texts:
 Creation in 1876.Until 1909, eleven editions had appeared, as well as 25 translations into other languages. The Natürliche Schöpfungsgeschichte cemented <mask>'s reputation as one of Germany's most forceful popularizers of science. His Welträthsel were reprinted ten times after the book's first publication in 1899; ultimately, over 400,000 copies were sold. <mask> argued that human evolution consisted of precisely 22 phases, the 21st – the "missing link" – being a halfway step between apes and humans. He even formally named this missing link Pithecanthropus alalus, translated as "ape man without speech". <mask>'s literary output was extensive, including many books, scientific papers, and illustrations. Monographs

 Radiolaria (1862)
 Siphonophora (1869)
 Monera (1870)
 Calcareous Sponges (1872)

Challenger reports

 Deep-Sea Medusae (1881)
 Siphonophora (1888)
 Deep-Sea Keratosa (1889)
 Radiolaria (1887)

Books on biology and its philosophy

 Generelle Morphologie der Organismen: allgemeine Grundzüge der organischen Formen-Wissenschaft, mechanisch begründet durch die von Charles Darwin reformirte Descendenz-Theorie.(1866) Berlin (General morphology of organisms: general foundations of form-science, mechanically grounded by the descendance theory reformed by Charles Darwin)
 Natürliche Schöpfungsgeschichte (1868); in English  The History of Creation (1876; 6th ed. Assessments of potential influence on Nazism
Some historians have seen <mask>'s social Darwinism as a forerunner to Nazi ideology. Others have denied the relationship altogether. The evidence is in some respects ambiguous. On one hand, <mask> was an


type: original

texts: advocate of scientific racism. He held that evolutionary biology had definitively proven that races were unequal in intelligence and ability, and that their lives were also of unequal value, e.g., "These lower races (such as the Veddahs or Australian negroes) are psychologically nearer to the mammals (apes or dogs) than to civilised Europeans; we must therefore, assign a totally different value to their lives." As a result of the "struggle for existence", it followed that the "lower" races would eventually be exterminated.He was also a social Darwinist who believed that "survival of the fittest" was a natural law, and that struggle led to improvement of the race. As an advocate of eugenics, he also believed that about 200,000 mentally and congenitally ill should be killed by a medical control board. This idea was later put into practice by Nazi Germany, as part of the Aktion T4 program. Alfred Ploetz, founder of the German Society for Racial Hygiene, praised <mask> repeatedly, and invited him to become an honorary member. <mask> accepted the invitation. <mask> also believed that Germany should be governed by an authoritarian political system, and that inequalities both within and between societies were an inevitable product of evolutionary law. <mask> was also an extreme German nationalist who believed strongly in the superiority of German culture.On the other hand, <mask> was not an anti-Semite. In the racial hierarchies he constructed Jews tended to appear closer to the top, rather than closer to the bottom as in Nazi racial thought. He was also a pacifist until the First World War, when he wrote propaganda

masks: Haeckel Haeckel Haeckel Haeckel Haeckel


texts:
 in favor of the war. The principal arguments of historians who deny a meaningful connection between Haeckel and Nazism are that <mask>'s ideas were very common at the time, that Nazis were much more strongly influenced by other thinkers, and that <mask> is properly classified as a 19th-century German liberal, rather than a forerunner to Nazism. They also point to incompatibilities between evolutionary biology and Nazi ideology. Nazis themselves divided on the question of whether Haeckel should be counted as a pioneer of their ideology. SS captain and biologist Heinz Brücher wrote a biography of Haeckel in 1936, in which he praised Haeckel as a "pioneer in biological state thinking".This opinion was also shared by the scholarly journal, Der Biologie, which celebrated <mask>'s 100th birthday, in 1934, with several essays acclaiming him as a pioneering thinker of Nazism. Other Nazis kept their distance from Haeckel. Nazi propaganda guidelines issued in 1935 listed books which popularized Darwin and evolution on an "expunged list". <mask> was included by name as a forbidden author. Gunther Hecht, a member of the Nazi Department of Race Politics, also issued a memorandum rejecting <mask> as a forerunner of Nazism. Kurt Hildebrandt, a Nazi political philosopher, also rejected Haeckel. Eventually Haeckel was rejected by Nazi bureaucrats.See also
 Dysteleology
 Embryology
 <mask>tes
 <mask>'s Tale
 Heinrich Schmidt (philosopher)
 Karl Blossfeldt
 List of wildlife artists
 Proteus (2004 film)

Footnotes

Sources

External links

 E<mask>: Natürliche Schöpfungsgeschichte 1868 (front page of 1st edition, German)

masks:
Haeckel
Haeckel
Haeckel
Haeckel
Haeckel
Haeckeli
Haeckel
. Haeckel


texts:
 E<mask>: Die Welträthsel 1899 (front page of 1st edition, German)
 University of California, Berkeley – biography
 <mask> – Evolution's controversial artist. A slide-show essay
 Kunstformen der Natur (from biolib.de)
Kunstformen der Natur (Digitization from Phaidra)
 PNG alpha-transparencies of <mask>'s "Kustformen der natur"
 Proteus – Animated documentary film on Haeckel's life and work
 Ernst Haeckel Haus and Museum in Jena
 View works by <mask> at the Biodiversity Heritage Library
 aDiatomea: artificial life experiment with 3d generated diatoms, influenced by Haeckel
 Images from Anthropogenie, oder, Entwickelungsgeschichte des menschen

 <mask>'s Radiolarians and Medusa – article on Haeckel in Villefranche-sur-Mer

1834 births
1919 deaths
Alldeutscher Verband members
Evolutionary biologists
German atheists
19th-century German biologists
German ecologists
German humanists
German male writers
19th-century German philosophers
19th-century German zoologists
Lemuria (continent)
Natural history illustrators
Scientists from Potsdam
People from the Province of Brandenburg
Protistologists
Scientific racism
University of Jena faculty
Spinozists
Members of the American Philosophical Society
People involved in scientific misconduct

masks:
. Haeckel
Ernst Haeckel
Haeckel
Haeckel
Ernst Haeckel


texts:
<mask> MD  (26 February 1811 – 30 May 1878) was a British surgeon specialising in the treatment of lunacy. He is normally credited with being the first superintendent of a small asylum (approximately 100 patients) to develop a mode of treatment in which reliance on mechanical medical restraint and coercion could be dropped altogether. In practice he reached this situation in 1838. The debate concerning the merits of his methods continued for many years. <mask> was marginalised by medical colleagues, in particular for his insistence that standard medical procedures had nothing to offer in the treatment of mental illness. Early career

The son of <mask> of Louth, Deene and lately of Leamington, he was born at Louth, Lincolnshire, on 26 February 1811; <mask> was an elder brother. At the age of 14 he was apprenticed to a surgeon in Louth.He then studied at Edward Grainger's anatomy school, Guy's Hospital, and St. Thomas's Hospital, becoming a member of the Royal College of Surgeons of England in 1834. On passing as a surgeon <mask> went into practice at Lincoln, and in the same year obtained the appointment of house-surgeon to the General Dispensary there. At the Dispensary <mask> worked with Dr. Edward Parker Charlesworth, who befriended him. "Non-restraint"
<mask>, with Charlesworth's assistance, was elected house surgeon to the Lincoln Lunatic Asylum. There he introduced the system of moral management in use at the York Retreat. Charlesworth had already experimented with reducing the dependence at the asylum on mechanical restraint. <mask>, soon after his appointment, looked into the registers of the asylum, and began to think

masks:
Robert Gardiner Hill
Hill
Robert Hill
John Harwood Hill
Hill
Hill
Hill
Hill


texts:
 that he might dispense with coercion altogether.It appears from a comparison of the table of restraints for 1830, with the table for 1835, given in the appendix to <mask>'s book, that whereas, with a number of patients in the house, during the first of these years, amounting only to 92 (male and females included), the total number of instances of restraint had been 2364; in the latter of these years, with a number of patients greater, namely, 108, the total number of instances of restraint had only been 313; being a diminution of five-sixths of the number in the former year. One of the improvements introduced by <mask> in pursuance of his system was the dormitories, almost entirely established for the prevention of suicides. He attributed most bad cases to alcohol abuse, with religious factors as the next most important. <mask> had trouble maintaining a non-restraint system, without a better staff. The governors, however, would not offer higher pay without clear and convincing results. The system in fact required <mask> to supervise the staff closely; it caused serious tensions in the asylum. By about 1839 the situation in the institution had become untenable.In 1840 <mask> resigned from his post. Legacy
Despite the problems <mask> experienced, his system won admirers. One of them was Sergeant John Adams, who was an assistant judge. He took an interest in the asylum when circuit duties took him up to Lincoln. In his other capacity as chairman of the Middlesex magistrates and member of the Visiting Justices to Hanwell Asylum, he encouraged the newly appointed superintendent Dr. John Conolly to visit Lincoln Asylum and

masks: Hill Hill Hill Hill Hill Hill


texts:
 witness <mask>'s methods. This Conolly did in the month before taking up his appointment at Hanwell, where it is recorded in the visitors' book that he admired <mask>'s system. Career after Lincoln Asylum
<mask> remained in the mental health field, working in a number of asylums.He entered into partnership with Richard Sutton Harvey in 1840, and became proprietor of Eastgate House private asylum, Lincoln. On 29 October 1851 he was given a public dinner in Lincoln and presented with a testimonial as the "author and originator of the non-restraint system in lunacy"; the claim was disputed, In November 1852 he was chosen mayor of Lincoln, and he was elected a Fellow of the Society of Antiquaries of London on 17 February 1853. In the later 1850s he was at Wyke House Asylum, in partnership with Edmund Sparke Willett; the partnership was dissolved in 1860, with Willett remaining as proprietor. <mask> became a licentiate of the College of Physicians, Edinburgh in 1859. In October 1863 <mask> moved to London and became resident medical proprietor of Earl's Court House, Old Brompton, a private asylum for women, a residence formerly inhabited by John Hunter. He died of apoplexy at Earl's Court House, London, on 30 May 1878, and was buried on the western side of Highgate cemetery (plot no.22660). The grave is on the right-hand side of the main path almost opposite the tall Gothic Mears family monument.Two of his sons <mask> <mask> and <mask> <mask> also became doctors in asylums. His wife and at least three daughters were also closely involved in the care of the insane both before and after his death. They managed Peterborough House in

masks:
Hill
Hill
Hill
Hill
Hill
James Robert
Hill
Hugh Gardiner
Hill


texts:
 Fulham and then Fenstanton House, Tulse Hill. Publications and controversy
<mask> published:

 Total Abolition of Personal Restraint in the Treatment of the Insane. A Lecture, with Statistical Tables (1839). A Concise History of the entire Abolition of Medical Restraint in the Treatment of the Insane and of the success of the Non-Restraint System (1857). Lunacy, its Past and its Present (1870).He also wrote articles "On Total Abolition of Personal Restraint in Treatment of the Insane" in The Lancet, 11 April 1840, p. 93, and 22 February 1851, pp. 226–7; and Psychological Studies, six articles in the Medical Circular, 6 January 1858, p. 1 et seq. <mask>'s priority claim on non-restraint was put forward in The Lancet in 1850, in response to Charlesworth and Conolly. He did so again in the Concise History, in a response to Conolly. Sir James Clark, 1st Baronet wrote a Memoir of John Conolly that appeared in 1869, and <mask> contributed further to the debate in 1870, in Lunacy. Lectures
 <mask> <mask> (1839) A lecture on the Management of Lunatic Asylums and the Treatment of the Insane. See also

