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<mask> (born July 20, 1973) is an American actor, rapper, and producer. He has been awarded nine NAACP Image Awards, two Teen Choice Awards, one MTV Movie Award, one Black Reel Award, and one Screen Actors Guild Award. <mask>'s film roles include Juice, Higher Learning, The Wood, In Too Deep, and Love & Basketball. His television work includes the role of Dr. Dennis Gant on the medical drama series ER, J. Martin Bellamy in Resurrection, Dr. Eric Foreman on the Fox medical drama series House from 2004 to 2012, and Isaac Johnson in the TV series Shooter from 2016 to 2018. Early life
<mask> was born in Brooklyn, New York. His parents divorced during his childhood and he was raised by his mother, <mask>, an elementary school principal. He lived in several Brooklyn neighborhoods while growing up (Bedford-Stuyvesant, East New York, and East Flatbush).Before he started acting, he belonged to a rap group called Wolfpack, which he formed with his cousin in 1991. He began writing poetry, short stories, and songs at the age of ten and attended the Fiorello H. LaGuardia High School of Music & Art and Performing Arts. Career
Early in his career, <mask> was most often cast in the roles of troubled teens and/or athletes. He made his feature film debut with rapper Tupac Shakur as the star of cinematographer Ernest Dickerson's directorial film debut Juice. <mask> followed up his performance in Juice as a DJ, by later playing a running back in the college football drama The Program alongside James Caan. <mask> starred in the film Deadly Voyage, and won the best actor award at the Monte Carlo Television Festival for portraying Kingsley Ofusu in this true story about African stowaways. The following year, he switched to baseball as co-star of Major League II, taking over the role of Willie Mays Hayes from originator Wesley Snipes.His next athletic endeavor was playing a track and field star in John Singleton's Higher Learning, a look at the politics and racial tensions of college life. <mask> landed a role on the hit television drama ER for several episodes portraying Dr. Dennis Gant, a troubled surgical intern. After his television work on ER, <mask> returned to the big screen in 1997 with a brief turn as a giddy moviegoer on a date with a woman played by Jada Pinkett, who ends up an early victim of a psychopathic slasher in the blockbuster sequel Scream 2. Also in 1997, <mask> was the star of the fact-based HBO movie First Time Felon. He played a small-time criminal who goes through Chicago's boot camp reform system and undertakes a heroic flood rescue, only to then be faced with the adjustment of re-entering society with the mark of ex-con. In 1999 <mask> was cast as Linc in The Mod Squad. While The Mod Squad proved a critical and box-office bust, <mask>'s later 1999 effort The Wood offered him a serious and multi-dimensional role.Following a group of middle-class African Americans from youth to adulthood, The Wood, the debut effort from director-screenwriter Rick Famuyiwa, co-starred Richard T. Jones and Taye Diggs. Also in 1999, <mask> was featured alongside Stanley Tucci and LL Cool J, playing an undercover detective who finds himself caught up in the illegal goings-on he is investigating in In Too Deep. 1999 also saw him lens the 1950s set murder mystery When Willows Touch, with James Earl Jones and Jada Pinkett Smith. In 2000, <mask> starred in Love & Basketball, featuring Alfre Woodard and Sanaa Lathan. He portrayed Quincy, the NBA hopeful who has a stormy relationship with an equally adept female basketball star Monica, played by Lathan. <mask> also had supporting roles in a series of films, including Dracula 2000, Big Trouble, and the telepic Conviction. He also had a leading role as a gangster in Brother, a movie by  Japanese actor/director Takeshi Kitano.In 2004, <mask> landed the role of drug-dealer-turned-prizefighter Luther Shaw, who falls under the tutelage of boxing promoter Jackie Kallen (Meg Ryan) in the biopic Against the Ropes. <mask> was a character in the video game Def Jam Fight for NY in 2004. Also in 2004, <mask> returned to television medical drama with his role as Dr. Eric Foreman on the Fox television series House. The role earned him a NAACP Image Award in 2007, 2008 and 2013 for Outstanding Supporting Actor in a Drama Series. In 2014, <mask> took on the role of agent J. Martin Bellamy in the ABC television series, Resurrection. The series focuses on a number of individuals who return from the dead, and change the lives of their families and friends in Arcadia, Missouri. In July 2020, <mask> starred in the Netflix psychological thriller Fatal Affair.Personal life
<mask> married singer Keisha Spivey, from the R&B group Total, in 2006. They have two children, daughter K'mari Mae and son Amir. He also has a daughter, Aiyanna, from a previous relationship. He is fluent in Spanish and French. <mask> and actor/comedian Marlon Wayans are longtime friends and  high school classmates at LaGuardia High, both graduating in 1990. The 1997−1999 theme song used for the sitcom The Wayans Brothers was co-produced by <mask>, with Marlon and Shawn Wayans. In a 2018 interview, <mask> denied the long-standing rumor that he is related to fellow actor <mask>, saying, "Me and <mask> ain't related, though, we spoke like, 'Where you from?Where you from?'" <mask> authored an autobiographical book titled From Fatherless to Fatherhood that was released by Lulu Publishing in June 2018. <mask> serves on the Cultural Council of RepresentUs, a nonprofit organization that focuses on passing anti-corruption laws in the United States. In June 2020, he narrated an educational video for the organization about America's criminal justice system. Filmography

Film

Television

Discography
 <mask> Presents... The Get Back (2004)

References

External links

1973 births
Living people
Male actors from New York City
American male child actors
African-American male rappers
American male film actors
American male television actors
Fiorello H. LaGuardia High School alumni
Rappers from Brooklyn
20th-century American male actors
21st-century American male actors
African-American male actors
20th-century American rappers
21st-century American rappers
20th-century American male musicians
21st-century American male musicians
20th-century African-American musicians
21st-century African-American musicians

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<mask> (March 6, 1887 – October 29, 1975) was an American aviation pioneer,  industrialist and army officer. <mask> founded and led several corporations, including Consolidated Aircraft. Birth and early career
<mask> was born on March 6, 1887, to Lillian Waite and <mask> in Montesano, Washington. The <mask>s were a prosperous family; <mask> was city engineer and county auditor for Montesano, and owned large tracts of land in the Washington Territory. He also served as the city clerk. <mask> grew up in Grays Harbor, Washington. The Panic of 1893 wiped out the land holdings of the <mask>s and the family lived in much diminished conditions from the time <mask> was six until he was thirteen.At 15, <mask> attended Culver Military Academy where his uncle, <mask>, was superintendent. He spent his fourth and final year at the academy as the editor-in-chief of the cadet newspaper, the C.M.A. Vedette. Culver provided the equivalent of an associate degree, and after his graduation <mask> intended to continue his education at Stanford University. Deciding against going to Stanford immediately, in 1907 <mask> returned home, where he took the state teachers examination and began teaching all grades from first through eighth. After a number of months, <mask> set himself up as a realtor and resigned from teaching. It was also during this time that <mask> joined the Washington National Guard, as captain.In 1908, with a loan from Montesano State Bank for $1500, <mask> began investing in local real estate, which would eventually culminate in <mask> owning large tracts of timberland which he would subdivide and parcel out, often for railroad right-of-way or logging, for substantial profit. In March 1911, <mask>, a captain of a National Guard company, was ordered with his men to quell a civil disturbance organized by the Industrial Workers of the World, a militant labor organization. Later, from April through May <mask> and three other officers were assigned to San Diego, California, to keep track of the agitators who had moved south from Washington and Oregon, heading to Mexico. So impressed was <mask> with San Diego and its climate that he told himself that he would arrange to have his business in San Diego if he could. The promise was kept 24 years later when he relocated the Consolidated plant to San Diego from Buffalo, New York

