists or government officials who have differing opinions. Ideally these discourses

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 would promote actual resolution—a clarification achieved—or foster a tolerable level of disagreement that would not inhibit language renewal activities. Collaborative fieldwork

Throughout his career <mask> has contributed through research to the agendas of the communities he studies.He conducted "collaborative research" with Tewa and Western Mono informants long before the term became fashionable in anthropology. In 2002 he collaborated with Rosalie Bethel (Western Mono) to publish an interactive CD-ROM, contributing to Western Mono language revitalization activities. Selected publications

<mask>, <mask>. (ed.). 2012. Telling Stories in the Face of Danger: Language Renewal in Native American Communities. Norman, OK: University of Oklahoma Press.<mask>, <mask>. and Margaret Field (eds.). 2009. Native American Language Ideologies: Beliefs, Practices, and Struggles in Indian Country. Tucson: University of Arizona Press. <mask>, <mask>., Rosalie Bethel, and Jennifer F. Reynolds. 2002. (CD-ROM).Norman, OK: University of Oklahoma Press. <mask>, <mask>. (ed.). 2000. Regimes of Language: Ideologies, Polities, and Identities. Santa Fe, NM: School of American Research. Schieffelin, Bambi, Kathryn Woolard, and <mask><mask> (eds.).1998. Language Ideologies, Theory and Practice. New York:  Oxford University Press. <mask>, <mask>. 1993. Language, History, and Identity:  Ethnolinguistic Studies of the Arizona Tewa. Tucson: University of Arizona Press. Bethel, Rosalie, <mask><mask>, Christopher Loether, and Gregory A. Reinhardt.1984. A Practical Dictionary of Western Mono. North Fork, CA: Sierra Mono Museum. (2nd edition: 1993). References

1949 births
Living people
American anthropologists
Linguists from the United States
University of California, Los Angeles faculty
Indiana University alumni
Columbia College (New York) alumni
Linguists of

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Paul V
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<mask> (born July 16, 1938) is a feminist writer, theorist, and professor. She is best known for her work on gender and militarism and for her contributions to the field of feminist international relations. She has also had major impact on the field of feminist political geography, in particular feminist geopolitics. In 2015, the International Feminist Journal of Politics, in conjunction with the academic publisher Taylor & Francis, created the <mask> Award "in honour of <mask>'s pioneering feminist research into international politics and political economy, and her considerable contribution to building a more inclusive feminist scholarly community." Biography
<mask>e was born in New York, New York and grew up in Manhasset, Long Island, a New York suburb. Her father was from Missouri and went to medical school in Germany from 1933 to 1936. Her mother went to Mills College and married <mask>'s father upon graduation.After completing her undergraduate education at Connecticut College in 1960, she went on to earn an M.A. in 1963 and a Ph.D. in 1967 in political science at the University of California, Berkeley. While at Berkeley, Enloe was the first woman ever to be a Head TA for Aaron Wildavsky, then an up-and-coming star in the field of American Politics. For much of her professional life she taught at Clark University in Worcester, Massachusetts. At Clark, Enloe served as Chair of the Department of Political Science and as Director of Women's Studies. She also served on the university's Committee on Personnel and its Planning and Budget Review Committee. Enloe was awarded Clark University's Outstanding Teacher Award on three separate occasions.At the beginning of her career, Enloe mainly

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texts: focused on studying ethnic and racial politics. She completed her dissertation in Malaysia on a Fulbright Scholarship from 1965-1966. There, she researched the country's ethnic politics. Ten years after receiving her PhD, Enloe had written six books on the subject of ethnical tensions and its role in politics, however she had yet to look at any of these subjects from a feminist angle; something she admits she is “embarrassed of.”  It wasn't until she first began teaching at Clark University, in the middle of the U.S.-Vietnam war, that Enloe really began to develop her feminist thought. Enloe spoke with a colleague at Clark, the only man on the faculty who was a veteran, about his experiences during the Vietnam war. He mentioned that Vietnamese women were hired by American soldiers to do their laundry. She began to wonder how history would be different if the entire war had been told through the eyes of these Vietnamese women.Ever since, Enloe's work has primarily focused upon how feminist and gendered politics have shaped the national and international conversations. Enloe focuses on the unfair treatment of women in globalized factory and the many ways in which women are exploited for their labor. She also critiques global as well as U.S. militarization, specifically the roles women play in combat. Enloe isn't afraid to address security from a feminist perspective. She argues that the U.S. military model trains men to be the protectors of women and then produces an environment in which women are the victims of physical violence. One of Enloe's many contributions to feminist writings has been her coining of the term “feminist curiosity.” It came about in 2003 when Enloe was giving a talk at


texts: Ochanomizu University, a historic women's university in Tokyo. She has said that she wanted to come up with a phrase that she felt could be understood in both English and Japanese as her lecture was being translated for those who attended.Enloe created this idea of “feminist curiosity” as a way of saying that feminism is about the questions you ask, not just the answers you give. Having retired from Clark, Enloe is a research professor in the Department of International Development, Community, and Environment and is still a frequent and energetic lecturer. In addition to serving on the editorial board for scholarly journals such as Signs and the International Feminist Journal of Politics, <mask>e has written fifteen books, mostly published by the University of California Press. Much of Enloe's research centers on women's place in national and international politics. Her books cover a wide range of issues encompassing gender-based discrimination as well as racial, ethnic, and national identities. She is also a member of the academic network of the Women's International League for Peace and Freedom. Enloe states that she has been influenced by many other feminists who use an ethnographic approach, specifically, Seung-Kyung Kim's (1997) work on South Korean women factory workers during the pro-democracy campaign and Anne Allison's (1994) work on observing corporate businessmen's interactions with hostesses in a Tokyo drinking club.Enloe has also listed Diane Singerman, Purnima Mankekar, and Cathy Lutz as people who have inspired and influenced her work. When asked how Enloe defines feminism for herself, she stated that "Feminism is the pursuit of deep, deep justice for women in ways that change