 Moral treatment
 Haw Camilla, Yorston Graeme (2004) Thomas Prichard and the non-restraint movement at the Northampton Asylum.Psychiatric Bulletin (2004) 28: 140–142

References

Attribution

 A contemporary account by a visiting doctor. 19th-century English medical doctors
People from Louth, Lincolnshire
1811 births
1878 deaths
Burials at Highgate Cemetery
English non-fiction writers
English psychiatrists
Psychiatric restraint
Fellows of the Society of Antiquaries of London
English male non-fiction writers
19th-century English male

masks:
Hill
Hill
Hill
Hill Robert
Gardiner


texts:
<mask> (born 1968) is a Romanian-born Hungarian writer, photographer, dramatist and journalist. He received the Attila József Prize in 2005. His books have been translated into over 20 different languages. In 2001, he published his second novel, Tranquility, which was adapted into film in 2008. In 2017, he became a member of the Széchenyi Academy of Literature and Arts. Early life and education
<mask> was born in 1968 in Târgu Mureș, in the Transylvania region of Romania. His parents were  (1936–2006) and Margit Gherasim.Ferenc, his father, was a writer, poet and journalist. His family were part of the Hungarian minority of Romania. Following the Hungarian Revolution of 1956, Ferenc was imprisoned in Gherla Prison but was given amnesty by Nicolae Ceaușescu seven years later and released. <mask> grew up drawing, painting, photographing and writing poems and short stories. His mother, who played the violin, died in the summer of 1983. In 1984, sixteen-year-old <mask> and his father were stripped of their Romanian citizenship and presented with stateless passports, and advised to leave for Hungary. Attila moved with his father to Budapest.<mask> graduated from a gymnasium in Pest. Between 1990 and 1991, he studied photography at the  of the  (MÚOSZ). He worked as a photographer and in a used bookstore. Career

Writing
In 1995, at the age of twenty-seven, he published his debut novel, A séta. In 1998, his debut short story collection, A kéklő pára, was published. <mask> is perhaps best known for his novel Tranquility (), which was published in 2001. Tranquility was adapted into film, titled Nyugalom (2008).The film was directed by Róbert Alföldi and stars Dorottya Udvaros, Zalán Makranczi, Dorka Gryllus and Judit Hernádi. Tranquility was translated into English by

masks:
Attila Bartis
Attila Bartis
Attila
Attila
Attila
Bartis


texts:
 Imre Goldstein in 2008. It was the first time his work had been translated into English. Goldstein's translation won the Best Translated Book Award (2009). For one year, <mask> wrote short stories in the feuilleton of magazine Élet és Irodalom, publishing one story each month. In 2005, he published A Lázár apokrifek, a collection of the twelve short stories he wrote for the magazine. In 2010, <mask> and poet István Kemény published a book, titled Amiről lehet, which features conversations from interviews they conducted of each other.In 2010, he published Tizenegy novella, an anthology consisting of eleven of <mask>' short stories, all of which were previously published in A kéklő pára and A Lázár apokrifek, with the exception of the story "Gyergyó éghajlata". In 2019, <mask> published Az eltűnt idő nyoma, a collection of diary entries and "sticky notes". In the early 2000s, <mask> spent time living abroad, with a DAAD scholarship in Berlin, Germany, and then Java, Indonesia for a while. His third novel, A vége, was published in 2015. It was partly written while he lived in Indonesia. <mask> has received several awards, including the 1997 , the 2002  and the 2005 Attila József Prize. In 2006, he was awarded A Magyar Köztársasági Érdemrend lovagkeresztje.In 2017, he became a member of the Széchenyi Academy of Literature and Arts. His books have been translated into English, Arabic, French, German, Chinese, Spanish, Portuguese, Turkish, Romanian, Polish, Czech, Croatian, Norwegian, Estonian, Serbian, Dutch, Italian, Slovak, Russian, Macedonian and Uyghur. Photography
As a photographer, his photographs have been exhibited in numerous exhibitions. <mask>' first breakthrough in photography was in 1996, when his Az Engelhard-hagyaték photography exhibit was exhibited

masks: Bartis Bartis Bartis Bartis Bartis Bartis Bartis


texts:
 at the Műcsarnok-Dorottya Galéria in Budapest. The exhibit featured portraits of writers which were paired with portraits of women and each of the twenty-four writers wrote a poem or short story for their respective female portrait. The exhibition was later a success at Literaturhaus in Frankfurt, Germany in 1999. Az Engelhard-hagyaték was also later exhibited at  in Warsaw in 2006.In 1998, his Photo Pygmalion exhibit was shown at Vintage Galéria in Budapest. In 2010, <mask> published a photo-book titled A csöndet úgy, featuring 365 low-resolution photos taken with a mobile phone from January 2005 to December 2008. In 2016, he published a photo-book, titled A világ leírása, részlet, with text by István Kemény. The photos were exhibited at Deák Erika Galéria in Budapest in 2016. In 2018, he published a photo-book, titled A szigeteken, with text by Katharina Narbutovič, Zsolt Petrányi and <mask> Szűcs. It was his largest photo-book to date, featuring photographs taken between 2014 and 2017, mostly in Java, around Yogyakarta in Indonesia. The photos were exhibited at Mai Manó Ház in Budapest in 2018.Dramas
<mask> adapted Tranquility into a dramatic play, titled Anyám, Kleopátra, which premiered at the National Theatre in Budapest in 2003. The play was directed by Dezső Garas and starred Dorottya Udvaros. <mask> made his debut as a theater director in 2016 and directed his play Rendezés at the National Theatre in Târgu Mureș, Romania. The drama commemorated the victims of the Hungarian Revolution of 1956. It was also presented at the Comedy Theatre of Budapest in 2017. Personal life
<mask> has lived in Budapest since 1984, and has partly lived in Yogyakarta (Java, Indonesia) since 2014. He married in 1990.His daughter was born in 1990, and his son was born in

masks: Bartis Attila Bartis Bartis Bartis


texts:
<mask> (born May 28, 1976) is an American mixed martial artist and Brazilian Jiu Jitsu Black Belt. Although <mask> had made a name for himself as a 185-pound prospect; his big break came after meeting the producers of TUF. They were filming Forrest Griffin at The HardCore Gym for his fight against Stephan Bonnar in the finals of season 1. Forrest went on to win Season 1 and <mask> was approached soon after to appear on Season 3. Mixed martial arts career

<mask> has a background in many different styles of fighting, being involved in martial arts since he was 11 years old. He was taught kickboxing by his brother and then added karate, Taekwondo, and other traditional martial arts. He wrestled in high school, and is a former local Golden Gloves and Muay Thai champion.<mask> is also a Black Belt in Brazilian Jiu-Jitsu. He is the co-owner of the noted MMA Gym SBG Athens along with his brother and Brazilian Jiu-Jitsu Black Belt <mask>. The HardCore Gym had produced such fighters as Forrest Griffin and Brian Bowles. <mask>'s MMA career includes fighting for several local organizations as well as the AFC, KOTC, PRIDE and the UFC. He gained fame from his appearance on Spike TV's series The Ultimate Fighter 3, making it to the semi-finals where he would lose to Ed Herman. After a 5-year break from MMA, <mask> was scheduled to fight Lodune Sincaid on September 26, 2014. However, Sincaid was pulled from the fight due to suspension by the California State Athletic Commission.<mask> currently resides in Athens, Georgia, where he coaches BJJ, MMA, and Youth Martial Arts for people of all walks of life. Personal life
<mask> married in August 2008. <mask> is Jewish. He attended the University of Georgia where he earned a degree in biological engineering.

masks:
Rory Michael Singer
Rory
Rory
Singer
Singer
Adam Singer
Singer
Singer
Singer
Singer
Singer


texts:
<mask> no Hitomaro (柿本 人麻呂 or 柿本 人麿;  – ) was a Japanese waka poet and aristocrat of the late Asuka period. He was the most prominent of the poets included in the Man'yōshū, the oldest waka anthology, but apart from what can be gleaned from hints in the Man'yōshū, the details of his life are largely uncertain. He was born to the <mask>to clan, based in Yamato Province, probably in the 650s, and likely died in Iwami Province around 709. He served as court poet to Empress Jitō, creating many works praising the imperial family, and is best remembered for his elegies for various imperial princes. He also composed well-regarded travel poems. He is ranked as one of the Thirty-six Poetry Immortals. Ōtomo no Yakamochi, the presumed compiler of the Man'yōshū, and Ki no Tsurayuki, the principal compiler of the Kokin Wakashū, praised Hitomaro as Sanshi no Mon (山柿の門) and Uta no Hijiri (歌の聖) respectively.From the Heian period on, he was often called Hito-maru (人丸). He has come to be revered as a god of poetry and scholarship, and is considered one of the four greatest poets in Japanese history, along with Fujiwara no Teika, Sōgi and Bashō. Life

Sources
The sole early source for the life of the poet <mask> no Hitomaro is the Man'yōshū. His name does not appear in any of the official court documents, perhaps on account of his low rank. Ancestry

Hitomaro was born into the <mask>to clan, an offshoot of the ancient . Centred in the northeastern part of the Nara Basin, the Wani clan had furnished many imperial consorts in the fourth through sixth centuries, and extended their influence from Yamato Province to Yamashiro, Ōmi, Tanba and Harima provinces. Many of their clan traditions (including genealogies, songs, and tales)

masks: Kakinomoto Kakinomo Kakinomoto Kakinomo


texts:
 are preserved in the Nihon Shoki and, especially, the Kojiki.The Kakinomoto clan were headquartered in either Shinjō, Nara or, perhaps more likely, the Ichinomoto area of Tenri, Nara. The main Wani clan were also based in this area, so the Kakinomoto clan may have had a particularly close relationship with their parent clan. According to the Shinsen Shōjiroku, the clan's name derives from the persimmon (kaki) tree that grew on their land during the reign of Emperor Bidatsu. The Kakinomoto clan had their hereditary title promoted from Omi to Ason in the eleventh month (see Japanese calendar) of 684. According to the Nihon Shoki, <mask>to no Saru, the probable head of the clan, had been among ten people appointed , equivalent to Junior Fifth Rank, in the twelfth month of 681. These facts lead Watase to conjecture that the <mask>to clan may have had some literary success in the court of Emperor Tenmu. According to the Shoku Nihongi, Saru died in 708, having attained the Junior Fourth Rank, Lower Grade.There are several theories regarding the relationship of this <mask> no Saru to the poet Hitomaro, including the former being the latter's father, brother, uncle, or them being the same person. The theory that they were the same person has been advanced by Takeshi Umehara, but has little supporting evidence. While the other theories cannot be confirmed, it is certain that they were members of the same clan (probably close relatives), and were active at the same time. It is likely that their mutual activity at court had a significant effect on each other. Birth and early life
The year in which he was born is not known, nor can much be said with certainty about any aspects of his life beyond his poetic activities.