Army career
Anticipating the entry of the United States into World War I Fleet closed his office in March 1917 and reported to the training facility of the Aviation Section of the Signal Corps, United States Army, in San Diego. Commissioned in the Army as a major, <mask> graduated Junior Military Aviator No. 74.He was then assigned as acting commanding officer of the 18th Aero Squadron, Training. During the war in Europe <mask> was the executive officer for Flying Training, Signal Corps Aviation Section, stationed in Washington, D.C., with temporary duty in England. His commanding officer was Colonel '<mask>' Arnold. In May 1918 <mask> was tasked with setting up the first scheduled U. S. Air Mail between New York and Washington, D.C., the Aerial Mail Service being jointly operated by the Department of War and U.S. Post Office Department. <mask> was appointed Officer-in-Charge of the Aerial Mail Service in addition to his duties as executive officer for Flying Training. <mask> successfully petitioned President Wilson personally to suspend the expansion of the air mail service to Boston until better equipment and facilities were created. <mask> was in charge of the airmail service in 1918 when the famous 24-cent Inverted Jenny postage stamp was printed in error.It became one of the rarest collector stamps of United States postage. In 2013 the United States Postal Service commemorated this issue by printing 2,182,000 Souvenir sheets. Each had six of the stamps (repriced at $2) surrounded by period images. Dressed as a World War I-era aviator, <mask> appears in the lower left quadrant of the sheet. <mask>'s next assignment was as the Army Air Service's chief aviation contracting officer, part of the Engineering Division, based at McCook Field. There he played key roles in the development of the turbocharger for aero applications and  the testing of a number of other aviation innovations, including the Loening PW-2A, the first American pursuit monoplane, and the de Bothezat helicopter. <mask> performed some of the flight testing himself.<mask> was awarded the Distinguished Service Medal for his service at McCook Field. With post-war budgets slashed and commissioned officers being reduced one rank <mask> felt he'd gone as far as he could in military aviation. On 30 November 1922, Thanksgiving Day, <mask>, his superior officer and the chief of the Power Plant Section announced to the press that they were resigning. Consolidated years
Upon resigning his commission <mask> accepted a position with Gallaudet Aircraft Company. <mask> arranged the merger between Gallaudet Aircraft Company and Dayton-Wright Company to create his own company, Consolidated Aircraft Company, in 1923. He hired Isaac Machlin Laddon, who had been in charge of design of heavy aircraft at McCook Field. One of his first goals was to secure the contract to design a twin-engine night bomber for the Army.Teaming with Sikorsky, they failed to win the competition with their S-37 design. Consolidated then went on to a long line of successful designs and lucrative contracts for seaplanes for the Navy. Starting with their XPY-1 of 1928, the company's string of successes culminated in one of the most numerous and successful seaplanes, the Consolidated PBY Catalina. Exploiting Fleet's experience in Army flight training, Consolidated produced a popular military training aircraft, the PT-11 (Consolidated Model 21) primary/advanced trainer. Leading Consolidated, Fleet founded or acquired a number of subsidiaries, including Fleet Aircraft to market civilian designs, Tonawanda Products Corporation to supply components, and Hall-Aluminum Aircraft Corporation. Among the companies acquired by Fleet during time was the Thomas-Morse Aircraft which was failing yet had outstanding contracts to  deliver. Fleet selected San Diego, California to relocate Consolidated from Buffalo, New York, where winter weather restricted seaplane operations.The move occurred in 1935. In November, 1941 <mask> elected to sell a majority of his shares in Consolidated to Vultee Aircraft. The resulting company, Consolidated Vultee Aircraft Corporation, became known as Convair. He continued on in the role of adviser and consultant for five more years. He also became a private consultant for Franklin D. Roosevelt. Consolidated went on to become a key supplier of heavy bombers with the widely produced B-24 Liberator playing a key role in the Allied strategic bombing campaigns, and the Convair B-36—the world's largest piston-engined bomber—filling a crucial gap in the Cold War years until jet-powered bombers became widely available. In August 1946, <mask> and his sister, Lillian, bought a parcel of land in Montesano and donated it to the city for use as a park named in honor of their parents.The city subsequently renamed Second Street to Fleet Street in their honor. Retirement and philanthropy
Leaving Consolidated, <mask> divided his time between his landmark home in Point Loma, California, the "Spanish Castle," and his residence in Palm Springs, California. During this time <mask> served on the California State Highway Commission. He was also active in the Institute of the Aeronautical Sciences (IAS),  the professional society for aeronautical engineers and researchers in related fields. IAS was founded in 1932 and was the predecessor of today's AIAA. In 1961 <mask> founded the San Diego Aerospace Museum to commemorate President Kennedy's commitment to land a man on the moon within this decade. In 1965 <mask> was invested in the International Aerospace Hall of Fame, and his portrait now hangs along with the other inductees' in the Hall of Fame's gallery within the San Diego Air and Space Museum.In 1967, <mask>'s son, Sandy, founded the Fotomat Corporation. In the early 1970s, <mask> largely funded construction of The Bishop Center for Performing Arts at Grays Harbor College in Aberdeen, Washington, in honor of E. K. "Ned" and <mask> Bishop. Lillian was <mask>'s sister, and "Ned" Bishop, a logging tycoon in western Washington state, was an early investor in Consolidated Aircraft. The Bishops left their fortune to a foundation that funds operation of the Bishop Center. The Reuben H. Fleet Space Theatre, now the Reuben H. Fleet Science Center, was established in San Diego in 1973 after an initial gift by his son <mask> and the rest of the <mask> family. It was the first science museum to combine interactive science exhibits with a planetarium and very large screen theater based on the IMAX film format, setting the pattern that most major science museums have since adopted. Personal life
<mask> married Elizabeth Girton on April 29, 1908, and they settled in Montesano, Washington.They had two children, <mask> and David Girton <mask>; David later became an executive with Consolidated and a real estate developer, creator of the upscale Fleetridge neighborhood in San Diego. <mask> and Elizabeth were divorced in 1920. In 1931 he married Dorothy Mitchell, and they had three children, Preston "Sandy<mask>, <mask>, and <mask>. <mask> went on to found the Fotomat Corporation. <mask> and Dorothy were divorced in 1944. He married Eva May VanDenburgh in 1947. <mask> died in San Diego, California, on October 29, 1975, at age 88 from injuries related to a fall.He was buried at Fort Rosecrans National Cemetery, Point Loma, San Diego, California. References

Further reading

1887 births
1975 deaths
Businesspeople from San Diego
Aviators from California
Aviation pioneers
Members of the Early Birds of Aviation
Businesspeople from Washington (state)
United States airmail pilots
People from Montesano, Washington
Culver Academies alumni
Aviators from Washington (state)
20th-century American businesspeople
Burials at Fort Rosecrans National Cemetery