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 the behaviors of both women and men, and really change our notions of what justice looks like." She has been awarded Honorary Doctorates by prestigious universities such as Union College (2005), the University of London's School of Oriental and African Studies (2009), Connecticut College (2010), the University of Lund, Sweden (2012) and Clark University (2014). She currently lives in Boston with partner Joni Seager. Important writings

Bananas, Beaches and Bases
Bananas, Beaches, and Bases: Making Feminist Sense of International Politics (first published in 1990, with a revised edition published in 2014) presents sexism as a prevalent issue and gives readers a look at the history of such commonplace components of the modern world as the tourism industry. Enloe displays the links between women of different cultures during the 1800s. Enloe discusses colonialism in light of the typically held perceptions of the masculine West and the feminine East.Discussing women from varied cultures, Enloe investigates how Muslim women, among others, felt compelled to validate their cultural practices in the face of Orientalism. This book argues that lack of understanding of foreign cultures and fascination with the differences in clothing and lifestyles of indigenous and colonial populations contributed to their continued subjugation. Bananas Beaches and Bases conveys the issues that feminist movements face because of nationalism and socially instilled masculinity after years of Western colonialism. International politics have worked against feminist movements because of the long lasting influences of colonialism. The antiquated ideas of colonialism have complicated the goals of the feminist cause.


texts: Colonialism encouraged Western countries to believe they were superior to non Western countries, ultimately leading to Western men believing they were superior to women. During Western colonialism women were treated as sexual symbols of exploration, postcards specifically.Westerner exploration and tourism went hand in hand with the exploitation of women. Women who were invested in the ideas of nationalism were not valued as valid participants. Additionally, women wearing veils became a question of nationalism. European colonizers saw the veil in Muslim countries as a symbol of female seclusion. Then arose the question of whether Muslim women should demonstrate their commitment to the nationalist cause by wearing the veil or throwing it away. Bananas Beaches and Bases reinforces the fact that masculinity has been used to create a patriarchal system, leading to male dominance over women. Militarization during wartime has reinforced masculinized social order.The war in Vietnam which re-masculinized America serves as an example of how gender and warfare became intertwined through specific gender roles during war. In her writing, Enloe uses Afghanistan as an example of how national militarization was harmful towards women trying to establish a presence in nationalist movements. Afghani women living in rural communities were caught in war and were in danger of bombings or exile. The militarization in Afghanistan emphasized the importance of unity and “national survival”, this emphasis silenced women in the nationalist movements. National militarization benefited men and oppressed women who were seeking to change the patriarchal structure in place. The enforcement of world order through


texts: militarization consequently reinforced the influences of masculinity, further challenging feminist efforts to equalize society. Enloe continues to illustrate the struggle that feminist movements face in international politics through the domestic service industry.Enloe states that “domestic work is international business with political implications.” During the Industrial Revolution, female domestic workers were in high demand because middle class women believed they needed to protect their own femininity from manual labor. From the time of the Industrial Revolution to modern day, female domestic workers have faced the challenges of being treated as subordinate to the middle class. Female domestic workers continue to have the responsibility of providing for family abroad while facing increasingly strict immigration laws and restrictions from the International Monetary Fund. Bananas Beaches and Bases illustrates how feminist movements have been at a disadvantage because of colonial influences and patriarchal driven societal structures. These colonial influences have cause women to be viewed as sexual objects, disregarded as part of nationalist movements and looked down upon in the domestic service industry. Enloe brings to light the idea that in order for feminist movements to succeed we must support organizations seeking rights for women along with ridding the world of the obsolete colonialist thought in which men run the world. Through Bananas, Beaches and Bases the public is able to better understand the dynamics of sexual politics."No commentator has done more than <mask>e to explore the numerous roles that ordinary women play in the international system and global political economy -- as


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 industrial and domestic workers; activists; diplomats and soldiers; wives of diplomats and soldiers; sex workers; and much else besides," wrote Adam Jones in his review of Maneuvers in the journal Contemporary Politics. In Maneuvers: The International Politics of Militarizing Women's Lives Enloe elaborates upon the theme of militarization and how governments utilize women's labor in the process of preparing for and fighting wars. The Curious Feminist
In The Curious Feminist: Searching for Women in the New Age of Empire (2004) Enloe pays particular attention to the effect of globalization on women's labor and wage ratios. This book not only addresses women's roles in economic markets, world conflicts, and power politics, but also shows Enloe's particular interest in linking these themes to women's everyday lives. She addresses themes similar to those in Bananas, Beaches and Bases, but in this book she also discusses how she became interested in becoming a feminist. She asserts that curiosity as a feminist means that no woman's life should be beyond the scope of her interest. She also focuses on the influence of American culture on women of other nations and scrutinizes the masculine aspects of such well-established organizations as the United Nations and the American military.Among other things, she explains that, though she views violence as fundamentally masculine, she does not view only men as perpetrators of violence. "Gender Is Not Enough: The Need for Feminist Consciousness"
In "Gender Is Not Enough: The Need for Feminist Consciousness" (2004), Enloe reviews previous conversations with colleagues and fellow feminists, regarding masculinity and international relations. It is mentioned