masks: Kakinomo Kakinomo Kakinomoto


texts:
 Watase tentatively takes Hitomaro as being 21 years old (by Japanese reckoning) between 673 and 675, which would put his birth between 653 and 655. Emperor Tenmu's reign
The earliest dated work attributed to him in the Man'yōshū is his Tanabata poem (Man'yōshū 2033) composed in the ninth year of Emperor Tenmu's reign (680).The content of this poem reveals an awareness of the mythology that, according to the preface to the Kojiki (completed in 712) had begun to be compiled during Tenmu's reign. Watase also observes that Hitomaro's having composed a Tanabata poem means that he was probably attending Tanabata gatherings during this period. A significant number of poems in the Kakinomoto no Ason Hitomaro Kashū were apparently recorded by Hitomaro before 690, and are characteristic of court poetry, leading to the conclusion that he was active at court from the early part of Emperor Tenmu's reign. From this point he was active in recording and composing love poems at court. Watase speculates that Hitomaro came to court in the service of the  in response to an imperial edict in 673. Based on Hitomaro's poetic activities during Empress Jitō's reign, there are a few possibilities for where Hitomaro was serving at Tenmu's court. Watase presents three principal theories: first under the empress-consort Princess <mask>-no-sarara (who later became Empress Jitō); second under Crown Prince Kusakabe; third in the palace of Prince Osakabe.Reigns of Empress Jitō and Emperor Monmu

Hitomaro acted as a court poet during the reigns of Empress Jitō and Emperor Monmu. In the fourth month of 689, Prince Kusakabe died, and Hitomaro composed an elegy commemorating the prince. He also composed an elegy for Princess Asuka, who died


texts:
 in the fourth month of 700, and a poem commemorating an imperial visit to Kii Province. His poetic composition flourished during the period in which Empress Jitō was active (both during her reign and after her retirement). He composed poetry for numerous members of the imperial family, including the empress, Prince Kusakabe, Prince Karu, Prince Takechi, Prince Osakabe, Prince Naga, Prince Yuge, Prince Toneri, , Princess Hatsusebe and Princess Asuka. He apparently composed poetry in Yamato Province (his home), Yamashiro Province and Ōmi Province in the north, Kii Province in the south, Shikoku, Kyūshū and the Seto Inland Sea in the west, as well as Iwami Province in the northwest. Susumu Nakanishi remarks that the fact that he did not apparently compose elegies for emperors themselves, and that most of his poems centre around princes and princesses, indicates that he was probably a writer affiliated with the literary circles that formed around these junior members of the imperial family.Later life and death
The ordering of poems, and their headnotes, in volume 2 of the Man'yōshū, implies that Hitomaro died shortly before the moving of the capital to Nara in 710. He would have been in Iwami Province, at the Sixth Rank or lower. The date, site and manner of his death are a matter of scholarly debate, due to some contradictory details that are gleaned from poems attributed to Hitomaro and his wife . Taking Watase's rough dates, he would have been in his mid-fifties in 709, when Watase speculates he died. Mokichi Saitō postulated that Hitomaro died in an epidemic that swept Iwami and Izumo provinces in 707. Hitomaro's final poem gives the strong impression that he met his death in the mountains. Saitō was


texts:
 convinced he had located the site of the Kamoyama of the above poem and erected a monument there, but two poems by Yosami that immediately follow the above in the Man'yōshū suggest otherwise, as they mention "shells" (貝 kai) and a "Stone River" (石川 Ishikawa), neither of which seem likely in the context of Saitō's Kamoyama.The above-quoted translation is based on Saitō's interpretation of kai as referring to a "ravine" (峡). Other scholars take the presence of "shells" as meaning Hitomaro died near the mouth of a river where it meets the sea. (This interpretation would give the translation "Alas! he lies buried, men say, / With the shells of the Stone River.") There is no river named "Ishikawa" near the present Kamoyama; Saitō explained this as "Ishikawa" perhaps being an archaic name for upper part of another river. An unknown member of the Tajihi clan wrote a response to Yosami in the persona of Hitomaro, very clearly connecting Hitomaro's death to the sea. Works

Hitomaro was a court poet during the reigns of Empress Jitō and Emperor Monmu, with most of his dateable poems coming from the last decade or so of the seventh century.He apparently left a private collection, the so-called Kakinomoto no Ason Hitomaro Kashū, which does not survive as an independent work but was cited extensively by the compilers of the Man'yōshū. 18 chōka and 67 tanka (of which 36 are envoys to his long poems) are directly attributed to him in the Man'yōshū. All are located in the first four books of the collection. Of these, six chōka and 29 tanka are classified as zōka (miscellaneous poems), three chōka and 13 tanka as sōmon (mutual exchanges of love poetry), and nine chōka and 25 tanka as banka (elegies). Of note is the fact


texts:
 that he contributed chōka to all three categories, and that he composed so many banka. Broken down by topic, the above poems include:
three chōka and five tanka about reigning emperors, such as hymns praising Empress Jitō's visits to Yoshino and , and poems lamenting the fallen Ōmi capital;
seven chōka and 17 tanka about imperial princes and princesses such as his elegies for Prince Kusakabe, Prince Takechi, Princess Asuka and  and his songs of praise for Prince Karu, Prince Osakabe, Prince Naga and Prince Niitabe;
seven chōka and 28 tanka about court women, including the three tanka he composed on the court women accompanying Empress Jitō on her visit to Ise while he stayed in the capital, one chōka and eight tanka mourning Kibitsu no Uneme, Hijikata no Otome and Izumo no Otome, and a number of romantic exchanges with his wife and other lovers;
one chōka and three tanka commemorating the bodies of dead people Hitomaro encountered;
14 tanka composed on travel topics that do not fit into any of the above categories (all of which also include travel poems). From the above it can be said that Hitomaro's poetry was primarily about affairs of the court, but that he also showed a marked preference for poems on travel.In addition to the 85 poems directly attributed to Hitomaro by the Man'yōshū, two chōka and three tanka in books 3 and 9 are said to be traditionally attributed to Hitomaro. Additionally, there is one Hitomaro tanka in book 15 said to have been recited in 736 by an envoy sent to Silla. Including these "traditional" Hitomaro poems, that gives 20 chōka and 71 tanka. It is quite possible that a significant number of these poems were incorrectly attributed to Hitomaro by tradition. In addition to


texts:
 Hitomaro's own compositions, there are also many poems said to have been recorded by him in his personal collection, the Kakinomoto no Asomi Hitomaro Kashū (柿本朝臣人麿歌集). The Hitomaro Kashū included 333 tanka, 35 sedōka, and two chōka. This adds up to a total figure of close to 500 poems directly associated with Hitomaro.Characteristic style
Hitomaro is known for his solemn and mournful elegies of members of the imperial family, whom he described in his courtly poems as "gods" and "children of the sun". He incorporated elements of the national mythology seen in the Kojiki and Nihon Shoki and historical narrative in his poetry. While he is known for his poems praising the imperial family, his poetry is also filled with human sensitivity and a new, fresh "folkiness". His lament for the Ōmi capital is noted for its vivid, sentimental descriptions of the ruins, while his elegy for Prince Takechi powerfully evokes the Jinshin War. His Yoshino and  poems praise splendidly the natural scenery and the divinity of the Japanese islands, and his Iwami exchange vividly describes the powerful emotions of being separated from the woman he loved. His romantic poems convey honest emotions, and his travel poems exquisitely describe the mood of the courtiers on these trips. He shed tears for the deaths of even random commoners on country paths and court women whose names he did not even know.Watase credits him with the creation of an ancient lyricism that expressed both human sentiment and sincere emotions across both his poems of praise and mourning. Reception

There is evidence that Hitomaro exerted direct influence on the poetry composed during his own time. For example, poems 171 through 193 of Book 1 of the Man'yōshū bear


texts:
 similarities to his work. It is generally accepted that the court poets of the following generation (the so-called "third period" of Man'yō poetry), including Yamabe no Akahito, were influenced by Hitomaro's courtly poems. Ōtomo no Yakamochi, a poet of the "fourth period" who probably had a hand in the final compilation of the collection, held Hitomaro in high regard, praising him as Sanshi no Mon (山柿の門). As discussed above, the death of Hitomaro appears to have already taken on some legendary characteristics. In his Japanese preface to the tenth-century Kokin Wakashū, Ki no Tsurayuki referred to Hitomaro as Uta no Hijiri ("Saint of Poetry").In the Heian period the practice of Hitomaru-eigu (人丸影供) also gained currency, showing that Hitomaro had already begun to be apotheosized. Hitomaro's divinity status continued to grow in the Kamakura and Muromachi periods. The Edo period scholars Keichū and Kamo no Mabuchi tended to reject the various legends about Hitomaro. In Akashi, Hyōgo Prefecture there is a Kakinomoto Shrine dedicated to him, commemorating an early Heian belief that Hitomaro's spirit came to rest in Akashi, an area the historical Hitomaro probably visited multiple times. Hitomaro is today ranked, along with Fujiwara no Teika, Sōgi and Bashō, as one of the four greatest poets in Japanese history. Notes

References

Works cited

External links

 Kenneth Rexroth's One Hundred Poems from the Japanese (New Directions, 1955, ) contains several of Hitomaro's waka, as well as notable translations of 3 naga uta ("In the sea of ivy clothed Iwami", "The Bay of Tsyunu", and "When she was still alive")

Japanese male poets
Man'yō poets
650s births
700s deaths
7th-century Japanese poets
Hyakunin Isshu


texts:
<mask> (30 March 187210 April 1952) was an English baritone singer, a musical teacher and composer in the period 1905–30. He is best remembered for his restoration and production of The Beggar's Opera by John Gay and Johann Christoph Pepusch, and its sequel, Polly, in 1920–23. <mask> was the older brother of the composer <mask> (1874–1947). The standard melody for the carol  "The Twelve Days of Christmas" was published by <mask> in 1909. He arranged a traditional folk melody, adding a two-bar motif for "Five gold rings". He also altered the lyric, adding "on" at the beginning of each verse. Training and early career
Born <mask> in Poplar, Middlesex on 30 March 1872 the son of William and <mask>, his father was a shirt tailor.<mask> was sent at the age of about 12 to live at Birkenhead, where he received organ and music lessons from his Uncle, Dr. W. H. Hunt, and had singing training from Charles Lunn. By 1896 he had obtained a B.Mus. from Durham University and was organist in several Birkenhead churches. He became a teacher of harmony, and later of composition, at Liverpool College of Music. At Liverpool he became close friends with the composer Cyril Scott, and through him was introduced to H. Balfour Gardiner, who became a lifelong friend. Through them he was received into the circle of young English composers known as the Frankfurt Group, and their friends. These included Scott, Gardiner, Norman O'Neill, Roger Quilter, Percy Grainger (owing to their training at the Hoch Conservatory) in Frankfurt and such friends as Ernest Bryson, Benjamin Dale, Gervase Elwes, Eugène Goossens, fils and Arnold Bax.This group, in which <mask> sometimes appeared, often performed each other's music in informal

masks:
Frederic William Austin
Austin
Ernest Austin
Austin
Frederick William Austin
Elizabeth Austin
Austin
Frederick Delius