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<mask> (born 30 January 1933) is a Canadian-born British professor of philosophy, who was Grote Professor Emeritus of the Philosophy of Mind and Logic, University College London. Biography
<mask> was born <mask> on 30 January 1933 in Baden, Ontario, Canada. An undergraduate at the University of Toronto, qualifying as B.A. (Hons) in Philosophy and English Literature, he came to University College London to study under the logical positivist and Grote Professor A. J. Ayer, graduating with a PhD in 1968. He has since lived in England and become a British citizen. After being a lecturer at the University of Sussex he became lecturer, reader, professor and then Grote Professor at University College London. He was visiting professor at the Graduate Center of the City University of New York, Yale and the universities of Bath and Calgary.He is author of many books and articles on such subjects as consciousness, determinism, qualia, functionalism, timings of sensory experiences, psychophysical intimacy, the correspondence theory of truth, Russell's theory of descriptions, time, causation, Mill's On Liberty, John Searle's view of free will and G. A. Cohen's defence of Marx's theory of history. He has also edited several series of philosophy books. He has been involved in controversy for his moral defence of Palestinian political violence, despite his justification of the founding and maintaining of Israel in its original 1948 borders. His papers in philosophical journals have been published in three volumes by Edinburgh University Press. He has appeared on radio and television, is the editor of The Oxford Companion to Philosophy, has written a philosophical autobiography, is chairman of the Royal Institute of Philosophy where he inaugurated the annual lectures subsequently published as Philosophers of Our Times, and he is an honorary associate of the National Secular Society. He is married to Ingrid Coggin Honderich. Consciousness
Honderich's theory of consciousness in the long book Actual Consciousness and the precis-book Your Being Conscious is What?Where? replaces entirely his philosophy of mind in A Theory of Determinism: The Mind, Neuroscience and Life-Hopes and the precis-book How Free Are You?. The new theory  derives from a database to the effect that being conscious, figuratively speaking, is something's being actual. This issues, by way of (a) speculation that disagreement about consciousness is significantly owed to no adequate initial clarification of the subject matter, and (b) examination of five leading ideas of consciousness and existing theories of consciousness, and (c) a specification of the objective physical world, into the wholly literal theory or analysis of the nature of consciousness called Actualism. It distinguishes three sides of consciousness: (1) perceptual consciousness—consciousness in perception, (2) cognitive consciousness, and (3) affective consciousness. In each case the theory satisfies the two primary criteria of explaining what is actual, and what its being actual consists in. In the case of perceptual consciousness what is actual is only a subjective physical world out there.I.e. being perceptually conscious is essentially or primarily a state of affairs external to the perceiver. Its being actual is its being subjectively physical, which is specified. In the case of cognitive and affective consciousness, what is actual is representations, internal to the conscious thing, and their being actual is their being subjectively physical, differently so from subjective physical worlds. Actualism argues, further, that it satisfies further criteria better than other existing theories of consciousness including one of subjectivity, individuality or personal identity, and that it is relevant to desires for human standing that are the motivation of beliefs in free will as against determinism. Actualism has been received as a new and arguable theory by philosophers who have previously declared the urgent need for one. A predecessor of the theory is discussed by 11 other philosophers in Radical Externalism: Honderich's Theory of Consciousness Discussed, ed.Anthony Freeman, Imprint Academic. Determinism and freedom
In A Theory of Determinism:  The Mind, Neuroscience and Life-Hopes and in the precis-book How Free Are You?, Honderich expounds a theory of causation as well as other lawlike connections. This he uses to formulate three hypotheses of a deterministic philosophy of mind. They are argued to be true, mainly on the basis of neuroscience. The clarity of determinism is contrasted with the obscurity of the doctrines of free will or origination. The centuries-dominant philosophical traditions of determinism and freedom, Compatibilism and Incompatibilism, are examined. According to the first, determinism is consistent with our freedom and moral responsibility; according to the second, it is inconsistent with them.Honderich considers Compatibilism's argument that our freedom consists in voluntariness, doing what we desire and not being coerced; hence its conclusion that determinism and freedom can go together. He also examines Incompatibilism's argument that our freedom consists in origination or free will, our choosing without our choosing's being caused; hence the conclusion that determinism and freedom are inconsistent. Honderich argues that both views are mistaken, since freedom as voluntariness and freedom as origination are each as fundamental to our lives. The real problem of the consequences of determinism is not choosing between the two traditional doctrines, but a more practical one:  trying to give up what must be given up, since we do not have the power of origination. <mask>'s rejection of both traditions has been taken up by other philosophers, many of whom find his criticisms decisive. Mind and brain
Honderich's Union Theory of mind and brain is defended in A Theory of Determinism. The Union Theory takes it as possible that conscious events like our choices and decisions are in a way subjective but are nevertheless physical rather than near-physical events.They stand in a kind of lawlike connection with neural events, sometimes called the supervenience of mental events on neural events. These psychoneural pairs, as Honderich calls them, are just effects of certain causal sequences, and are causes of our actions. This sort of physicalism, a predecessor to the notion of supervenience, has since been succeeded in <mask>'s writings by the near-physicalism of Radical Externalism. Radical Externalism holds that perceptual consciousness does not have a nomic sufficient condition in a head but only a necessary one. Honderich argues that reflective and affective consciousness are different again. He also argues that this is consistent with contemporary neuroscience, rescues us from the argument from illusion or brain in a vat, and also from the dubious conclusions of sense-data theory and phenomenalism. The Principle of Humanity
<mask> argues that the Principle of Humanity is that what is right always consists in what, according to the best available knowledge and judgement, are actually rational steps, effective and not self-defeating ones rather than pretences, to the end of getting and keeping people out of bad lives.Bad lives are defined as those deprived of six fundamental human goods:  a decent length of life, bodily well-being, freedom and power in various settings, respect and self-respect, the goods of relationship, and the goods of culture. It is a consequentialist principle, but not the principle of utility, nor of course the claim that the ends justify the means. Honderich argues that the principle is fundamental to but not the whole of a morality of humanity. This, he claims, includes certain policies of equality and inequality and certain practices, one being a better democracy than we have. Honderich concludes that the Principle of Humanity is better supported than any other sort of moral principle, on the basis of both consistency and certain facts. He takes it that non-consequentialist reasons are not really reasons at all, nor, he says, does the Principle grant any distinction between acts and omissions. International right and wrong, democracy, terrorism
Following 9/11, Honderich published After the Terror.The author first lays out premises for what he terms the "bad lives" and "good lives", of those living in Africa and in rich countries respectively. With respect to bad lives, <mask> argues that our omissions have resulted in 20 million years of possible living-time lost by a certain sample of Africans. He also considers the creation of Israel in 1948 and records what he describes as the bad lives of Palestinians as a result of what is called the neo-Zionist expansion of Israel since the 1967 war. Honderich asks whether those in the rich societies do wrong in doing nothing about bad lives. He considers natural morality as well as our worked-out or philosophical moralities. Such outlooks as political realism and such ideologies as liberalism and libertarianism are also considered, as is what Honderich calls 'hierarchic democracy'. The Principle of Humanity is used to judge our moral responsibility for the many bad lives, which Honderich tells us is great.The Principle also condemns the terrorist killings of 11 September as hideous. The killings were not rational means to an end that was partly defensible. The West's subsequent attack on Afghanistan is excused. But the taking from Palestinians of at least their freedom in the last fifth of their homeland, historic Palestine, is condemned. <mask> writes:  '...the Palestinians have had a moral right to their terrorism as certain as was the moral right, say, of the African people of South Africa against their white captors and the apartheid state'. <mask> claims that we need to see the power of our societies as deadly. Americans, first of all, because of their unique power, need to think more carefully about their