texts: that women are generally disengaged in the UN's wartime peace process of "DDR": disarmament, demobilization and reintegration. Enloe comments on a recent meeting she attended pertaining to 'gender and small arms trade', and how attempts to focus the UN gathering on masculinity had been largely unsuccessful. The matter of international relations and masculinity is addressed, and with that, the concern of masculinity of peacemaking efforts in relation to security. Conversation about the politics of masculinity is quickly dismissed by delegates, suggesting the fear of having their masculinity – and therefore reputation in the world of international relations – examined. As important as it is to address the dynamics of masculinity in politics and specifically in international relations, it is also crucial not to neglect the women and girls.When masculinity is given proper thought, it seems the topic of feminism becomes non-existent. The invisibility of women in military measures and the political disregard for the needs and ideas of women and girls are highlighted and given proper context. Enloe discusses the question of serious feminist analysis in international relations. Two potential fears arise from this question; first, thought of one's own relationship to masculinity is necessary when deciding what is deemed a "serious" issue; and second, the potential to be seen as feminine based on one's judgment of said "serious" issue and therefore the possibility of being valued as less credible. Enloe warns the issues of letting masculinity and men override all aspects of international relations. She speaks of her own difficulties with writing candidly about women and the military and her fears of


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 not being recognized as a legitimate political scientist because of her particular views. The stigma behind feminist thought in international relations needs to be reviewed and resolved.Enloe makes very clear that there is still an immense need for the study of masculinity in international relations and political economy. In order to better develop the international relations discipline, it is imperative that 'gender' be given a broader scope. In order to do so, there must be a feminist consciousness throughout the international relations community, as well as at the local level. A feminist consciousness will instill the education and interest in women and girls through their experiences, actions and ideas. Enloe finishes by reminding that without a proper feminist consciousness; we cannot fully comprehend or accurately analyze masculinity. Nimo's War, Emma's War: Making Feminist Sense of the Iraq War
Unlike Enloe's previous books, Nimo's War, Emma's War: Making Feminist Sense of the Iraq War (2010) looks at how war itself is a cataclysm that disrupts countless lives. In this particular book, <mask>e solely focuses on capturing the impact of war and revolution on women during the Iraq War.The book looks at eight ordinary women, half Iraqis and half American, and all these women reflect different ideas about feminism through looking into their lives in detail. Importantly, Enloe does not only focus on the female half of this gender-driven phenomenon, but she also looks at their male counterpart in order to further investigate and provide an insight between the consequences of war and the effects on gender roles. "Maha's Story" talks about an Iraqi woman who, as well as many others, found


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 themselves in a situation where their husband is either dead, divorced, detained, or missing, with children to care for, no social safety nets, meager finances, and no working papers. Maha finds herself caught in between an ethnic cleansing which Enloe terms, "the wielding of violence and intimidation for the sake of driving people of one ethnic or sectarian community out of a region...for the sake of securing that space for members of another ethnic or sectarian community." "Kim's Story" reveals how gender and war affect each other on the other side of the world in the United States, whether or not one is actual place of war or away from it. Kim is a young American woman married to a National Guard soldier who lives in the San Francisco Bay Area. Her story shows that their nation's state of war is dependent on wives playing certain roles.In the United States, "women who married active-duty, full-time American soldiers had been socialized to perform the demanding role of 'the military wife' ... each woman needed to be persuaded that she was most helpful and loyal to her own husband if she organized her labor and emotions in a way that enhanced the military as a whole." Yet when the men comes home, there are stories that are untold. The American media are reluctant to pursue stories of domestic violence against women whose husbands are involved with the military largely because it is too great of a business risk during wartime. The blame for this neglect and decision to treat male domestic violence as a nonissue is on the entire military's masculinized culture. Selected other writings
The Big Push: Exposing and Challenging the Persistence of Patriarchy, Oakland, University of California Press,


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 2018. Contributor, International Relations Theory for the Twenty-First Century, Martin Griffiths, ed., USA: Routledge, 2007
"Conversation with <mask>e," in Signs. Summer, 2003."The Surprised Feminist," in Signs. Vol. 25, No. 4 (Summer 2000) 1023-1026. The Morning After: Sexual Politics at the End of the Cold War, Berkeley and London: University of California Press, 1993 (published in Japanese, 1999); new ed. Berkeley & London, University of California Press, 2000 (published in Turkish, 2003). Does Khaki Become You?The Militarization of Women's Lives, London, Pandora Press; San Francisco, Harper\Collins, 1988 (editions have been published in Finnish and Swedish). Ethnic Conflict and Political Development, Boston: Little, Brown and Co., 1973 (repr. University Press of America, 1986). Coeditor (with Wendy Chapkis) Of Common Cloth: Women in the Global Textile Industry, Amsterdam: Transnational Institute; Washington: Institute for Policy Studies, 1983. Contributor, Loaded Questions: Women in Militaries, Wendy Chapkis, ed., Amsterdam: Transnational Institute; Washington: Institute for Policy Studies, 1981. Ethnic Soldiers: State Security in Divided Societies, London: Penguin Books, 1980; Athens: University of Georgia Press, 1980. Police, Military, Ethnicity: Foundations of State Power, New Brunswick: Transaction Books, 1980.Coeditor (with Dewitt Ellinwood), Ethnicity and the Military in Asia, New Brunswick: Transition Books, 1980. Coauthor (with Guy Pauker and Frank Golay), Diversity and Development in Southeast Asia: The Coming Decade, New York: McGraw-Hill and Council of Foreign Relations, 1977. Coeditor (with Ursula Semin-Panzer), The Military, The Police and Domestic Order: British and Third