texts:
 surroundings, and <mask> in particular used to improvise at the piano with Arnold Bax. In August 1900 he completed his first orchestral work, the concert Overture Richard II, which received its first performance on 12 December 1901 by the Bournemouth Municipal Orchestra under Dan Godfrey. In 1902, the year of his marriage to Amy Oliver, <mask> gave lessons in composition to Thomas Beecham, sang Tchaikovsky's "Pilgrim's Song" for a Henry Wood promenade concert, and was introduced to Hans Richter, for whom he later sang in Beethoven's Choral Symphony and Missa solemnis, and Bach's St Matthew Passion. In 1904 he moved to Pinner, sang under Felix Weingartner and at Wagner nights at the Prom Concerts, and took the name role in Mendelssohn's Elijah at Gloucester in the Three Choirs Festival. In June 1905 he took part in Beecham's London debut at the Bechstein Hall, in the first London performance of Scott's Ballad of Fair Helen of Kilconnell (dedicated to him). Recitals in London and the provinces
At the 1905 Sheffield Festival <mask> gave the final scena from Eugene Onegin, with Olga Wood (repeated 1911). At Hereford he appeared in Franck's Les Beatitudes, and introduced songs by Thomas Dunhill.His Queen's Hall performances included the Four Serious Songs of Brahms. His first major London recital (Aeolian Hall) with Hamilton Harty (piano) was on 3 April 1906, and he sang for the Philharmonic Society. For Weingartner he gave the Die Walküre finale with Agnes Nicholls, and at Queen's Hall the premiere of Balfour Gardiner's When the lad for longing sighs. In 1906 at Southport he took baritone roles in The Dream of Gerontius (beside John Coates) under the baton of the composer, Sir Edward Elgar. In April 1907

masks:
Austin
Austin
Frederic Austin


texts:
 he was at Reading, Berkshire, in Parry's De Profundis and Stanford's Elegiac Ode: at Hanley he gave the premiere of Havergal Brian's By the Waters of Babylon. In October, after Gerontius at Preston, he sang for Elgar in The Apostles at Birmingham. Henry Wood introduced <mask>'s symphonic composition Rhapsody: Spring, and engaged him to sing in two concerts, including that in which Delius's Piano Concerto in C minor was first given.<mask> met Delius that year, and also made a Covent Garden debut, a small role in Tannhäuser, for Richter. New work in opera and oratorio
1908 saw much oratorio, with Handel's Messiah (Wood, Queen's Hall), Gerontius (with Coates, Manchester, under Richter), Elgar's King Olaf (Norwich Festival), Judas in The Apostles (Liverpool), Bach's Phoebus and Pan (Queen's Hall), and Coleridge-Taylor's Hiawatha's Wedding Feast. His first Covent Garden lead appearance was Gunther (Götterdämmerung) in Richter's English Ring cycle, repeated three times in February 1909. Late in 1908 he and Cyril Scott gave a recital of Scott's songs at the Bechstein Hall. At the Sheffield Festival of 1908 he was exceptionally busy, with performances of Samson and Delilah, Schumann's Paradise and the Peri, Sir Walford Davies' Everyman, Beethoven's Choral Symphony, and Debussy's L'Enfant Prodigue, specially re-scored by the composer, and delivered under Henry Wood with <mask>, Agnes Nicholls, and the tenor Felix Senius. At this Festival also on 6 October he gave the English premiere (following the Essen, 1906, first) of Delius's Sea Drift. Wood chose <mask> as the only man "who could be trusted to sing it con amore".He sang it again in December, and in February 1909, for Beecham: Birmingham first heard it in

masks: Austin Austin Austin Austin


texts:
 1912. <mask> premiered Granville Bantock's Omar Khayyam Part III (Birmingham 1909), and in that year sang The Apostles (Judas) and Parry's Job at Hereford. At Liverpool in September 1909 was the first Festival of The Musical League, created by English composers for performance of their music; <mask>'s symphonic poem Isabella appeared, and he sang in Ethel Smyth's The Dance and Anacreontic Ode, Havergal Brian's By the Waters of Babylon, and Vaughan Williams’ cantata Willow-wood. Operatic work and expanding repertoire
In 1910 <mask> commenced his regular operatic career, appearing as Wotan and Wanderer, and doubling as Gunther, in the Edinburgh Denhof Opera Company Ring cycle under Michael Balling. He also appeared in two Ring cyles at Covent Garden. At Hereford he performed the traditional Festival-opening Elijah (and again in 1911), and gave the premiere of Bantock's Gethsemene, and in London repeated the Omar Khayyam. For the Philharmonic Society he gave songs by Ethel Smyth under her direction.In 1911 he was also singing concert performances of The Damnation of Faust (Berlioz) and Faust (Gounod), Dvořák choral works, Handel oratorios, Beethoven Missa solemnis, the Mozart Requiem, Brahms A German Requiem, Max Bruch's Frithjof and Lay of the Bell, Mendelssohn's St Paul and Die erste Walpurgisnacht, and many other works. In 1912 Beecham took the Denhof Ring cycle to Glasgow, Hull, Leeds, Liverpool and Manchester, and in these years <mask> also appeared with them in the first English Elektra (Richard Strauss), as Kunrad in Feuersnot, Dr Coppelius in The Tales of Hoffmann, Gratiano in Così fan tutte, Tomasso in Tiefland (Eugen d'Albert), Escamillo in Carmen and as Vanderdecken in The Flying Dutchman. In


texts:
 1913 the Denhof Company was wound up and reformed as the Beecham Company, and until around 1920 <mask> appeared for Beecham also as Wolfram (Tannhäuser), Iago (Otello), Ford (Falstaff), Hans Sachs (Die Meistersinger von Nürnberg), and in Madama Butterfly, La bohème, Pagliacci, Joseph Holbrooke's Dylan, and other works. English recital and drama
In the spring of 1912 was the first series of the Balfour Gardiner Queen's Hall Concerts, devoted to contemporary English music, which effectually transformed the acceptance and establishment of the English composers. In the fourth concert <mask> sang Scott's Helen of Kirconnell again, and gave the premiere of Norman O'Neill's La belle dame sans merci. Austin's own symphonic Rhapsody: Spring was also repeated, and in March 1913 his Symphony in E was first performed. In 1912 Austin delivered his own Three Songs of Unrest, and gave a serious lecture on the songs of Hugo Wolf.Before the War he was also singing in Germany, the Netherlands and Denmark. In 1914 at The Music Club in London he performed several songs of Arnold Schoenberg in the composer's presence. Roger Quilter dedicated his song The Jocund Dance (Op. 18, No. 3) to him, written 1913–14. From 1913 <mask> developed close connections with Rutland Boughton, and assisted in the development of the English music drama at Glastonbury. In the Summer Festivals of August 1914 and 1915 he sang the role of Eochaidh the King in The Immortal Hour there, and again at Bournemouth in 1915, with Frank Mullings and Percy Heming, and in 1916 was King Arthur in The Round Table.1916 also saw the first performance of his most lasting orchestral composition, Danish Sketches, Palsgaard, conducted by Thomas Beecham on 11

masks: Austin Austin Austin


texts:
 December for the Royal Philharmonic Society. Operatic farewell

<mask>'s last formal operatic performance was as Count Almaviva in The Marriage of Figaro for Beecham, at Covent Garden in 1920. Neville Cardus, who saw him in the role beside Agnes Nicholls and <mask>, wrote: "Nobody else has passed across the closing scene of the opera with half of <mask>'s grace of bearing and suggestion of courtly cynicism". The Beggar's Opera
The restoration of the musical score for The Beggar's Opera by John Gay and Dr Pepusch (originally produced in 1728) was undertaken by <mask> and completed in 1920 in time for the production by Nigel Playfair, with artistic designs by Claud Lovat Fraser, which opened at the Lyric Theatre, Hammersmith on 6 June 1920 and ran for a record number of 1,463 performances until 23 December 1923. <mask> preferred the simpler versions made by Pepusch to the edition prepared by Thomas Arne. He appeared as Peachum, with Elsie French, <mask> (Macheath), Sylvia Nelis (Polly) and others, conducted by Eugène Goossens. The entire venture received universal acclaim, and was performed in Paris, Canada, America and Australia.In 1922 <mask> revived the sequel, Polly. Recordings were made of the original cast production. Radio and recordings

<mask> composed music for a made-for-radio short drama, The Blacksmith's Serenade (based on a poem by Vachel Lindsay), which was aired by the British Broadcasting Company on 15 January 1924. He made recordings for both the Gramophone Company and the Columbia Graphophone Company. Directing and composition

In 1922 he became Artistic Director of the British National Opera Company, reformed out of Beecham's company, and in 1923 was elected a member of the Royal

masks:
Austin
Frederick Ranalow
Austin
Frederic Austin
Austin
Frederick Ranalow
Austin
Austin


texts:
 Philharmonic Society. In this way, and through his teaching, he continued to train and encourage English singers for many years more. He continued to compose theatre incidental music, notably for The Knight of the Burning Pestle (1923), The Insect Play (1923), Congreve's The Way of the World (1924), John Drinkwater's Robert Burns (1925), Vallombrossa (1926), and Prudence (1931).He wrote a cello sonata in 1927. In 1932 he made a last singing appearance in Alfred Reynolds’ Derby Day. He composed the music for the Ealing Studios film Undercover (1943), aka Underground Guerrillas (USA), The Insect Play (1939) (TV), The Knight of the Burning Pestle (1938) (TV), and for the movie Midshipman Easy (1935), aka Men of the Sea (USA: reissue title). Family life
He was married to Amy and they had a son and a daughter. <mask>'s son Richard (1903–89) was the chief conductor of the Bournemouth Municipal Orchestra (now the Bournemouth Symphony Orchestra) from 1934 until 1939, and became Head of the Opera Department of the Royal College of Music in 1953. <mask> died in a hospital in the Kensington area of London on 10 April 1952 aged 80. References

Sources
 N. Cardus, Autobiography (London: Collins, 1947).G. Davidson, Opera Biographies (London: Werner Laurie, 1955). R. Elkin, Royal Philharmonic (Rider & Co, 1946). V. Langfield, Roger Quilter, His Life and Music (Boydell, 2002)
 M. Lee-Browne, Nothing so charming as Musick! (London: Thames 1999)
 H. Wood, My Life of Music (London: Gollancz 1938)

External links

1872 births
1952 deaths
English operatic baritones
English composers
Alumni of Durham University
Hoch Conservatory alumni
Honorary Members of the Royal Philharmonic Society
Singers from London
People from

masks:
Frederic Austin
Austin


texts:
Stanisław Kiecal (September 14, 1886 – October 15, 1910), better known in the boxing world as <mask>, was an American professional boxer who became one of the greatest World Middleweight Champions in history. He was nicknamed "The Michigan Assassin." He was murdered at a ranch in Conway, Missouri, at the age of 24. Biography

He was born in 1886 in Grand Rapids, Michigan, to Tomasz Kiecal and Julia Kiecal (née Olbinska), whose family immigrated from the village of Sulmierzyce in Piotrków Trybunalski, Guberniya, in modern-day central Poland. He avoided school, instead falling in with a gang of street kids and often getting into fist fights. At twelve years old, he ran away from home, becoming a child hobo. As a teenager he lived in Butte, Montana, where he found employment first as a hotel bellhop and then as a bouncer.This profession obviously led to many scraps that established his reputation as the best fist fighter in town. Soon enough sixteen-year-old <mask> was performing in backroom boxing matches with older locals for twenty dollars a week. He began traveling throughout Montana, offering to take on any man brave enough to face him. Between 1903 and 1906, he lost just twice in thirty-nine contests and, in 1907, moved to California, where he knew most of boxing's big names and big fights waited for him. Professional boxing career
Only a middleweight, <mask> was also known for taking on heavyweights, who sometimes outweighed him by more than 30 pounds (14 kg). According to hearsay, before each of his fights, he would imagine that his opponent had insulted his mother, with whom he had a very close relationship; thus, his anger would motivate him to fight with fury. He started boxing professionally in 1903, at 16, in Butte, Montana.In his first fight, <mask> knocked out Kid Tracy in one round. In his second fight, he was beaten by decision in six rounds by Maurice

masks:
Stanley Ketchel
Stanley
Ketchel
Ketchel


texts:
 Thompson. He boxed his first 41 bouts in Montana, and had a record of 36 wins, two losses, and three draws during that span. He lost once more to Thompson in their rematch and then controversially drew with him in their rubber match, in a bout that many people thought <mask> had won. Afterwards, he went on to beat Tom Kingsley, among others, before moving his campaign on to California in 1907. There, he won three fights that year, and drew one in Marysville against the man many considered the World Middleweight Champion, Joe Thomas. In his next bout, Thomas and he had a rematch and Ketchel won, by knockout in 32 rounds.<mask> was then recognized by many as the World Middleweight Champion. He finished the year by beating Thomas again, this time by decision. Middleweight champion