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 actions.He also argues that we should supplement our democracies with the transformations of the civil disobedience of Henry David Thoreau, Martin Luther King, Jr., Bertrand Russell, and those in Eastern Europe who brought down the wall. His later book, Humanity, Terrorism, Terrorist War:  Palestine, 9/11, Iraq, 7/7... begins by asking if analytic philosophy in considering large questions of right and wrong should proceed by embracing international law, human rights, just war theory or the like. <mask>, finding these means of judgement wanting, again takes up the Principle of Humanity. The book justifies and defends Zionism, defined as the creation of Israel in its original borders, but also reaffirms that Palestinians have had a moral right to their liberation—to terrorism within historic Palestine against what <mask> calls the ethnic cleansing of Neo-Zionism, the expansion of Israel beyond its original borders. After a further consideration of 9/11, there is an analysis of 10 reasons for what he calls 'our terrorist war' in Iraq. Honderich condemns the war as morally barbaric, given the foreseen and thus intentional killing of many innocents. In condemning the 7/7 terrorist attack on London, Honderich considers the importance of horror to morality.He also argues that Tony Blair and George W. Bush are friends rather than enemies of terrorism. The book ends with a postscript on the charge of anti-semitism against critics of neo-Zionism – a charge Honderich says is principally a part of Neo-Zionism or at least something insufficiently detached from it. In January 2011, Honderich wrote a letter to the Guardian on terrorism, in response to details released about the Israeli-Palestinian peace process:

Punishment
In Punishment:  The Supposed Justifications, Honderich surveys and analyses 14 traditional, backward-looking reasons for the justification of punishment by the state. Most have to do with desert or retribution, others with annulment or consent. All are found to be weak or worse. Honderich then argues that the strong tradition of punishment must have in it some real content or argument. This is found to be that punishment is justified by giving satisfaction to grievance-desires—doing no more than satisfying them.This, Honderich concludes, is the reality of retributivism, but it cannot be an effective justification of punishment. The Utilitarian prevention theory of punishment is also rejected, because it justifies certain victimisations. Mixed theories of punishment, drawing on backward-looking considerations as well as the notion of prevention, sometimes in terms of the reform of offenders, are also found to be untenable. Robert Nozick's theory in particular is examined. <mask>'s conclusion is that the long-running problem of the justification of punishment is now dead. Its justification must be in terms of its consequences—in discouraging and licensing certain kinds of behaviour. The live issue is determining what these are.<mask>'s answer has to do with the Principle of Humanity. Punishment is or would be justified when it rationally takes forward the humanisation of our societies. He argues, on the basis of this, that most punishments are in fact wrong. Conservatism
<mask>'s book Conservatism begins with a general inquiry into the distinctions between British and American conservatism. He argues that one [British conservatism?] has to do with eternal values and therefore with reform rather than change, a view underpinning Edmund Burke's condemnation of the French Revolution and all conservatives since. Other distinctions [between British and American conservatism or conservatism and other systems?]have to do with the right kind of political thinking and with human nature, with particular doctrines of incentive and reward, and with certain freedoms, including those of private property. Given these distinctions which set conservatism apart from other views, Honderich asks what underlies and brings these distinctions together. What is the rationale or underlying principle of conservatism? The answer he gives is not just that the conservative tradition is selfish. Its self-interest, he argues, does not distinguish it from other political traditions. What does distinguish it, Honderich concludes, is that it lacks a moral principle to defend its self-interest. It is unique in its amorality.Conservatism was enlarged as Conservatism:  Burke, Nozick, Bush, Blair? in 2005, and includes <mask>'s consideration of whether Britain's New Labour is truly in the conservative political tradition. Controversy
<mask> has been involved in controversy since the publication of his book After the Terror in 2002. <mask> arranged with Oxfam in Britain and the publisher of After the Terror, Edinburgh University Press, to have the £5,000 advance on royalties go to the charity, along with more money from the publishers. The Canadian newspaper The Globe and Mail suggested that Oxfam was taking money from a terrorist sympathiser, and it then declined the contributions, for which it was judged adversely in the British media. The book was published in a German translation. Micha Brumlik, director of a Holocaust centre and Professor of Pedagogy at Frankfurt University, demanded publicly that the book be withdrawn from sale by the publisher, Suhrkamp Verlag.Despite the declaration by the philosopher Jürgen Habermas, who had recommended the translation, that the book was not anti-semitic, it was withdrawn from sale. Honderich demanded the dismissal of Brumlik from his professorship, for violation of academic principle. There was a media furore in Germany. The book was retranslated and republished by an antizionist Jewish publishing house, Melzer Verlag. Other writings
Honderich wrote a number of papers in criticism of Donald Davidson's Anomalous Monism, and in particular made the objection that on certain assumptions the view is epiphenomenalist. The papers are reprinted in Mental Causation and the Metaphysics of Mind, edited by Neil Campbell. Earlier journal papers are about Austin's correspondence theory of truth, causation, time, Russell's theory of descriptions, and John Stuart Mill's essay On Liberty.<mask>'s philosophical autobiography, Philosopher:  A Kind of Life, is a personal and general picture of English academic life over several decades. An encyclopaedia edited by him, The Oxford Companion to Philosophy, is in its second edition. Selected publications
 Actual Consciousness, Oxford University Press, 2014. . Your Consciousness is What? Where?, forthcoming. Radical Externalism:  <mask>'s Theory of Consciousness Discussed, Anthony Freeman, Ed., Imprint Academic, 2006. . Humanity, Terrorism, Terrorist War:  Palestine, 9/11, Iraq, 7/7London:  Continuum, 2006. .Punishment, the Supposed Justifications Revisited, Pluto Press, 2005. Revised edition. On Determinism and Freedom, Edinburgh University Press, 2005. . Conservatism:  Burke, Nozick, Bush, Blair?, Pluto Press, 2005. Enlarged edition. .
 On Consciousness, Edinburgh University Press, 2004. Collected papers. . Terrorism for Humanity:  Inquiries in Political Philosophy, Pluto Press, 2004.Revised and retitled edition. .
 On Political Means and Social Ends, Edinburgh University Press, 2003. Collected papers. After the terror. Montreal : McGill-Queen's University Press, 2003. . Revised and expanded edition. How free are you? The Determinism Problem. 2nd ed.Oxford : Oxford University Press, 2002. .
 Philosopher : a kind of life. London : Routledge, 2001. .
 A Theory of Determinism:  The Mind, Neuroscience and Life-Hopes, Oxford University Press, 1998. .  Republished in two paperbacks:  Mind and Brain and The Consequences of Determinism
 Three Essays on Political Violence, Blackwells, Political Violence, Cornell University Press, 1976.  . Original terrorism book, later revised in several editions. Punishment, the Supposed Justifications, Hutchinson, Harcourt Brace, 1969, , various later editions. Edited books
 Philosophers of Our Times, ed., Royal Institute of Philosophy Annual Lectures, 2015. . The Oxford Companion to Philosophy, Oxford University Press, 1995. New Edition 2005. .The Philosophers:  Introducing Great Western Thinkers, excerpts from The Oxford Companion to Philosophy, Oxford University Press, 1999. A. J. Ayer:  Writings on Philosophy, 6 volumes, Palgrave Macmillan Archive Press, 2005. . Morality and Objectivity:  A Tribute to J. L. Mackie, Routledge and Kegan Paul, 1985. . Philosophy Through Its Past, Penguin, 1984. Philosophy As It Is, co-edited with Myles Burnyeat, Allen Lane, Penguin. .
 Social Ends and Political Means, Routledge and Kegan Paul, 1976. . Essays on Freedom of Action, Routledge and Kegan Paul, 1973. . Articles
 A. J. Ayer, Psychoneural Pairs, Review of A Theory of Determinism, London Review of Books, 19 May 1988.Daniel Dennett, Coming to Terms With the Determined, Review of A Theory of Determinism, Times Literary Supplement, 4–10 November 1988. Harold Brown, Tim Crane, James Garvey, <mask>ich, Stephen Law, E. J. Lowe, Derek Matravers, Paul Noordhof, Ingmar Persson, Stephen Priest, Barry C. Smith, Paul Snowdon, Excerpts from articles by 12 philosophers in Radical Externalism, edited by Anthony Freeman, 2006. Jonathan Glover, Justifying Punishment, Review of Punishment, The Supposed Justifications, Inquiry, 1 June 1970. Enoch Powell, Sing a Song of Tories, Prejudiced and Wry, Review of Conservatism, The Independent, 1 July 1990. Richard Wolin, Are Suicide Bombings Morally Defensible? The Chronicle of Higher Education, 24 October 2003. Reply to Richard Wolin The Chronicle of Higher Education, 10 November 2003.'The Real Friends of Terror' and 'No Excuses for Terror', A Look at Two Television Programmes, with transcripts
 Catherine Wilson, Review of Philosopher:  A Kind of Life, Philosophy, October 2003. John Crace, Philosophy with Attitude, interview The Guardian'', 22 March 2003. References