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 World Experiences, London: Richardson Institute for Conflict and Peace Research, 1976. The Comparative Politics of Pollution, New York: Longman's, 1975. Multi-Ethnic Politics: The Case of Malaysia, Berkeley Center for South and Southeast Asian Studies, University of California, Berkeley, 1970. Editorial board of the Journal of Women, Politics & Policy. Critiques of writings
Bananas, Beaches and Bases would be considered Enloe's best-known work.It links various feminist issues regarding international relations throughout prior periods in time and throughout different cultures and places them at the forefront of discussion. In The Journal of Politics Karen Beckwith writes: "Enloe poses an initially simple question which leads to complex if necessarily partial conclusions: What happens to our international understanding of politics if we make the experience of women's lives central to our analysis?" Beckwith later states, "Her analysis is clear, complex, amusing demystifying, accessible, and insightful." In The American Political Science Review Anne Sisson Runyan writes: “Bananas, Beaches, and Bases offers a refreshing, insightful, and critical departure from conventional, top-down treatments of international politics.” Runyan later states, “At a time when there is a need to explore the complex interplay of cultural, social, economic, and political forces in the face of the bankruptcy of modernist and masculinist ideologies, orders, and institutions as well as the enormity of global problems, this contemporary feminist reading of world politics makes eminent sense.” In The Journal of the History of Sexuality Manju Parikh writes, “Enloe's analysis is not only a timely contribution but also


texts: entertaining reading, which is a welcome addition to supplement the usual dry textbooks in the field.” Enloe also incorporates class and ethnicity into the shaping of women's behavior and our understanding of international relations as well. In Contemporary Sociology Kathryn Ward writes, "When seen from the everyday perspective of poor women of color, who are at the heart of our analyses, women's central roles in the world economic and political system become very clear, in contrast with past theories of the world economic and political system that have focused on the activities of white, elite men.” Ward later states, “Such analyses may disturb some who are invested in past theories or who are uncomfortable with activism. However, I would argue, as does Enloe, that some of our most insightful and compelling analyses and theories will come from decentering past theories and looking at experiences, ideas, and emerging theories by activist women of color from around the world." In Does Khaki Become You?The Militarization of Women's Lives, Enloe addresses the impact of militarization on gender relations and the social status of women. In The Journal of Peace Research Veena Gill writes, "In the context of militarism, [Enloe] analyzes the different roles of women from a social and economic perspective as army wives, nurses, prostitutes, soldiers, workers in defense and allied industries, and from the point of view of feminism. The military institution is exposed as a powerful patriarchal institution which women are urged to resist in their overall efforts towards social justice and equal status." In Maneuvers; the International Politics of Militarizing Women's Lives, Enloe expands on her themes


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 from Does Khaki Become You. She emphasizes the different experiences of women located in varied ethnic, national, class, and occupational contexts and how they are tailored to the needs of militarism, therefore embedding themselves in policy. In The American Political Science Review Mary Fainsod Katzenstein writes, "Those already among Enloe's wide readership will know some of this text's central arguments, but Maneuvers offers a trove of new insights. A thesis even more powerfully developed here than in Enloe's earlier writings is the title of the book—how policymakers maneuver to make strategic choices."Katzenstein later states, "Maneuvers has more than a functionalist lesson; by emphasizing policy choices and variability across time and national context, Enloe shows that militaries are not governed by primeval identities." Recognition
 Fulbright awards to Malaysia and Guyana
 Guest professorships in Japan, Britain and Canada
 “Outstanding Teacher”, Clark University (3 times)
 Honorary Doctorate, School of Oriental and African Studies, University of London (2009). The Susan B. Northcutt Award, Women's Caucus for International Studies, International Studies Association, to recognize "a person who actively works toward recruiting and advancing women and other minorities in the profession, and whose spirit is inclusive, generous and conscientious." (2008)
The Susan Strange Award, International Studies Association, for "a person whose singular intellect, assertiveness, and insight most challenge conventional wisdom and organizational complacency in the international studies community during the previous year." (2007)

See also
Feminism in international relations
Betty Reardon
Elise M.


texts:
 Boulding

References

Further reading
 Enloe, <mask>. "When Berkeley was 'Berkeley': Learning That One’s Grad Studies Are Never Outside of History" H-DIPLO (11 March 2020) online
"Interview – <mask>e," E-INTERNATIONAL RELATIONS, MAR 13 2013
"Theory Talk #48: <mask>e" Tuesday, May 22, 2012
"An Interview with <mask>e: The Gendered Dynamics of Foreign Policy", Praxis: The Fletcher Journal of Human Security, VOLUME XXIV – 2009,
Stephanie Van Hook, "Taking women's lives seriously — an interview with <mask>e" September 13, 2012. Wagingnonviolence.com,
Video: Interview with Cynthia Enloe at the Graduate Institute in Geneva in 2012
Kathy E. Ferguson, "Reading Militarism and Gender with Cynthia Enloe," Theory & Event, Volume 5, Issue 4, 2001,
Carol Cohn and Cynthia Enloe,  "A Conversation with Cynthia Enloe: Feminists Look at Masculinity and the Men Who Wage War," Signs, Vol.28, No. 4 (Summer 2003): 1187-1107
<mask>'s Report from The Syrian Peace Talks, Women's International League for Peace and Freedom, January 30, 2014
Robin L. Riley, The Women's War (Review of Nimo's War, Emma's War: Making Feminist Sense of the Iraq War By <mask>e)
University of California Press, 2010 in Ms. Magazine, Spring 2010
Research Profile for Cynthia Enloe Clark University website (accessed March 27, 2007). External links
Papers, 1977-1984. Schlesinger Library, Radcliffe Institute, Harvard University. 1938 births
Living people
American feminist writers
American political philosophers
Clark University faculty
Connecticut College alumni
University of California, Berkeley alumni
20th-century American non-fiction writers
21st-century American non-fiction writers
20th-century American women writers
21st-century American