On February 8, 1908, Ketchel met the man who was generally recognized as the World Welterweight Champion and one of the leading middleweights of the era, Mike "Twin" Sullivan, knocking him out in the first round and winning general recognition as World Middleweight Champion. Sullivan often fought above the welterweight limit, making him a light middleweight. Whether <mask> became world champion when he defeated Thomas or Mike Sullivan has always been up to debate, but the fact remains that Mike Sullivan and not Thomas is historically remembered as a world champion. He proceeded to retain the title against Mike's twin brother, Jack "Twin" Sullivan, also a former world champion, by a knockout in 20 rounds; against future world champion Billy Papke by decision in 10; against Hugo Kelly by a knockout in three and against Thomas, by a knockout in two. Then, he lost the belt to Papke by a knockout in 12, but Papke and he had an immediate rematch and <mask> regained the title when he beat Papke by a knockout in 11 in their third match.<mask> began 1909 by fighting former Light Heavyweight Champion

masks: Ketchel Ketchel Ketchel Ketchel Ketchel


texts:
 Philadelphia Jack O'Brien. <mask> survived a terrible beating at the hand of the slick, quick O'Brien in the early rounds, only to mount a terrific comeback and score four knockdowns in the ninth and tenth rounds. When the final bell rang at the end of the 10th round, O'Brien was lying unconscious on the mat, his head in a resin box in his corner. Under New York rules at the time, though, O'Brien had been saved by the bell and because official decisions were outlawed in New York boxing, the fight was declared a "no decision". A few weeks later, <mask> had a rematch with O' Brien, knocking out Philadelphia Jack in three rounds. A fourth fight with Billy Papke followed. <mask> again won in a tumultuous slugfest to defend his championship and end their series of fights with a record of 3-1 in their four encounters.This (fourth) fight took place in the outdoor Mission Street Arena in Colma, California, during a terrible thunderstorm, yet neither fighter relented in his pursuit of victory until <mask> took the 20-round decision. <mask> fought Sam Langford on April 27, 1910. It was a hard-pressed fight by both men, each displaying terrific hitting power for all six rounds of the short bout. No knock downs were scored and both had plenty of energy in the end. Langford won by decision. A longer rematch bout was rumored, but never happened. Some disputed the decision, although a majority of people felt that Langford had won the bout, which following a decision-appealing vote, it was decided (in an uncontroversial manner) that it would stand as a decision win for Langford.<mask> vs. Johnson

<mask>'s 1909 battle with Jack Johnson has been called by many a modern-day "David and Goliath". In the 12th round, <mask> floored Johnson with a right hand. Johnson got up and knocked out <mask> with a right uppercut. <mask> and Johnson were rumored to have been friends and to have gone

masks: Ketchel Ketchel Ketchel Stanley Ketchel Ketchel Ketchel Ketchel Ketchel Ketchel


texts:
 gambling, as well as hit the brothels, together; they shared a love for women. <mask> and Johnson planned to fight together. Because <mask> was shorter than Johnson, he wore long coats to conceal the platform shoes he had worn to make him look taller at a publicity event. They set up a script for their fight to  stretch it to 20 rounds, as a 20-round fight would guarantee boxing fans would pay to go to local theaters to watch the replay of the fight.After 12 rounds, <mask> swung a surprise punch that knocked Johnson down. Regaining his feet, Johnson then knocked out <mask> with a swift combination to <mask>'s head and jaw. Ketchel did not wake up for many minutes and some of his teeth were knocked out by the blow, with a few remaining embedded in Johnson's glove. Murder

The following year, 1910, <mask> fought six times (including one exhibition), but his fast living had worn him down. Hoping for a rematch with Jack Johnson, <mask> moved to the ranch of his friend, R. P. Dickerson, near (on what is now referred to as Dickerson Ranch Road) Conway, Missouri, where he had hoped to regain his strength. Dickerson had just hired a cook, Goldie Smith, and a ranch hand, whom Smith said was her husband, Walter Kurtz. Walter Kurtz turned out to be Walter Dipley.Walter Dipley and Goldie Smith were not married, and in fact, had just met each other a month before Dickerson had hired them. After being upbraided by the "Michigan Assassin" for beating a horse on the morning of October 14, Dipley decided to get even with <mask> by robbing him. The following morning, Smith seated <mask> at the breakfast table with his back to the door and Dipley, armed with a .22 caliber rifle, came up behind him and shouted, "Get your hands up!" <mask> stood up, and as he turned around, Dipley shot him. The bullet traveled from his shoulder into his lung and Ketchel fell to the floor mortally wounded.

masks: Ketchel Ketchel Ketchel Ketchel Ketchel Ketchel Ketchel Ketchel Ketchel Ketchel


texts:
 Dipley then took Ketchel's handgun and smashed <mask> in the face with it. At the same time, Smith rifled Ketchel's pockets for his money.After promising to meet Goldie Smith later that night, Dipley ran from the ranch. Unaware that, as he lay dying, <mask> told the former ranch foreman, C. E. Bailey, that Goldie Smith had robbed him, she told police officers that Ketchel had raped her and that that was the reason why Dipley had shot him. Her story fell apart and she admitted her complicity in the robbery, but stated she did not know Dipley was going to kill the reigning champion. In an effort to save the young fighter's life, R. P. Dickerson chartered a special train to take <mask> to a hospital in Springfield, Missouri, but Ketchel died around 7 o'clock that night. His last words were: "I'm so tired. Take me home to mother." Dickerson also offered a $5,000 dead or alive reward (preferably dead) for Dipley, who was captured at a neighboring farmhouse the next day.Upon being informed of <mask>'s death, his manager Wilson Mizner reportedly said, "Tell them to start counting ten over him. He'll get up." Aftermath
Both Walter Dipley and Goldie Smith were found guilty of murder and robbery at a jury trial in January 1911, and both were given a life sentence. Goldie Smith had her murder conviction overturned and she served 17 months for the robbery. Walter Dipley served 23 years before he was paroled. He died in 1956, 22 years after his release from prison. Legacy

Ketchel was buried at Holy Cross Cemetery at Grand Rapids, Michigan.His funeral was the most attended until the Ford family surpassed him during the 20th century. A plaque in his honor is at the corner of Stocking Avenue and 3rd Street, and a statue is at 438 Bridge Street Northwest. The Ketchel Valley neighborhood on Grand Rapids' west side is named in Ketchel's honor. <mask> is now enshrined in the

masks:
Ketchel
Ketchel
Stanley Ketchel
Ketchel
Ketchel


texts:
 International Boxing Hall Of Fame. The Ring in 2004 ranked Ketchel as the eighth-greatest middleweight of all time, behind Harry Greb, Sugar Ray Robinson, Carlos Monzon, Marvin Hagler, Jake LaMotta, Charley Burley, and Tiger Flowers. The Ring also named Ketchel number six  on their list of 100 Best Punchers of All Time. Nat Fleischer, the late ring historian and founding editor of The Ring, considered <mask> to be the greatest middleweight in history.He had a record of 51 wins, four losses, four draws, one no contest, and four no decisions (newspaper decisions: 2-1-1), with 48 wins by knockout. He was the first middleweight champion to regain the world title after losing it. Professional boxing record
All information in this section is derived from BoxRec, unless otherwise stated. Official record

All newspaper decisions are officially regarded as “no decision” bouts and are not counted as a win, loss or draw. Unofficial record

Record with the inclusion of newspaper decisions to the win/loss/draw column. Popular culture

Subject of The Killings of <mask>, a novel by James Carlos Blake

Subject of the short story "The Light of the World," by Ernest Hemingway

Biography <mask>: A Life of Triumph and Prophecy, by Manuel A. Mora

Biography The Michigan Assassin: The Saga of <mask>, by Nat Fleischer, RING Editor 1946

Book Crossing the Color Line: <mask>'s Challenge for Jack Johnson's Heavyweight Crown, by Vernon Gravely

References

External links

Ketchel's Record at Cyber Boxing Zone
New York Times Article on his death
 Down Great Purple Valleys, a 1954 True magazine story about his murder by John Lardner

|-

|-

1886 births
1910 deaths
Middleweight boxers
Boxers from Michigan
Male murder victims
American people of Polish descent
People murdered in Missouri
Deaths by firearm in Missouri
Sportspeople from Grand Rapids, Michigan
Sportspeople from Butte,

masks:
Stanley
Stanley Ketchel
Stanley Ketchel
Stanley Ketchel
Stanley Ketchel


texts:
<mask> or <mask> (3 December 1590 – 2 November 1661) was a Flemish Jesuit brother and painter who specialized in flower still lifes. He is particularly well known for his contributions to the genre of flower garland painting. His paintings were collected enthusiastically by aristocratic patrons and he had numerous followers and imitators. Life

<mask> was born in Antwerp. He moved with his mother to the Dutch Republic, probably Utrecht around 1601, following the death of his father Pieter and the conversion of his mother to Calvinism. He possibly started his initial training as an artist in Utrecht. The young artist returned to Antwerp by 1611, where he was enrolled in the Guild of Saint Luke as a pupil of Jan Brueghel the Elder.Seghers re-converted to Catholicism and in 1614 he became a novice in the Jesuit order in Mechelen. Seghers is recorded in Brussels in 1621 where he is known to have produced two flower garland paintings for the Cathedral of St. Michael and St. Gudula. In 1625 Seghers took his final vows as a Jesuit priest. Sources differ regarding his status in the Jesuit order: some claim that he was ordained a priest in 1625, while others argue that he remained a lay brother. After his ordination in 1625 Seghers left for Rome where he stayed for two years. In Rome, Seghers had the opportunity to work on projects with the leading painters: he collaborated with Nicolas Poussin on a few religious paintings, while for Cardinal Ludovisi, Seghers painted a flower garland around an oval cartouche filled with putti by the hand of the Italian painter Domenichino. The composition is referred to as  Double wreath surrounding a medaillion with the triumph of love.Seghers returned to his native city in 1627 where he continued to

masks:
Daniël Seghers
Daniel Seghers
Seghers


texts:
 work as a painter for the remainder of this life. Seghers was visited in his studio in Antwerp by the Cardinal-Infante Ferdinand of Austria (in 1635), Archduke Leopold Wilhelm of Austria (in 1641), Queen Christina of Sweden and Charles II, King of England (both in 1649). He is known to have painted a cartouche of flowers for Charles II. His work was also much admired by his fellow artists, including Rubens. His pupils included Jan Philip van Thielen, Ottmar Elliger and Ignace Raeth and likely also Andries Bosman. Work