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

masks:
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<mask> is an American author of esoteric non-fiction books, aromatherapist and tarot reader. Early life
Her background is Hungarian and she attributes a childhood spent in the culturally diverse Queens borough of New York City as a significant influence on her writing career. <mask> explains that her interest in divination began while playing with a Tarot deck at the age of six. Her first Tarot deck was the Builders of the Adytum (BOTA) deck, which she described in a 2005 interview as "formidable and very esoteric," an unusual starter for a child of her age. In an interview in 2016, <mask> reported that she still had the BOTA deck, which her sister had purchased for her from the Samuel Weiser Bookstore in New York City. During her teen years, Illes frequented New York bookstores such as Magickal Childe and Samuel Weiser's, known for their metaphysical and occult collections, and Latin botanicas Her love for esoteric books led to her interest in astrology, which began with Zolar's It's All in the Stars. She has a Bachelor of Arts in English and Communications from Rutgers College and earned a Graduate Certificate in Aromatherapy from the American College of Healthcare Sciences (previously known as the Australasian College of Health Sciences) in 1999.Career
Illes worked as a "telephone psychic" for Psychic Friends Network from 1991 to 1993. She went on to become a prolific author of reference books and contributed magazine articles in the ancient non-traditional arts. Her writing interests include folklore, folkways, mythology,  astrology,  spellcasting, spirit-working, herbalism and traditional healing. She also covers the subjects of the occult, magic, divination, spiritualism, fairies, witchcraft and the paranormal. A certified aromatherapy consultant, she has taught introductory courses on the subject at the Australasian College (2000–2002), and practices taromancy. Although she practices and teaches other forms of divination, she considers Tarot to be her "main practice" and has been reading Tarot cards professionally since the age of 26. She sometimes holds workshops relating to her books or other specialized subjects.In 2012, she gave a workshop on the use of symbols as part of the SIgils & Signs Art Show at Observatory in Brooklyn. She gives similar workshops and presentations intermittently throughout the year. The first complete book <mask> wrote was about traditional methods of enhancing fertility. It contained a chapter about magic spells, which a publisher asked her to expand into a book of its own, eventually published as Pure Magic: A Complete Course in Spellcasting. The manuscript about fertility was set aside, but in a 2011 interview by The Witches' Almanac, <mask> mentioned that she may eventually publish it under the title, Frogs and Pomegranates. After the release of The Encyclopedia of 5000 Spells, her publisher suggested an encyclopedia about witchcraft. A note of encouragement from the Non-Wiccan Witches Yahoo group persuaded her to accept the challenge, which led to The Element Encyclopedia of Witchcraft.According to <mask>, most encyclopedias about witchcraft were written by outsiders and "not really about witches or their craft." <mask> has been an occasional guest on George Noory's nightly radio broadcast, Coast to Coast AM, where she has discussed spellcasting, witchcraft and other occult subjects. She has also been featured as a guest on Ripley's Radio Oddcast, Fangoria Radio, the Hilly Rose Show, and Rob McConnell's "X" Zone radio show. Name
Her last name, Illes, is pronounced as you would with the "Ph" omitted from "Phyllis." <mask> was used as the byline for some of her Tour Egypt articles, rather than her Hungarian name, Judika. In an interview with The Witches' Almanac, <mask> disclosed that she used "Judith Joyce" as her byline when she wrote The Weiser Field Guide to the Paranormal due to the short period between her other Weiser field guides. Bibliography

Books
 The Big Book of Practical Spells: Everyday Magic That Works.Weiser Books (2016). . Previously published by Weiser (2007) as Pure Magic: A Complete Course in Spellcasting and Fair Winds Press (2001) as Earth Mother Magic: Ancient Spells for Modern Belles. A foreword was added to the 2016 version. The Weiser Book of the Fantastic and Forgotten: Tales of the Supernatural, Strange, and Bizarre. This collection of stories by other authors was edited by <mask> <mask>, with her introduction. Red Wheel/Weiser, LLC (2016). . The Encyclopedia of Mystics, Saints & Sages: A Guide to Asking for Protection, Wealth, Happiness, and Everything Else!.Harper Collins Publishers (2011). . The Weiser Field Guide to the Paranormal. Red Wheel/Weiser LLC (2010). . (published under the pseudonym, Judith Joyce)
 The Weiser Field Guide to Witches: from Hexes to Hermione Granger, From Salem to the Land of Oz. Weiser Books (2010). . The Encyclopedia of Spirits: the ultimate guide to the magic of fairies, genies, demons, ghosts, gods, and goddesses. Harper Collins Publishers (2009). . The Encyclopedia of 5000 Spells.HarperOne (2008). . Previously published as The Element encyclopedia of 5000 spells: the ultimate reference book for the magical arts. HarperElement (2003). .
 Magic When You Need It: 150 Spells You Can't Live Without. Weiser Books (2008). . Previously published as Emergency Magic! 150 Spells for Surviving the Worst Case Scenario. Weiser Books (2002).The Element Encyclopedia of Witchcraft: a complete A-Z of the entire magical world. Harper Element (2005). . Articles
The following articles by <mask> <mask> were part of her monthly column, Beauty Secrets of the Ancient Egyptians, published during 2000 and 2001 by the Egyptian Ministry of Tourism in its on-line magazine, Tour Egypt. Ancient Beauty Secrets (monthly column series):
 Ancient Facial Secrets (Introduction), Vol. I, No. 1, June 1, 2000. Haircare and Wigs, Vol.I, No. 2, July 1, 2000. Perfumes of Ancient Egypt, Vol I No. 3, August 1, 2000. Ancient Egyptian Eye Makeup, Vol. I, No. 4, September 1, 2000.Nefertem, Ancient Lord of Perfume, Vol. I, No. 5, October 1, 2000. Tattoos in Ancient Egypt, Vol. I, No. 6, December 1, 2000. Henna, Vol.II, No. 1, January 1, 2001. Fertility Shrines of Ancient Egypt, Vol. II, No. 2, February 1, 2001. Tutankhamun's Perfume, Vol. II, No.3, March 1, 2001. Flowers: The Fundamental Fashion Accessory, Vol. II, No. 4, April 1, 2001. The Beginning of the Book of Making an Old Man into a Young Man..., Vol. II, No. 5, May 1, 2001.Cats Eyes and Eye Make Up, Vol. II, No. 7, July 1, 2001. Glass Beads: "Fabulous Fakes" and the Birth of Costume Jewelry, Vol. II, No. 8, August 1, 2001. Feature Articles published in Tour Egypt, 2000 - 2001:
 Hathor, Lady of Beauty
 Beauty Salts