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Cynthia
Cynthia Enlo
Cynthia Enlo
Cynthia Enlo
Cynthia Enlo
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Cynthia Enlo


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<mask> (born 27 June 1947) in Wolfsberg is an Austrian architect. <mask> studied architecture and philosophy in Graz and Vienna. Collaborated with Merete Mattern, the landscape-architect Raimund Herms and Günther Domenig. Opened Giencke & Company architectural office in Graz in 1981, as well as offices in Seville in 1990 and Riga in 2004. Professor for Architectural Design at the Institute of Design, University of Innsbruck, since 1992, where he founded ./studio3 - the Institute for Experimental Architecture in 2000.

International teaching assignments and lectures:
Davenport Professor at the Yale School of Architecture/New Haven, External Examiner at the University College London - Bartlett School of Architecture, at the Rizvi College Bombay and at the Universidad de Buenos Aires. Memberships
<mask> is Member of the Austrian Society of Fine Arts, of the Austrian Architectural Society, the Association of Austrian Architects, Honorary Member of the Union of German Architects BDA, Member of the Association of Latvian Architects, Foundation Member of the Lightacademy Bartenbach at the University of Innsbruck, Member of the European Academy of Science and Art. Awards
Josef Frank Prize, Friedrich Zotter Memorial Award, prizewinner of the Shinkenshiku Residential Design Competition /Tokyo, Austrian National Housing Design Award, Constructec Prize /Hannover, "Mensch-im-Raum" Prize, Prize of the ZV (Central Association of Austrian Architects) 1987, 1991, 1994 and 1998.Architecture Prize of Styria 1987 and 1998, Architectural Prize of Mecklenburg-Vorpommern, Architectural Award of Carinthia 1991 and 2000, Dedalo Minosse International Prize Vicenza 2002 + 2006 + 2017;

masks:
Volker Giencke
Volker Giencke
Volker Giencke


texts:
 Geramb-Rose, Award for emerging architecture, 2007 Fischer-von-Erlach Prize, 2016 Latvian Architecture Award, 2016 American Architecture Prize, 2016 Chicago Athenaeum - International Architecture Award, A+Award Winner - New York, 2016 European Concrete Award 2nd prize - Rome, International Award for Facade Engineering Excellence - London, Idea-Tops Award - Shenzhen, 2017 Tiroler Landespreis für Kunst[1], 2018 Grand Prix "Glass in Architecture - Moscow. Exhibitions
Personal exhibitions in the Forum Stadtpark Graz 1976, Liederhalle Stuttgart 1979, Künstlerhaus Graz 1981, Steirischer Herbst 1984, Biennale de Paris 1985, Academy of Arts Berlin, 1989, Expo '92 Seville, Biennale di Venezia 1992 + 93, Haus der Architektur Graz 1989, 1992 + 1994; Treiber Museum Graz 1998; travelling exhibition Brussels - New York - Los Angeles - Sydney - Berlin - Vienna etc., NYAA New York Academy of Art 1999, Museum van Hedendaagse Kunst Antwerp 1999, Kunsthaus Mürzzuschlag 2002, RIBA Royal Institute of British Architects 2002, Architectural Biennale Venice 2004, Basilica Palladiana Vicenza - Dedalo-Minosse 2006, Architekturzentrum Wien (AZW) “Architektur in Österreich im 20. u. 21. Jhdt.” 2006, Kunsthaus Graz: “M-City” 2006, AUT Innsbruck „Genius Loci“ 2007, Deutsches Architekturzentrum Berlin  (DAZ) „ Sense of Architecture“ 2007, Napoleonstadel Kärnten Architektur-TRANSFER 2008, "Process" - current projects Arsenale Riga 2008, “Architecture as a space of music - Sense of Architecture” – Architectural Biennale in Venice 2008, Solo exhibition "Volker Giencke" aut 2015, Architecture Biennale Venice 2018 - Palazzo Bembo. : University of Innsbruck, ./studio 3 - Institute for Experimental