General
Seghers was exclusively a flower painter, mainly of cartouches and flower garlands as well as pure flower paintings. He was very prolific and 239 works are currently attributed to the artist.It is not easy to establish a chronology for Seghers' paintings since he only dated his works in the period 1635–1651. Possibly there was a stylistic development in his flower garlands from the initial almost uniform garlands towards garlands composed of three or four groups of flowers. Stylistically, there is clearly in his early work a recognisable influence of Jan Brueghel the Elder. From 1630 on Seghers strived for a livelier painting of flowers in arrangements that look more natural. His flowers in this later period light up against a dark background and have a sculptural character. Like his master Brueghel, Seghers used flowers and plants that grew in his home country and in particular cultivated garden flowers and he did not respect the blooming seasons of the flowers he painted together. He had a preference for locally-grown roses and tulips that are just about to bloom.In his detailed rendering of flowers and plants, Seghers betrayed the skill of a miniaturist. Many of Seghers' paintings are oil on copper, a


texts:
 support often used for cabinet paintings. Garland paintings
A majority of Seghers' work is in a distinctively Flemish genre, which is referred to as 'garland paintings'. Garland paintings are a special type of still life developed in Antwerp by Seghers' master Jan Brueghel the Elder in collaboration with the Italian cardinal Federico Borromeo at the beginning of the 17th century. Other artists involved in the early development of the genre included Hendrick van Balen, Andries <mask>, Peter Paul Rubens and Seghers himself. The genre was initially connected to the visual imagery of the Counter-Reformation movement. It was further inspired by the cult of veneration and devotion to Mary prevalent at the Habsburg court (then the rulers over the Southern Netherlands) and in Antwerp generally.Garland paintings typically show a flower garland around a devotional image, portrait or other religious symbol (such as the host). By the second half of the century secular themes such as portraits and mythological subjects also decorated the central part of the many paintings made in this fashion. Seghers innovated the concept of his teacher Brueghel by including a stone cartouche as the framing elements for the flower garland. He also painted garland paintings of the Pietà in which the flowers were substituted by thistles, thorns, deadly nightshade and other noxious plants as a reference to crown of thorns and the suffering of Christ. An example is the early collaboration with Poussin (Musée Thomas-Henry) for which Poussin painted the Pietà figure and Seghers the garland. Garland paintings were usually collaborations between a still life and a figure painter. Seghers himself generally only painted the flowers and the central subject was


texts:
 filled in later by another artist.This spirit of artistic collaboration, which was seen in the earliest flower garland paintings by Jan Brueghel the Elder and Peter Paul Rubens, is, in fact, a notable quality of Flemish painting in 17th-century Antwerp. While many of Seghers' collaborators on his garland paintings were anonymous local artists, he often collaborated with leading Antwerp figure painters. There is often uncertainty or disagreement about the identity of collaborators on specific artworks even though Seghers himself compiled a list of the flower still lifes, which he had painted and the patrons for whom he had painted them. In the catalogue he gave a description of each of his paintings, his collaborator and the number of paintings he produced. As the catalogue is incomplete, the collaborators are not always known with certainty. It is known he often worked with Cornelis Schut, Erasmus Quellinus II, Abraham van Diepenbeek, Simon de Vos, Jan van den Hoecke, Gonzales Coques and Rubens. Thomas Willeboirts Bosschaert is also mentioned as his collaborator.It is possible that Seghers collaborated with Rubens on a garland painting for the Saint Carolus Borromeus church in Antwerp. During his stay in Rome he also collaborated with Poussin and Domenichino. Unlike in his later collaborations, Seghers is believed to have added flower garlands to existing paintings by Domenichino during his residence in Rome. The garland paintings are often of a large size. The Saint Ignatius in a cartouche with flowers and cherubs (Royal Museum of Fine Arts Antwerp), which measures about 190 to 299 cm and includes not only a cartouche painted by Cornelis Schut but also angels attributed to Jan van Balen. Reception
<mask>' art was widely


texts:
 admired during his lifetime, generating great interest from collectors. His style was continued and followed by others including Jan Philip van Thielen, Andries Bosman, Jan Anton van der Baren, Frans Ykens and Jan van den Hecke.His work influenced artists such as Jan Davidsz. de Heem in Antwerp and Juan de Arellano in Madrid. His paintings were highly prized and collected at the court of Frederik Hendrik in The Hague. There, the art collector and secretary to the prince Constantijn Huygens praised the paintings in poetry and corresponded numerous times with the artist, writing that one could almost smell the flowers. The Dutch poet Joost van den Vondel also wrote highly of Seghers' paintings. Other collectors included Christina of Sweden, Charles I, Philip IV of Spain, Maria de' Medici, Charles II, who visited the artist in 1649, and Archduke Leopold Wilhelm of Austria, the Italian collector Scipione Borghese and the Antwerp collector and patron of Anthony van Dyck, Cornelis van der Geest. His paintings were usually not sold through traditional contacts such as art dealers, but were instead presented as gifts by the Jesuit order and used for the adornment of churches.They served as stimulants to religious contemplation and as powerful instruments of diplomacy. In 1631, for example, Seghers sent a painting of a Crown of Flowers to Marie de' Medici on the occasion of her visit, together with the Infanta Isabella, to the College of St. Ignatius. His compositions clearly carried a symbolic and devotional element, which was in line with the doctrines of the Jesuits. References

External links

1590 births
1661 deaths
Flemish Jesuits
Flemish Baroque painters
Flemish still life painters
Painters from Antwerp
Artists from


texts:
<mask>

<mask> holds a personal best of 9.93 seconds for the 100 m, which is a Saint Kitts and Nevis national record and a M40 world record for men over 40.This makes him the only man over forty years of age to break the 10-second barrier. His indoor personal best of 6.47 seconds for the 60 m is a national record and a M35 world record. <mask> was the bronze medallist over 200 m at the 2001 World Championships in Athletics and became the 100 m champion at the 2002 Commonwealth Games. He won a silver medal over 60 metres at the 2003 IAAF World Indoor Championships, before going on to take his outdoor crown. He also won sprint medals at the 2005 World Championships, 2008 IAAF World Indoor Championships and 2011 World Championships. A dispute with the Saint Kitts and Nevis administrators saw <mask> dropped from the 2012 Olympic Games and he did not return to international duty until 2015. Biography
<mask> competed in college for Texas Christian University.He competed on behalf of his country in the 1996, 2000, 2004, 2008, and 2016 Summer Olympics. <mask> made his debut at major championship at the 1996 Olympics, where he qualified for the second round in the 100 m.  He improved quickly, and at the 2000 Summer Olympics, he became the first athlete from his nation to qualify for an Olympic final, finishing 7th in the 100 m. The next year, <mask> would win St. Kitts' first World Championship medal, when he tied for the bronze medal in the 200 m.

At the 2002 Commonwealth Games, he won his first major title. After the 100 m race, which <mask> won after two other favourites pulled out of the final with injuries, he failed a doping test, testing positive for the steroid Salbutamol. However, it was found that the banned substance was part of the asthma medication <mask> had been taking for several years, but had neglected to mention to the medical commission. <mask>

masks:
Kim Collinsis
Collins
Collins
Collins
Collins
Collins
Collins
Collins
Collins
Collins


texts: eventually was allowed to keep his title, and got away with a warning. <mask> was featured on a set of two stamps from St Kitts issued in 2002. The 100 m at the 2003 World Championships became the biggest triumph of his career.With Olympic and World Champion Maurice Greene eliminated in the semi finals, the field was wide open. In a very close race, where the top four athletes finished within 0.02 seconds, <mask> won and became the first world champion from Saint Kitts and Nevis. At the 2004 Olympics, <mask> again made the final of the 100, finishing 6th. At the 2005 World Championships, <mask> claimed a bronze medal in the 100 m behind Justin Gatlin and Michael Frater though he was given the same time as the latter. Finishing fourth in his heat, <mask> qualified for the finals in the men's 200 m race in the 2008 Beijing Olympics and finished in sixth place on 20 August 2008. He competed at the 2009 World Championships and reached the quarter-finals of the competition, but he was eliminated after finishing in fourth place behind eventual finalists Asafa Powell, Darvis Patton and Marc Burns. He announced his retirement from international athletics in September that year, bringing an end to a career that spanned almost 17 years.<mask> returned to athletics on 29 January 2011 at the Aviva International Match in Glasgow, reversing his retirement at the age of 34, and he finished fourth in the 200 metres. He then won at the Russian Winter Meeting in Moscow. He set a 60 m personal best and national record of 6.52 seconds to win at the PSD Bank Meeting in Düsseldorf, overhauling his best mark which he had set nearly eleven years earlier. That time did not stand for as long, however, as he ran 6.50 seconds in the heats of the BW-Bank Meeting a few days later. <mask> won both his heat and semi-final races in the 100m at the 2011 World Championships before finishing

masks: Collins Collins Collins Collins Collins Collins Collins


texts: third and winning a bronze medal in the final after the disqualification of Usain Bolt. At the men's 4 × 100 m relay qualifying heats, <mask> ran the second leg for the St Kitts and Nevis relay squad and helped clock a national record of 38.47, leading to St. Kitts and Nevis' first-ever final. The last event saw <mask> team up with Jason Rogers, Antoine Adams and Brijesh Lawrence to clock 38.49 to win the bronze medal.At the XVI PanAmerican Games in Guadalajara 2011, <mask> broke the 28-year-old PanAmerican Games record with a time of 10.00 in the early heat. He finished second in the finals to Jamaica's Lerone Clarke. His silver medal was the first-ever medal for St. Kitts and Nevis at the Pan-Am Games. <mask> was expelled by his team from the 2012 Summer Olympics in London on 4 August 2012 for missing training sessions. He said he was being punished for spending time with his wife. <mask> was the oldest sprinter at 2016 Summer Olympics, his fifth consecutive appearance at the Olympics. While most sprinters peak in their 20s, <mask> set his personal record after reaching the age of 40, and became the first individual to run a sub-10 second 100 m dash in the process.He ran a 9.93 100 m dash, which was fast enough to qualify for Rio. He competed in both the 100 m sprint and 4 × 100 m relay. <mask> was the only St. Kitts and Nevis athlete to make it out of the first round. He finished his heat with a time of 10.18 and fourth place. He improved his time in the semifinals, finishing with a time of 10.12. This put him in sixth place and he did not advance to the finals. In 2018 <mask> announced his retirement, he competed at the 60m at the 2018 IAAF World Indoor Championships.His last performance at a World Championship. 25 August was declared <mask> Day by the government of St. Kitts and Nevis in honour of <mask>’ gold at the World Championships in Paris, France

masks:
Collins
Collins
Collins
Collins
Collins
Collins
Collins
Collins
Kim Collins
Collins


texts:
<mask> (born November 25, 1990), known by her stage name <mask>, is an American rapper, singer, dancer and actress. Signed to N.E.E.T. Recordings, she released her first mixtape RYEot PowRR in 2011 and her anticipated debut album Go! Pop! Bang! on May 15, 2012. In early 2009, MSNBC listed <mask> as one of the "5Top: Top of the pops!Up-and coming young singers." In 2011, <mask> <mask> was named one of Billboard 's "21 Under 21". <mask> <mask> made her acting debut in the 2012 film 21 Jump Street. Career