References

External links
 <mask> <mask> personal website

Occult writers
Living people
Year of birth missing (living people)

masks:
Judika Illes
Illes
Illes
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Judith Illes
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<mask> (born December 1, 1951) is an American actor, writer and aviator who has appeared on film, stage and television in over 120 credits. He first became well known for his starring role in the 1979 musical film Hair, and later also starred in the films Prince of the City, Once Upon a Time in America, The Late Shift and 127 Hours. From 2002 to 2006, he was the lead of the television series Everwood and was nominated for two Screen Actors Guild Awards. He has additionally been nominated for three Golden Globe Awards, two Satellite Awards and an Independent Spirit Award. Early life and education
<mask> was born December 1, 1951 in Rowayton, Connecticut, the son of Marian (née Andrew), an antiques dealer, and <mask>, a corporate executive. His maternal great-great-great-grandfather was Senator William Henry Barnum of Connecticut, a third cousin of the showman P. T. Barnum. <mask> is a distant relative of <mask>, who was a signatory to the Declaration of Independence.<mask> played football in high school. He graduated from the Kent School in Connecticut and Franklin and Marshall College in Pennsylvania. Career
<mask> made his film debut in the 1975 thriller film Deadly Hero. The following year he played a supporting role in The Ritz, a squeaky-voiced private detective looking for his suspect in a gay bathhouse. He came to world attention in 1979, when he starred as George Berger in the Miloš Forman film Hair, which was based on the 1967 Broadway musical. <mask> was nominated for a Golden Globe Award for his role in the film. He was featured in the February 1980 edition of Playgirl magazine.He has gone on to appear in over 75 films and several television series. Notable films include: 1941 (1979), Once Upon A Time In America (1984), Dead Heat (1988), Things to Do in Denver When You're Dead (1995) and Deep Rising (1998). <mask>' second Golden Globe nomination was for his starring role in Sidney Lumet's Prince of the City (1981). His third nomination was for his performance as Stanley Kowalski in the television presentation of A Streetcar Named Desire. In 1996, he was nominated for a Best Actor Emmy Award by the Academy of Television Arts & Sciences for his work in The Late Shift, an HBO movie, in which he portrayed agent Michael Ovitz. In 1996, he played villain Xander Drax in Paramount's big budget comic book adaptation The Phantom, in which <mask>' character did his best to take over the world and kill Billy Zane's mysterious superhero. <mask>' career includes numerous stage roles.He won a Drama League Award for his work in the Broadway revival of Stephen Sondheim's Follies, and another for starring in the off-Broadway production of Captains Courageous. Other notable Broadway shows include Grease, the Sherman Brothers' Over Here!, Once in a Lifetime, Pirates of Penzance and Love Letters, and off-Broadway, he has appeared in David Mamet's Oleanna and Oh, Hell (at Lincoln Center), Some Men Need Help and Randy Newman's Maybe I'm Doing It Wrong. He premiered the Los Angeles production of Love Letters and appeared in War Letters at the Canon Theatre in Los Angeles. <mask> played leading role as Dr. Andrew Brown in the WB television series Everwood, about a New York City neurosurgeon who moves his family to Colorado. Although the show's ratings were never spectacular, it won critical acclaim and had a devoted following. <mask> received two SAG Award nominations (2003 and 2004) for his role on the show. <mask> has made several guest appearances on the ABC drama Brothers & Sisters as David Morton, a friend and potential suitor of Sally Field's character.He starred in the short-lived series Heartland on TNT as Nathaniel Grant, but the series was canceled due to low ratings. He also starred in a Lifetime movie, Staircase Murders, which aired April 15, 2007. <mask> starred in a Hallmark Hall of Fame movie, Beyond the Blackboard, with his former Everwood co-star, Emily VanCamp. It was first broadcast on CBS on April 24, 2011. <mask> appears in the CBS television pilot Peachtree Lines as Mayor Lincoln Rylan. The serial is an examination of political, social and cultural issues in Atlanta. <mask> has also worked as a director, winning two festival awards for directing Texan in Showtime's Chanticleer Films series.<mask> currently plays a role as Mick O' Brien in a Hallmark Channel television series called Chesapeake Shores originally airing August 2016 till current. He also had a recurring role in Chicago Fire as Kelly Severide's father, Benny Severide until his character's death in season 7. <mask> has authored a children's book, Air Show!, illustrated by Robert Neubecker, published in 2010 by Disney/Hyperion Books). Targeted at an audience of children ages three to seven, the book playfully documents an airshow experience with simple text and bold illustrations of such aircraft as a Boeing B-17, a Pitts Special biplane and the US Navy's Blue Angel F/A-18. Personal life
In 1969, <mask>' high school football coach, who was also a flight instructor, offered to train him in a Piper Super Cub. At age 21, he was a private pilot. <mask> became an FAA instrument-rated commercial pilot with privileges in both single engine and multi-engine airplanes as well as rotorcraft helicopter.He holds a type-rating for Cessna Citation jets. He also is certified as a flight instructor. He has owned a Piper Clipped-wing Cub, Piper Cherokee 180, Piper Seneca II and a Piper Navajo Chieftain which is used for family travel between homes. <mask> resides in Park City, Utah and Manchester Center, Vermont with his wife, Pam Van Sant and two children, Gille and Ellie. Select theatre credits

Filmography

Film

Television series

Television films

References

External links

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

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Guillermina Jiménez Chabolla (16 August 1930 – 25 November 2020), known professionally as <mask>tre, was a Mexican singer, actress, and equestrienne. She was one of the most prominent and successful performers of Mexican and Latin American music, and was a star of classic Mexican films during the Golden Age of Mexican cinema. Her more than 70-year career included stage productions, radio programs, records, films, television programs, comics, and rodeo shows. Famed for her melodious voice and unique singing style, hence the nicknames "La Sentimental" ("The Sentimental One") and "La Voz Que Acaricia" ("The Voice That Caresses"), Flor <mask> was a notable interpreter of the ranchera, bolero, bolero ranchero, and huapango genres. She recorded more than 300 songs for three labels: Columbia, RCA Víctor, and Musart. In 1945, she was announced as the "Alma de la Canción Ranchera" ("Soul of Ranchera Song"), and in 1950, the year in which she emerged as a radio star, she was proclaimed the "Reina de la Canción Mexicana" ("Queen of Mexican Song"). In 1950, she signed a contract with Columbia Records and recorded her first hits, which include "Imposible olvidarte", "Que Dios te perdone", "Pobre corazón", "Viejo nopal", "Guadalajara", and "Adoro a mi tierra".In 1957, she began recording for Musart Records and became one of the label's exclusive artists with numerous best-selling singles, such as "Cielo rojo", "Renunciación", "Gracias", "Cariño santo", "Mi destino fue quererte", "Mi casita de paja", "Toda una vida", "Amar y vivir", "Gaviota traidora", "El mar y la esperanza", "Celosa", "Vámonos", "Cachito de mi vida", "Miel amarga", "Perdámonos", "Tres días", "No vuelvo a amar", "Las noches las hago días", "Estrellita marinera", and "La basurita", among others. Many of her hits charted on Cashbox Mexico's Best Sellers and Record World Latin American Single Hit Parade. She also participated in her husband Antonio Aguilar's musical rodeo shows. <mask> Silvestre appeared in more than seventy films between 1950 and 1990. Beautiful and statuesque, she became one of the leading stars of the "golden age" of the Mexican film industry. She made her acting debut in the film Primero soy mexicano (1950), directed by and co-starring Joaquín Pardavé. She played opposite famous comedians, such as Cantinflas in El bolero de Raquel (1957).Director Ismael Rodríguez gave her important roles in La cucaracha (1959), and Ánimas Trujano (1962), which was nominated for an Academy Award for Best Foreign Language Film. She was also the star of the comic book La Llanera Vengadora. In 2013, the Association of Mexican Cinema Journalists honored her with the Special Silver Goddess Award. <mask> died on 25 November  2020 at her home in Villanueva, Zacatecas. Life and career