texts:
 Architecture,
 Masterpieces: Performance Architecture + Design, Giant Amber- Concert Hall Liepaja, Braun Publishing AG,
 "Metamorph" Architecture Biennale Venice "Trajectories - Concert Halls", Fondazione La Biennale di Venezia, Ca`Giustinian, San Marco 1364/a I-30124 Venezia,
 The Organic Approach to Architecture; Deborah Gans, Zehra Kuz - Pratt Institute /New York, John Wiley & Sons Ltd.,
 The Ethical Function of Architecture; Karsten Harries; The MIT Press - Massachusetts Institute of Technology/USA,
 "Achtung Architektur"; Eeva Liisa Pelkonen; The MIT Press - Massachusetts Institute of Technology/USA,
 "Achtung Architektur"; Eeva Liisa Pelkonen; Ritter-Verlag,
 Volker Giencke: Projekte. Projects. With an essay by Roger Connah, German/English, Springer, Vienna New York 2001, .The Power of Contemporary Architecture; Peter Cook und Neil Spiller; Publ. : Academy editions Great Britain, , John Wiley & Sons Ltd. The World of Contemporary Architecture; Könemann Verlagges.m.b.H;
 Europe, the Contemporary Architecture Guide Vol.2; Masayuki Fuchigami, Publ. : TOTO Shuppan/Japan,
 Architecture in Austria, a survey of the 20th century; Publ. : Birkhäuser Verlag,
 Dialogues in Time; Peter Blundell Jones; "Haus der Architektur Graz";
 Architecture as Commitment - Styrian Architecture 1986-1992, Publ. : "Haus der Architektur Graz",
 New Spirit in Architecture; Peter Cook & Rosie Llewellyn-Jones; Publ. - Rizzoli New York, , 0-8478-1264-2

References
American Institute of Architects - Great Amber
Volker Giencke´s amber enclosed building - Mark Magazine
Red giant - Wallpaper
A part of speech

External links
 Homepage - <mask> Giencke

1947 births
Living


texts:
<mask> (born September 23, 1982) is an American professional bare-knuckle boxer and former mixed martial artist who is currently signed to Bare Knuckle Fighting Championship. A professional competitor since 2001, <mask> formerly competed for the UFC, WEC, Strikeforce, Bellator, ProElite, M-1 Global, and King of the Cage. <mask> is the former WEC Middleweight Champion. Background
Born in Sanford, Maine and raised in Phoenix, Arizona, <mask> began boxing as a child with his father. Although <mask> is right handed, he was encouraged by his boxing coach to fight southpaw, making his power hand his left hand. <mask> began wrestling at Cactus High School in Glendale, Arizona. He followed in the footsteps of his hero, Randy Couture, and became an All-American twice, at Glendale Community College (Arizona), where he studied to get a Criminal Justice degree.<mask> has trained at Arizona Combat Sports under the Lally brothers, MMA Lab under John Crouch and TNT Training Center under Scott Tannenbaum. Mixed martial arts career

Early career
<mask> made his professional mixed martial arts debut in 2001 and compiled a record of 13–3 with one no contest before being signed by the WEC. UFC and WEC
<mask> made his WEC debut at WEC 9 against Alex Stiebling, in what was also his debut at Light Heavyweight. <mask> lost via triangle choke submission in the second round. But after the fight people started to take notice of <mask>. Although he lost the fight, he battered Stiebling so badly that after the fight he had to be helped out of the cage and taken to a hospital. Reports said that almost everyone at ring side had Stiebling's blood on both them and their paperwork.The promoter Scott Adams said the fight could and should have been stopped at several points in the fight, leading it to be known as one of the most brutal fights in WEC history. After that he went down to middle

masks:
Joseph Jonathan Riggs
Riggs
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texts: weight to fight Isidro Gonzalez in the WEC. Where <mask> finished the fight early in the 1st Round by TKO. After his impressive victory over Gonzalez the WEC gave him a shot at the vacant Middleweight Title against the undefeated Rob Kimmons. <mask> put on a very impressive performance by stopping Kimmons early in the 1st round, earning him the WEC world title, which he held for the next 2 years. <mask>' dream of fighting in the UFC materialized in 2004, in a winning bout against Canadian fighter <mask>. After that <mask> moved down to Welter Weight to fight veteran Chris "Lights Out" Lytle.<mask> went on to win the fight by 2nd-round TKO. And was the 1st and only man to ever stop the very popular battler Chris Lytle. Then after being named the UFCs number 1 Welter Weight contender. <mask> received his shot at the UFC Welterweight Championship at UFC 56 in November 2005 against Matt Hughes. He was originally supposed to face the winner of the upcoming title fight. But got called to fight just a month after the defeating Lytle in UFC 55 to face long time champion Hughes for the UFC Welter Weight title. Originally, the title shot was offered to Karo Parisyan, who had to withdraw due to a torn hamstring.When <mask> was contacted to take Parisyan's place he jumped at the chance, despite having fought at UFC 55 just a month earlier. However, <mask> did not make the required weight and the fight was declared a non-title event, due to Hughes allowing <mask> to fight him (if a fighter does not make weight for a match, the match may still take place if their opponent allows it). Despite his efforts, <mask> could not mount a significant challenge; Hughes took him down and submitted him with a kimura from half-guard just minutes into the first round of the fight. Following his loss to Hughes, <mask> rebounded to win against future longtime Strikeforce Welterweight