Early career
<mask> <mask> began performing at the age of 16. She wanted to join the music industry because she felt there was potential there, adding "I love performing, singing, dancing, all of that and I felt that given the opportunity I would destroy it." She met the musician Blaqstarr, a friend of her sister's, and worked with him on her early material after leaving a rap verse on his answering machine. On this process she notes "I used to like to write poetry and stories.One day I was home, bored, and started to compose songs." Her song "Shake It To The Ground,"  produced in collaboration with Blaqstarr, was a club hit in 2006, leading to local speculation that <mask> <mask> could be a fresh, new female success within hip hop music. A meeting between <mask> <mask>, M.I.A. and Diplo in a studio in 2006/2007 was arranged by Blaqstarr after the song caught M.I.A. 's attention. Blaqstarr told <mask> Rye somebody wanted to meet her, but refused to say more. Although upon meeting them <mask> <mask> did not know who they were, M.I.A.told the rapper

masks:
Ryeisha Berrain
Rye Rye
Rye Rye
Rye
Rye
Rye
Rye
Rye
Rye
Rye
Rye
Rye
Rye
Rye
Rye
Rye


texts: that she had been looking for her. At the time, <mask> <mask> was in her junior year at Dr. Samuel L. Banks High School. She toured with M.I.A. during the KALA Tour in fall and winter of 2007, which included opening for her during the CMJ Music Marathon and dates in the United Kingdom in 2007, the People Vs. Money Tour in early 2008 and briefly with Afrikan Boy. They both appeared in M.I.A. 's 2007 music video for the song "Paper Planes." Go!Pop! Bang! Rye Rye was the first artist signed to M.I.A. 's record label N.E.E.T., imprint of Interscope Records. Her debut album, titled Go! Pop! Bang!was set to come out in March 2009, but its release was delayed. In the interim, she recorded guest verses for other songs. She performed the song "Get it from my Mama" with Blaqstarr and M.I.A. in live performances; other recordings completed but not confirmed for her album included "Gangsta Girl" with Zakee, "Bang" with M.I.A., "Wassup Wassup" with DJ Diplo, "Hardcore Girls" with The Count & Sinden and "Reasons" as well as "Older Man", a song about falling in love with someone twice your age, and "Quit Swinging." A music video for "Shake It To The Ground" was made. <mask> <mask> appears on M.I.A. 's remix of Busy Signal's "Tic Toc" and she performed in Sweden in summer of 2008, featuring on the rapclash remix of Adrian Lux's single "Strawberry".She features on a remix of M.I.A. 's "Paper Planes" with Afrikan Boy, which she performed during her 2007 live dates on the Kala Tour and appears on the Paper Planes - Homeland Security Remixes EP. In an interview with

masks: Rye Rye Rye Rye


texts: Nylon during the making of "Bang", M.I.A. described <mask> <mask> as "the voice of Baltimore". <mask> <mask> also worked with The Neptunes while recording her debut. In October 2008, she performed the song "Paper Planes" with Pharrell Williams and a pregnant M.I.A. at the Diesel XXX party at Pier 3 in Brooklyn.<mask> <mask> is featured on the Crookers debut album, Tons of Friends, rapping on the track, "Hip Hop Changed". <mask> <mask> also appears on a track by Tel-aviv based Soulico called "Exotic On The Speaker". <mask> <mask> is featured on the track "Have You Heard?" by Ceci Bastida. She song "X Girl" for the electro-duo Teenage Bad Girl's second album "Backwash". <mask> <mask>'s single "Bang" (featuring M.I.A.) appeared on the Fast & Furious motion picture soundtrack, and she released her M.I.A.-directed video for the track in 2009.Rolling Stone called the track "gloriously showoffy". <mask> <mask>'s performance at SXSW  in 2010 was well received by critics and festival goers. She performed at the Winter Music Conference in Miami before opening for indie rock band The Gossip in April 2010. On February 9, 2011, <mask> <mask> put up her pre-album mixtape RYEot PowRR for download, along with a video to her remix of Miley Cyrus' "Party in the U.S.A.". After several date changes, an official release date for Go! Pop! Bang!was announced for February 22, 2011. However, the album did not come out and is presently slated for a Fall 2011 release. <mask> <mask> performed at the 2010 Alexander Wang fashion week after party. The first single to be lifted

masks: Rye Rye Rye Rye Rye Rye Rye Rye Rye Rye Rye Rye Rye Rye Rye Rye Rye Rye


texts:
 from her debut album Go! Pop! Bang! entitled "Sunshine", was released on October 5 and leaked online a day earlier.A music video with M.I.A. was shot in September 2010, and released on October 8. <mask> <mask> has recently joined M.I.A. to perform on her tour of international shows in 2010. On June 7, 2011, she released a second single "Never Will Be Mine" featuring Robyn. The video featuring the two artists premiered on June 15, 2011 and after two days, had been viewed 2,740,998 times. The song reached number 12 on the US Billboard Hot Dance Club Songs.<mask> <mask> also toured with Robyn, as well as Katy Perry and LMFAO on arena shows. <mask> <mask> released her single "New Thing" in 2011, which showcases and soundtracks fashion designer Prabal Gurung's collection and the 2011 "Women Go All In" Adidas advert. In April 2012, her single "Boom Boom" reached number 8 on the US Billboard Hot Dance Club Songs. Departure from N.E.E.T. Recordings
In a 2016 interview, <mask> <mask> revealed that she had left N.E.E.T. Recordings, claiming that "N.E.E.T. kinda  just folded.M.I.A. was focusing on her own stuff, [and] never really put that much time into the label", and that she was planning on releasing music independently. Acting
<mask> <mask> appeared in the film 21 Jump Street and recorded its main theme with Esthero. Artistry

Style and inspiration
The LA Times described her music as a "hardcore club sound." <mask> <mask> collaborated on the album with executive producer, co-writer and stylist M.I.A., whom <mask> <mask> described as her fashion icon.

masks: Rye Rye Rye Rye Rye Rye Rye Rye Rye Rye Rye Rye Rye Rye


texts:
 Rolling Stone described Go! Pop!Bang! as "the hip-hop album most likely to set the club on fire" while Paper stated the album "will take over car stereos one impossibly ear-catching kinetic party jam at a time." Bust described her debut album as "Baltimore grime at its best." She told Rap-Up TV that she was also a fan of clothing designer Jeremy Scott. Speaking of the ease at which writing her lyrics comes to her, <mask> <mask> notes that listening to her songs' beats repeatedly in the studio helps her to focus. <mask> <mask> has spoken of her intention to work with Chris Brown, Lil Wayne, Rihanna and Jay-Z as well as a Disney Channel artist to reach out to child audiences. She says, "Of course I want to work with artists that can dance so in saying that I have to say that Ciara is someone I really want to work with, as that girl have moves.Not forgetting Ms. Missy Elliott of course as I think her videos are crazy." Influence
<mask> is the muse of fashion designer Prabal Gurung. Music critics have noted similarities between the style of the music video in the song "What You Talking About!?" by Redlight, featuring Ms. Dynamite, with that of M.I.A. and <mask> Rye. Discography

Albums
Go! Pop!Bang! (2012)

Mixtapes
RYEot PowRR (2011)

Singles
"Bang" (featuring M.I.A.) (2009)
"Sunshine" (featuring M.I.A.) (2010)
"Never Will Be Mine" (featuring Robyn) (2011)
"New Thing" (2011)
"Boom Boom" (2012)
"21 Jump Street" (featuring Esthero) (2012)

As featured artist
"Shake It To The Ground" (2007) (Blaqstarr featuring <mask> <mask>)
"Paper Planes (Blaqstarr

masks: Rye Rye Rye Rye Ryeye Rye Rye Rye


texts:
was a Japanese mountaineer, author, and teacher. She was the first woman to reach the summit of Mount Everest and the first woman to ascend the Seven Summits, climbing the highest peak on every continent. <mask> wrote seven books, organized environmental projects to clean up rubbish left behind by climbers on Everest, and led annual climbs up Mount Fuji for youth affected by the Great East Japan Earthquake. An astronomer had named asteroid 6897 Tabei after her and in 2019, a mountain range on Pluto was named Tabei Montes in her honour. Early life

<mask> was born on 22 September 1939 in Miharu, Fukushima, the fifth daughter of seven children. Her father was a printer. She was considered a frail child, but nevertheless she began mountain climbing at the age of ten, going on a class climbing trip to Mount Nasu.She enjoyed the non-competitive nature of the sport and the striking natural landscapes that came into view upon reaching the top of the mountain. Although she was interested in doing more climbing, her family did not have enough money for such an expensive hobby, and Ishibashi made only a few climbs during her high school years. From 1958 to 1962, Ishibashi studied English and American literature at Showa Women's University. She initially planned on a career as a teacher. After graduation, she returned to her earlier passion for climbing by joining a number of men's climbing clubs. While some men welcomed her as a fellow climber, others questioned her motives for pursuing a typically male-dominated sport. Soon, Ishibashi had climbed all the major mountains in Japan, including Mount Fuji.When she was 27, Ishibashi married Masanobu <mask>, a mountaineer she had met during a climbing excursion on Mount Tanigawa. The couple eventually had two children: a daughter, Noriko, and a son, Shinya. Career

Early climbing expeditions
In 1969, <mask> <mask> established the Joshi-Tohan Club (Women's Mountaineering Club) for women only. The club's slogan was "Let's go on an overseas expedition by ourselves", and the group was the first of its kind in Japan. <mask> later stated that

masks:
Tabei
Junko Ishibashi
Tabei
Junko
Tabei
Tabei


texts:
 she founded the club as a result of how she was treated by male mountaineers of the time; some men, for example, refused to climb with her, while others thought she was only interested in climbing as a way to find a husband. <mask> helped fund her climbing activities by working as an editor for the Journal of the Physical Society of Japan. The Joshi-Tohan Club embarked on their first expedition in 1970, climbing the Nepalese mountain Annapurna III.They successfully reached the summit using a new route on the south side, achieving the first female and first Japanese ascent of the mountain. <mask> and one other member, Hiroko Hirakawa, were chosen to complete the final climb to the top, accompanied by two sherpa guides. The climbers had brought a camera, but the temperature was so cold that the camera's film cracked. From her experience in the Annapurna III ascent, <mask> realized that she and the other Japanese women had sometimes struggled to reconcile traditional Japanese values of quiet strength with the more immediate practical needs of mountaineering. Many Joshi-Tohan Club members were initially reluctant to admit they did not know something or needed assistance, preferring to keep a stoic silence, but mountain climbing forced the women to acknowledge their personal limits and accept help from each other. 1975 Everest expedition