1930–1943: Childhood
Flor Silvestre was born Guillermina Jiménez Chabolla on 16 August 1930 in Salamanca, Guanajuato, Mexico. She was the third child and second daughter of Jesús Jiménez Cervantes, a butcher, and María de Jesús Chabolla Peña (1906 – 5 September 1993). Her father owned and ran a meat shop in Salamanca.Her older siblings are Francisco "Pancho" and Raquel, and her younger siblings are Enriqueta "La Prieta Linda", José Luis, María de la Luz "Mary", and Arturo. Enriqueta and María de la Luz also became singers. Her maternal grandparents were Felipe Chabolla and Inés Peña. Guillermina was raised in Salamanca and began singing at an early age. Her parents, who were also fond of singing, encouraged her to sing. She loved the mariachi music of famous Mexican singers Jorge Negrete and Lucha Reyes, and also sang songs that belonged to the pasodoble, tango, and bolero genres, which were popular in Mexico in the late 1930s. Her interest in singing and acting led her to participate in Christmas pageants, school plays, and local festivals.Her mother, who wanted to live in Mexico City, urged her father to sell all their property in Salmanca and relocate the family to the Mexican capital. María de Jesús took her three youngest children with her to Mexico City, leaving the oldest four (including Guillermina) in Salamanca in the care of her sisters, who were nuns. Guillermina completed primary school in Salamanca before reuniting with her family in Mexico City. In Mexico City, her parents enrolled her in the Escuela Bancaria Comercial Milton on Madero Avenue, where she took secretarial classes. 1943–1949: Early stage and radio success

Guillermina Jiménez (Flor Silvestre) began her singing career in 1943, when she was 13 years old. She and her father attended a performance of the famous Mariachi Pulido at the Teatro del Pueblo, a theater located in the Abelardo L. Rodríguez Market in central Mexico City. After the performance was over, she got up on stage and told the stage director that she wanted to sing.The Mariachi Pulido's director refused to accompany her, stating that they did not collaborate with amateurs, but the stage director, Carlos López Santillán, told her that he would let her sing the following week and promised to hire a mariachi from the Tenampa bar to perform with her. On the day of her debut, wearing a traditional Mexican blouse and skirt her mother had made for her, she sang three popular songs, "La canción mexicana", "Yo también soy mexicana", and "El herradero". Her performance was a great success and she received an ovation from the audience. Her next performance at the Teatro del Pueblo was in the play La soldadera, directed by López Santillán, in which she played a girl who comes out of a railway wagon and sings "La soldadera", a song written for her by José de Jesús Morales. The play was also broadcast by Mexico's national radio station, XEFO, and "La soldadera" became the first song she performed on radio. The title of the song, which is Spanish for "the female soldier", also became her first stage name until it was claimed by another singer. Arturo Blancas, an Excélsior journalist and XEFO announcer, thought she looked more "like a flower" than a soldier and suggested she change her stage name to La Amapola, which means "the poppy".However, this stage name was also claimed by another woman, the sister of singer La Panchita. Blancas then chose the title of Dolores del Río's 1943 drama film as the young singer's new stage name, and Guillermina Jiménez became Flor Silvestre, which means "wild flower". Under her new stage name, <mask> <mask> won first place in an amateur contest sponsored by Mexico's most popular radio station, XEW, known as "the voice of Latin America from Mexico". Her participation in the contest earned her a contract to sing in revues at the Teatro Colonial, located on San Juan de Letrán Avenue (now Eje Central). The Teatro Colonial was "Mexico's most popular [theater]" in the 1940s, and <mask> <mask>'s performances there were noticed by a showman who hired her as part of his touring company. The showman and his company toured Torreón, in northern Mexico, where <mask> <mask> was the opening act of the touring company's headliner, the famous Argentine tango singer Hugo del Carril. <mask> <mask>'s family was experiencing financial problems at the time, and she sang at banquets and other places in order to win more money and help her parents.In December 1945, <mask> Silvestre performed at Guadalajara's Coliseo Olímpico and was announced as "Flor Silvestre, the Soul of Ranchera Song". In November 1946, she was invited to perform at the inauguration of Guadalajara's Juárez movie theater. The Guadalajara newspaper El Informador described her as "Flor Silvestre, young XEW singer, who represents the feeling of our land within the ranchera song". Between 1947 and 1949, <mask> Silvestre and the showman's company toured Central and South America, performing at the best nightclubs along the way. Hugo del Carril presented Flor Silvestre to audiences when the company toured Argentina. The company eventually made its way to Peru, where they performed for the Mexican Air Force, before returning to Mexico. 1950–1952: Acting debut and first records