masks:
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Joe Doerksen
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texts:
 Champion, Nick Diaz via decision at UFC 57. In the hospital room after the fight, Diaz and <mask> got into a physical altercation where they had to be separated by police. <mask> then moved up to Middleweight to face The Ultimate Fighter alumnus Mike Swick. Early in the fight <mask> was caught in a guillotine choke and tapped out.<mask> then fought The Ultimate Fighter 2's Jason Von Flue, submitting him with a triangle choke. <mask>' last UFC bout was on December 13, 2006, against Welterweight contender Diego Sanchez at UFC Fight Night 7. <mask> lost the fight due to knockout from a hook followed by a knee in 1:45 of the first round. Following the fight with Sanchez, <mask> chose to go to the WEC and compete for the vacant WEC Middleweight Championship, but had to pull out of the fight the day before because of a recurring back injury. Strikeforce
<mask> lost to Cory Devela via submission in his Strikeforce debut at Strikeforce: At The Dome. <mask> was to return to action on Strikeforce: Melendez vs. Thomson, facing Jiujitsu specialist Luke Stewart. <mask> stepped in as a late replacement for Shonie Carter, who was injured in training.The fight was to be contested at a catchweight of 178 pounds. However, he was denied licensure by the California State Athletic Commission after disclosing his recent use of prescription medication during the licensing process. <mask> lost to Kazuo Misaki at Strikeforce at the Playboy Mansion via controversial stoppage on September 20, 2008. <mask> won his next fight at Strikeforce: Destruction on November 21, 2008, against Luke Stewart by TKO (Punches) in 2nd round 2:05. <mask> broke his hand throwing the first punch of the bout, but managed to rally in the second round, breaking Stewart's nose in the process. <mask> next fought on the Strikeforce: Lawler vs. Shields card from the Scottrade Center in St. Louis, MO on June 6,

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texts:
 2009, against Phil "The New York Badass" Baroni in a three-round welterweight bout that won him the interim Strike Force Welter Weight title and that was broadcast live on the Showtime cable network. In a performance that featured his versatile standup game, including several flying knees, <mask> won a unanimous decision over Baroni.In his next fight, <mask> faced Jay Hieron on January 30, 2010, at Strikeforce: Miami. <mask> lost the fight via unanimous decision. In the main event of Strikeforce Challengers: <mask> vs. Taylor, <mask> faced up and coming Middleweight Louis Taylor. "Diesel" won by submission due to strikes in the third round. On December 9, 2010, it was announced that <mask> has parted ways with Strikeforce. Bellator
About a month later, on January 10, 2011, <mask> signed with Bellator to fight in its Middleweight division. <mask> made his Bellator debut against Season 2 Middleweight Tournament Finalist Bryan Baker at Bellator 43.After a back and forth fight, Baker knocked <mask> out with a left hook late in the second round. Independent promotions
Three months after his knockout loss to Baker at Bellator 43, In a rematch from their bout in 2004 <mask> fought The Ultimate Fighter 3 winner and fellow UFC veteran Kendall Grove. Grove quickly defeated <mask> by submission due to a guillotine choke, Thus avenging his previous loss to <mask>. For the first time in his ten-year career as a mixed martial artist <mask> has lost three straight fights. After the loss to Grove he went on a five-fight win streak. Fight Master: Bellator MMA
On May 6, 2013, it was announced that <mask> would be featured as a participant on Bellator's reality TV show Fight Master: Bellator MMA, competing as a Welterweight. In his first fight to get into the house, <mask> defeated UK fighter Rob Mills via heel hook submission in the first round and subsequently chose to join

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texts:
 Greg Jackson's team.In the preliminary round, <mask> defeated Eric Scallan via unanimous decision and went on to the quarterfinal round where he defeated Evan Cutts via unanimous decision. In the semifinal round, <mask> defeated number one seed Cole Williams in a three-round split decision victory. He made it to the tournament finals with Mike Bronzoulis. <mask> was set to face Mike Bronzoulis in the Fight Master Finale on September 7, 2013 at Bellator 98. However, on September 3, it was revealed <mask> has sustained a significant eye injury and the bout was postponed indefinitely. The bout took place on November 2, 2013 at Bellator 106. <mask> won the fight via unanimous decision to become the first winner of Fight Master.Return to UFC
After becoming the first winner of Fight Master, <mask> was expected to return to UFC and face Paulo Thiago at UFC Fight Night 51 on September 13, 2014, replacing an injured Mike Rhodes. However, <mask> was forced to pull out of the fight after accidentally shooting himself in the hand and leg while cleaning a pistol at his home. <mask> made his eventual return against Ben Saunders at UFC on Fox: dos Santos vs. Miocic on December 13, 2014 at US Airways Center in Phoenix, Arizona. The fight ended early in the first round by TKO due to injury when <mask> hurt his neck on a take down and tapped out shortly thereafter. <mask> faced Patrick Côté on April 25, 2015 at UFC 186. <mask> lost the back-and-forth fight by unanimous decision. <mask> was expected to face Uriah Hall in a middleweight bout on August 8, 2015 at UFC Fight Night 73.However, <mask> pulled out of the fight in late July, citing an injury, and was replaced by promotional newcomer Oluwale Bamgbose. Following a quick recovery, <mask> faced Ron Stallings on September 5, 2015 at UFC 191. <mask> won the bout via disqualification after Stallings landed an illegal upkick,

masks:
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Joe Riggs
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texts:
 which rendered <mask> unable to continue. <mask> faced Chris Camozzi on February 21, 2016 at UFC Fight Night 83. He lost the fight via TKO in the first round due a series of knees by Camozzi, which broke the right forearm of <mask>. On April 13, <mask> was released from the promotion. Bare-knuckle boxing