After <mask> and Hirakawa successfully summited Annapurna III on 19 May 1970, the Joshi-Tohan Club decided to tackle Mount Everest. The club created a team known as the Japanese Women's Everest Expedition (JWEE), led by Eiko Hisano, which would attempt to summit Mount Everest.JWEE contained 15 members, most of them working women who came from a range of professions. Two of the women, including <mask>, were mothers. They applied for a climbing permit for Everest in 1971, but had to wait four years to receive a place in the formal climbing schedule. <mask> helped to find sponsors for the expedition, although she was frequently told that the women "should be raising children instead". She was able to obtain last-minute funding from the Yomiuri

masks: Tabei Tabei Tabei Tabei Tabei Tabei


texts: Shimbun newspaper and Nippon Television, but each group member still needed to pay 1.5 million yen (US$5,000). <mask> taught piano lessons to help raise the necessary funds. To save money, <mask> made much of her own equipment from scratch, creating waterproof gloves out of the cover of her car and sewing trousers from old curtains.After a long training period, the team made the expedition in May 1975. The group attracted much media attention with their plans, and the 15 women were initially accompanied by journalists and a television camera crew as they began their climb. They used the same route to ascend the mountain that Sir Edmund Hillary and Tenzing Norgay had taken in 1953, and six sherpa guides assisted the team for the full span of the expedition. On 4 May, the team was camping at  when an avalanche struck their camp. <mask> and four of her fellow climbers were buried under the snow. Tabei lost consciousness until sherpa guides dug her out. Luckily, there were no casualties.Bruised and injured by the incident, <mask> could barely walk and was forced to spend two days recovering. As soon as she was able, however, she resumed the expedition and continued leading her team up the mountain. Although the team had originally planned to send two women up to the peak of Everest (accompanied by a sherpa), a bout of altitude sickness meant that the team's sherpas could not carry the number of oxygen bottles required to accommodate two climbers. Only one woman could continue. After much discussion, Hisano nominated <mask> to complete the climb. Nearing the peak, Tabei was furious to discover that she would have to cross a thin, hazardous ridge of ice that had gone completely unmentioned in accounts made by previous expeditions. She crawled along it sideways, later describing it as the most tense experience she had ever had.Twelve days after the avalanche, on 16 May 1975, with her sherpa guide Ang Tsering, <mask> became the first woman to reach the summit of Everest. <mask> was showered with attention as a result of her achievement. In Kathmandu, a parade was held in her

masks: Tabei Tabei Tabei Tabei Tabei Tabei Tabei


texts:
 honour. On her return to Japan, she was received at the Tokyo airport by thousands of cheering supporters. She received messages from the King of Nepal and the Japanese government, a television miniseries was made about the Everest expedition, and <mask> made personal appearances across Japan. However, <mask> remained uncomfortable with this level of fame. She later told media that she preferred to be remembered as the 36th person to summit Everest: "I did not intend to be the first woman on Everest."Later activities

After her Everest expedition, <mask> continued her mountaineering pursuits, eventually climbing the highest mountain on each continent: Kilimanjaro (1980), Mt. Aconcagua (1987), Denali (1988), Mt. Elbrus (1989), Mount Vinson (1991), and Puncak Jaya (1992). Upon her successful climb of Puncak Jaya, she became the first woman to complete the Seven Summits challenge. By 2005, <mask> had taken part in 44 all-female mountaineering expeditions around the world. She had a personal goal of climbing the highest mountain in every country in the world, and by the end of her lifetime she had completed at least 70 of these mountains. She never accepted corporate sponsorship after Mount Everest, preferring to remain financially independent.She saved money to fund her expeditions by making paid public appearances, guiding mountain-climbing tours, and tutoring local children in music and English. <mask>'s friends and supporters sometimes donated food and equipment. In addition to her climbing, <mask> worked on ecological concerns; in 2000, she completed postgraduate studies at Kyushu University focusing on the environmental degradation of Everest caused by the waste left behind by climbing groups. <mask> was also the director of the Himalayan Adventure Trust of Japan, an organization working at a global level to preserve mountain environments. One of the trust's projects was to build an incinerator to burn climbers' rubbish. She also led and participated in "clean-up" climbs in Japan and the Himalayas alongside her husband and children. In May 2003, a celebration was held in


texts:
 Kathmandu to celebrate the 50th anniversary of the first successful summit of Mount Everest, and crowds of Nepalese people gathered to cheer a procession of past Everest climbers.<mask> and Sir  Edmund Hillary were given a special place in the festivities for their respective achievements. Between 1996 and 2008, <mask> wrote and published seven books. Following the Great East Japan Earthquake in 2011, <mask> began organizing annual guided excursions up Mount Fuji for schoolchildren affected by the disaster. Death and legacy
<mask> was diagnosed with stomach cancer in 2012, but continued with many of her mountaineering activities. In July 2016, despite her advancing illness, she led an expedition of youth up Mount Fuji. She died in a hospital in Kawagoe on 20 October 2016. Before <mask>'s death, an astronomer had named asteroid 6897 Tabei after her.On 22 September 2019, Google commemorated the 80th anniversary of her birth with a Doodle. The accompanying write-up gave her motivation slogan, "Do not give up. Keep on your quest." On 19 November 2019, a mountain range on Pluto was named Tabei Montes in honour of <mask>'s mountaineering accomplishments. The theme for naming mountains on Pluto is "Historic pioneers who crossed new horizons in the exploration of the Earth, sea and sky". See also
List of 20th-century summiters of Mount Everest
List of climbers and mountaineers
List of female explorers and travelers
List of Mount Everest records
List of women's firsts
Timeline of Mount Everest expeditions

References

Further reading
 <mask>, <mask> (2017). Honouring High Places: The Mountain Life of <mask> <mask>.Rocky Mountain Books Ltd. . External links

2013: Portrait Painting of <mask> <mask>
First Woman to Climb Mt. Everest Returns on NBC News
Official website for <mask> <mask> (in Japanese)
Seven Summits profile

1939 births
2016 deaths
People from Fukushima Prefecture
Female climbers
Japanese mountain climbers
Japanese summiters of Mount Everest
Summiters of the Seven Summits
Female polar explorers
Kyushu University alumni
Deaths from cancer in Japan
Showa Women's

masks: Tabei Tabei Tabei Tabei Tabei Tabei Tabei Junko Junko Tabei Junko Tabei Junko Tabei


texts:
is a Japanese actress, TV Personality and was also a former AV idol who was very popular in the early 2000s. Life and career
<mask> was born in Hiroshima. Her family moved to Tokyo when she was a little girl. At age 18, when she graduated from high school and began design school, she met a scout who proposed she become an AV idol. "That time, my hair was bleached and curly. My agency told me to get my hair back to straight black. One day in the office, one staff picked Oikawa as family name from a book, another staff picked Nao from another book.This is where my stage name came from." AV career
 Debut
Oikawa's debut was not easy. AV producers did not think that she had special talent in their genre. She used her time for studying popular porn stars' acting (especially, she learned many things from Kurumi Morishita). Finally, Oikawa made her debut adult video at age nineteen for the Media Station Cosmos Plan label in September 2000. Then she released some videos from Alice Japan, Momotaro, etc., but she could not get big success. In her first year of adult work, she made only a few videos, including a softcore V-Cinema movie, Virgin Teacher Hinako in September 2001.Taking off
In Spring 2002, Oikawa began an association with the new KMP Million label, most of them under the direction of Goro Tameike. She said that Tameike showed her the way to go. Her first video with KMP and Tameike, Another Side of Nao Oikawa, involved anal sex and forced fellatio. One of her male partners is famed porn actor Taka Kato About


texts:
 same time, she began to work with Soft On Demand and Moodyz which produced her most popular AV works. More than half of her AV work are produced in 2002. KMP exclusive
In Spring 2003, Oikawa signed exclusive contract with KMP which continued until her retirement. Together with Ran Monbu, Saori Kamiya and Hitomi Hayasaka, she was part of the exclusive group of actresses that KMP used for promotion under the name .Another Side of Nao Oikawa 2, was even more hardcore with lesbian strap-on sex, forced fellatio and vomiting, multiple partner fellatio and vibrator play. Once again Taka Kato takes part in the action. On a gentler note, Oikawa appeared with Kurumi Morishita in a June 2003 production by KMP entitled Forest in Nude. Directed by TOHJIRO, this lesbian genre video is a "soft, bittersweet story of two friends who remember the days of their youth and the sexual experiences they had". Popularity and recognition
At her peak, Oikawa was one of the most popular and well-known AV Idols in Japan. In 2003 (the earliest date available) she was #1 in the DMM list of the 100 top-ranked actresses by sales on their website. In 2004, even though she had retired in mid-year, she was still ranked #2, and even in 2005 she made the top 50 at #42.There have since been numerous re-issues and compilations of her earlier videos. Oikawa, along with fellow AV actress Mariko Kawana, actor Taka Kato, director Goro Tameike and Soft On Demand founder Ganari Takahashi, was among the 17 people interviewed for Misato Nakayama's study of


texts:
 professionals in the adult industry, , published in January 2006 by Ohzora (). In 2012, the major Japanese adult video distributor DMM held a poll of its customers to choose the 100 all-time best AV actresses to celebrate the 30th anniversary of adult videos in Japan. Oikawa finished in 42nd place in the voting. Actress and TV personality
 TV appearances
Like AV idols Nana Natsume and Sora Aoi, Oikawa has been able to use her fame in the AV industry to enter mainstream media work. Soon after her retirement from adult videos, she acted in and directed an episode of the Japanese TV horror series Fantazuma: Cursed House or Fantazuma: Noroi no yakata (ファンタズマ〜呪いの館〜) which aired on TV Tokyo in July 2004. She also played a role in the 2004 comedy-horror TV series  directed by Takashi Shimizu on TV Tokyo.From 2005 to 2006, Oikawa appeared on various midnight TV show including Ikari Oyaji 3. SFX actress
On November 11, 2005 Oikawa made a guest appearance in the 6th episode of GARO. It was her first appearance on Tokusatsu sfx series. GARO'''s action director Makoto Yokoyama says Oikawa's supple body is suitable to sfx action. On November 9, 2007 she made a guest appearance in the 6th episode of Tsuburaya Productions mini-series Ultraseven X.Oikawa was cast as Negi's advisor "Shizuna Minamoto" in the 2007-08 late-night TV Tokyo series Negima! : Magister Negi Magi based on the manga of the same name about a young male wizard from Wales (Negi, played by a 13-year-old girl) and his 31 female students. Not same as above are


texts:
 all midnight dramas, Oikawa played the role of villainess Kegalesia in the TV Asahi tokusatsu TV series for kids Engine Sentai Go-onger which ran from February 17, 2008, through February 8, 2009.In the September 21, 2008 episode, Oikawa and her co-stars Rina Aizawa and Yumi Sugimoto teamed up as the one-off G3 Princess singing group, releasing both an EP and a CD box set featuring the group's song G3 Princess Rap ~Pretty Love Limited~ and Oikawa's solo character song Utopia. She also appeared in the Kamen Rider Decade epilogue portion of the December 2009 film Kamen Rider × Kamen Rider W & Decade: Movie War 2010 as the Bee Woman of Shocker. Other activities
From November to December 2007 Oikawa performed her first lead stage role in a three-person drama called Night Mess. In September 2010 she will take a role in a vampire drama called Blood Prisoner. Some staff members and actors in both dramas are tokusatsu specialists. Oikawa's family enjoys playing Mahjong as a recreational activity. As a result, she has over 20 years' experience playing the game.Using this experience, she frequently appears in Mahjong related V-Cinemas, TV shows, and various events. Filmography

 Film and V-Cinema

TV Drama

 Variety DVD

 Adult videos

Note
(1) Cosmos Plan: Partially included in "Maximum Nao Oikawa"(ASIN:B0029AJQ2C). (2) Alice Japan: Partially included in "Alice Pink File Nao Oikawa"(ASIN:B003L14PME). (3) Alice Japan: Remastered and reproduced with original title. (4) Momotaro: Included in "Scramble" 1,