BKB™
<mask> recently started competing in Bare Knuckle Boxing matches under the UK based BKB promotion.He won a championship fight against Christian “Fat Boy“ Evans, an experienced bare knuckle fighter who had also been featured in the documentary "Bare Knuckle Fight Club" from Channel 4 news, by unanimous decision at BKB 4. <mask> was deducted 1 point in the first round for shooting for a take-down and taking his opponent to the mat, and was warned again in the same round after throwing an illegal elbow. BKFC
<mask> signed with the BKFC in 2018 and made his promotional debut against Brok Weaver at BKFC 3: The Takeover on October 20, 2018. He won the bout via unanimous decision. He made his sophomore appearance in the promotion against Heriberto Tovar at BKFC 4 on February 2, 2019. He won the fight via unanimous decision. He then faced Walber Brito de Barros at BKFC 6 on June 22, 2019.The bout was ruled a unanimous draw. <mask> was expected to headline BKFC 10 against fellow UFC veteran Héctor Lombard in February 2020. However, in January, the company announced that Lombard will be facing David Mundell, with no further information. <mask> then faced Héctor Lombard for the inaugural BKFC Cruiserweight Championship at BKFC 18 on June 26, 2021. He lost the fight via fourth-round technical knockout. <mask> faced Melvin Guillard at BKFC Fight Night: Montana on October 9, 2021. He won the fight via first-minute knockout.Personal life
<mask> and his wife had a son who died shortly after birth. They have another son. <mask> also has a daughter named Jadin who is 3

masks: Riggs Riggs Riggs Riggs Riggs Riggs Riggs Riggs Riggs Riggs Joe Joe


texts:
<mask> is a photojournalist, based in New York City, specializing in the documentation of the performing arts, primarily theater, Off-Broadway and Off-Off-Broadway. The New York Public Library has acquired <mask>'s photographic archive for its New York Public Library for the Performing Arts, located at the Lincoln Center for the Performing Arts, where it will eventually be made available to the public. Prior to establishing her photography business in New York City, <mask> was a journalist, a public relations professional, and a theater producer. Biography

Originally from Oklahoma, she earned a bachelor's degree in drama from Vassar College and a master's degree in theater history and criticism from the University of Oklahoma. Career

After completing her education, <mask> worked as a newspaper reporter, editor, and photographer at the Southern Dutchess News, in Wappingers Falls, New York, 1975–77. While at the Southern Dutchess News, she was elected as the first woman to be president of the Mid-Hudson News Association and she won several Heritage Media Awards for excellence in reporting and feature writing. <mask> returned to Vassar College when she was hired as editor for the Vassar Quarterly, the alumnae/i magazine.She continued at Vassar College for 27 years, becoming assistant to the president and finally vice president for college relations. At Vassar, she and her staff in college relations received 20 awards from the international Council for Advancement and Support of Education

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Dixie Sheridan
Sheridan
Sheridan
Sheridan
Sheridan


texts:
 for excellence in publications design and for strategic special events planning. At Vassar, she also was a founder, executive producer (1990-1996), and photographer (1984-2004) for the Powerhouse Summer Theater Program. In 1997, <mask> was given the honorary title of vice president emerita as she left Vassar to embark on a new career as free-lance photographer, and she quickly established herself in theatrical circles in New York. Theater work

<mask> has been company photographer for Axis Theatre Company, Classic Stage Company, Collision Theory, Hotel Savant, New York International Fringe Festival, Powerhouse Summer Theater Program / New York Stage and Film. She has also worked with the Jean Cocteau Repertory, the Foundry Theatre, Joe's Pub, MCC, the New York Public Theater, the Ontological-Hysteric Theater, Rude Mechanicals, Split Britches, Theatreworks USA, and 3-Legged Dog, among others. Her theater work includes many American and world premieres, and the work of playwrights Jon Robin Baitz, Kia Corthron, Martin Crimp, Beth Henley, Warren Leight, Steve Martin, Eric Overmeyer, John Patrick Shanley, Elizabeth Swados, and Erin Cressida Wilson; and the work of directors Andrei Belgrader, Barry Edelstein, Leonard Foglia, Richard Foreman, Joe Mantello, Michael Mayer, Annie-B Parson/Paul Lazar, and Randy Sharp.Among the actors she has photographed are Mark Linn-Baker, Kathleen Chalfant, Amy Irving, Bill Irwin, Dana Ivey, Carol Kane, Kiki and Herb, Lady Bunny, Frances McDormand, Bebe Neuwirth,

masks: Sheridan Sheridan


texts:
 Estelle Parsons, Everett Quinton, Roger Rees, Reg Rogers, Deborah Rush, Tony Shalhoub, David Strathairn, Meryl Streep, Uma Thurman, and John Turturro. Other photography

Her work as a photographer also includes portraits of writers and artists for book jackets, for newspapers and magazines, and has been included in many books. She has photographed writers Mary Beth Caschetta, Alison Leslie Gold, Carole Maso, Mary McCarthy, Muriel Rukeyser, Paul Russell, Elizabeth Spires, and Monique Wittig; composers Annea Lockwood and Richard Edward Wilson; art world figures Katharine Kuh, Robert Mnuchin, Lydia Malbin; artists Louise Fishman, Nancy Graves, Catherine Murphy, and Harry Roseman. In print

Her photographs have been published in various newspapers and magazines, including the following: The American Poetry Review, Belles Lettres, BOMB, The Daily News, Dance Magazine, Der Spiegel, El Diario, Elle, L.A. Weekly, New York magazine, The New York Observer, New York Post, The New York Times, Time Out (New York and London), Variety, Village Voice, and The Washington Post. Reviews

Novelist Carole Maso has written that "<mask>'s photographs, moments generated from the real stage, isolated and freed from their context, their burden of narrative, take on a compelling, mesmerizing drama of their own. These scenarios, having lost their coordinates, are allowed to exist in a kind of staged-for-no-one space where they have a fresh, gently surrealist existence.... At once passionate and dispassionate,