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

Flor Silvestre made her first records in 1950 for Columbia Records' Mexican branch. She recorded at least twelve songs for the label, one on each side of six 78 rpm singles. These songs also became her first hits."Imposible olvidarte", "Que Dios te perdone", "Pobre corazón", "Viejo nopal", "Guadalajara", and "Mi amigo el viento" were recorded with Gilberto Parra's mariachi. "Siempre el amor", "Con un polvo y otro polvo", "Adoro a mi tierra", "La presentida", "Llorar amargo", and "Oye, morena" were recorded with Rubén Fuentes' mariachi. After recording her first singles, <mask> <mask> formed a duet named <mask> with her then-unknown sister La Prieta Linda; they recorded two songs—"Los desvelados" and "Lo traigo en la sangre" (with Rubén Fuentes' mariachi)—for Columbia. In February 1950, she was a part of the "numerous, hybrid, but useful cast" of ¡A los toros!, a revue about bullfighting staged at the Teatro Tívoli. It was written and presented by announcer Paco Malgesto, who would become her second husband. In the revue, she sang Mexican musical numbers associated with bullfights. Although <mask> <mask> had made her film debut in 1949 singing in Te besaré en la boca (released in 1950), she was given her first leading role in the Walerstein production Primero soy mexicano (1950), co-starring Joaquín Pardavé (who also wrote and directed the film) and Luis Aguilar and featuring Francisco "Charro" Avitia.She was reunited with her Primero soy mexicano co-stars Luis Aguilar and Francisco Avitia in the film El tigre enmascarado, which premiered in 1951. She then appeared as the leading lady of actor Dagoberto Rodríguez in a film trilogy, El lobo solitario, La justicia del lobo, and Vuelve el lobo (all released in 1952). 1955–1957: Return to films and television debut
In early 1955, <mask> <mask> sang on the XEW radio program Su programa Calmex, sponsored by Calmex Sardines. Other entertainers on the program included Miguel Aceves Mejía, the Trío Tariácuri, and the Hermanitas de Alba. In 1955, she also appeared in her first color film, La doncella de piedra, one of the first Mexican CinemaScope productions. An adaptation of Rómulo Gallegos' novel Sobre la misma tierra, the film features <mask> <mask> in the role of Cantaralia Barroso, the mother of the novel's protagonist, Remota Montiel (played by Elsa Aguirre). <mask> <mask> had one of the starring roles in the stage play La hacienda de Carrillo, a revue which opened on 1 July 1955 at the new Teatro Ideal.Written by Carlos M. Ortega and Pablo Prida, the play was about "a hacienda in the interior [of the country], whose owner leaves his land to embrace politics, become a deputy, and come to the metropolis in the company of his daughters". Theater critic Armando de María y Campos wrote that the cast included "the radio singer Guillermina Jiménez de Rubiales, better known as <mask> Silvestre, very beautiful and young too, and also very tender as a vedette". That same month, <mask> <mask>, Agustín Lara, Pedro Vargas, Rosa de Castilla, and others provided musical performances for the film La virtud desnuda (released in 1957), a Calderón Films production starring Columba Domínguez. Her first film co-starring Antonio Aguilar, her future husband, was La huella del chacal. That same year she played a swarthy maid named Liliana in Rapto al sol, a color film shot in Nicaragua. In 1957, RCA Victor released her first recording of "Cielo rojo", which would become one of her signature songs. The single, which included "¡Qué padre es la vida!"on side B, became a hit. On Mother's Day 1957, she made her television debut with a successful performance in the television play Secreto de familia, with Sara García and Miguel Arenas. One of her famous roles was as Leonor, the mother of Cantinflas' godson, in the popular Eastmancolor comedy El bolero de Raquel (1957). 1958–1963: First recordings for Musart Records and Ánimas Trujano
She received top billing for the first time in Pueblo en armas (1959) and its sequel ¡Viva la soldadera! (1960), both directed by Miguel Contreras Torres. She had a supporting role opposite María Félix in Ismael Rodríguez's Mexican Revolution epic La cucaracha (1959). She also recorded "Te he de querer", "La chancla", and "La Valentina" for the film's soundtrack album, La cucaracha: Música de la película, released by Musart Records.Flor Silvestre, her first Musart album, was released around 1958. It includes her early Musart hits, such as "El ramalazo", "¡Qué bonito amor! ", "La flor de la canela", "Échame a mí la culpa", "Ay el amor", "Lágrimas del alma", and "Amémonos". In 1960, she starred opposite the popular comedy duo Viruta and Capulina in Dos locos en escena. In 1961, she rerecorded "Cielo rojo" for Musart, accompanied by Pepe Villa's Mariachi México. This second version also became a success and is the first track of her second Musart album, Flor Silvestre con el Mariachi México. The album also includes her early 1960s hits, "Pa' todo el año", "Renunciación", "Desolación", "El peor de los caminos", "Aquel inmenso amor", and "Para morir iguales".One of her major roles was as Catalina, the beautiful, sensuous flirt, in the Oscar-nominated, Golden Globe-winning drama film Ánimas Trujano (1962), co-starring Toshiro Mifune and Columba Domínguez. This was her second collaboration with film director Ismael Rodríguez after her supporting role in La cucaracha. 1964–1969: Multiple albums
In early 1964, she released her third Musart album, Flor Silvestre con el Mariachi México, vol. 2, which includes her hits "Gracias", "Perdí la partida", "Bendición de Dios", "Árboles viejos", "Te digo adiós", "Un jarrito", "Quédate esta vez", and "Plegaria". Her fourth

masks:
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Silvestre


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 Musart album, La sentimental (1964), includes both ranchera and bolero songs. It is her first album without mariachi arrangements; Benjamín "Chamín" Correa is credited as the album's guitarist. La sentimental peaked at number 9 on Record World Latin American LP Hit Parade."Mi destino fue quererte" peaked at number 4 on Record World Latin American Single Hit Parade and became one of <mask> Silvestre's signature songs. In December 1964, Cashbox ranked her among the top ten Mexican folk singers of the year. Her fifth Musart album, La acariciante voz de Flor Silvestre, was released in 1965. One of the album's singles, "Una limosna", topped the Record World Latin American Single Hit Parade chart. The album also includes her hits "Gaviota traidora", "El mar y la esperanza", "Amor se escribe con llanto", and "Espumas". Celosa con Flor Silvestre y otros éxitos (1966), her sixth studio album for Musart Records, peaked at number 11 on Record World Latin American LP Hit Parade. The album's lead single, "Celosa", peaked at number 9 on Cashbox Mexico's Best Sellers and number 4 on Record World Latin American Single Hit Parade."¿Por qué, Dios mío? ", another single included in Celosa, also charted well on Record World Latin American Single Hit Parade. In 1967, she released two albums, Boleros rancheros con la acariciante voz de Flor Silvestre and Flor Silvestre, vol. 6, and made her last film of the decade, El as de oros. In 1968, she released two albums, Flor Silvestre, vol. 7 and Flor Silvestre, vol. 8.Flor Silvestre, vol. 7 includes "Reconciliación", one of her major hits from the late 1960s, as well as several other hits, including "Cenizas de amor", "Cariño malo", "Triunfamos", and "Tres días". Flor Silvestre, vol. 8 features arrangements by famous guitarist Antonio Bribiesca and composer Gustavo A. Santiago and includes the hits "No vuelvo a amar" and "Tú, sólo tú". 1970–1989: Final films and multiple musical genres
In 1970, she released her album Amor, siempre amor, accompanied by the Mariachi Guadalajara. The album features innovative mariachi, piano, harmonica, and steel (Hawaiian) guitar arrangements in its songs. Its first track, "La cruz de lo imposible", is songwriter Lupita Ramos' first work.This was Flor Silvestre and Ramos' first collaboration; Ramos went on to author several other songs for Flor Silvestre. Another notable track is "La mitad de mi orgullo", by José Alfredo Jiménez. In the early 1970s, she recorded her first bolero album, Y las canciones de sus tríos favoritos. The album features cover versions of popular boleros from the 1950s, including "Un siglo de ausencia", "Condición", "El reloj", and "La barca". Cashbox included the album in its Latin Picks section and described it as "a masterpiece for lovers of Latin boleros". It was later rereleased as Sus canciones favoritas con... Flor Silvestre (LP reissue) and Mis boleros favoritos (CD reissue). In 1972, she released three albums: Una gran intérprete y dos grandes compositores, a tribute to songwriters Cornelio Reyna and Ferrusquilla; La voz que acaricia, which includes her hits "Solo con las estrellas" and "Hastío"; and Canciones con alma, her second album of bolero songs.She sang two tracks from Una gran intérprete y dos grandes compositores in the two films she made that year; she sang "Tema eterno" in La yegua colorada and "No me lo tomes a mal" in Valente Quintero. Billboard included Canciones con alma in its Top Album Picks section and wrote, "A good solid LP overall of love ballads. Best cuts: 'Vuelve', 'Tormento', 'Quisiera'". In 1973, she played one of Pancho Villa's lovers in La muerte de Pancho Villa and released her first norteño album, La onda norteña de Flor Silvestre. The album's cover is a photograph of her as the character in the film. She also played Felipe Carrillo Puerto's wife, Isabel Palma, in the film Peregrina (released in 1974), in which she sang the Guty Cárdenas bolero "Quisiera". In 1974, she released her album Con todo mi amor a mi lindo Puerto Rico, which is a tribute to two famous Puerto Rican songwriters, Rafael Hernández and <mask>.For this album she recorded four Hernández songs, "Campanitas de cristal", "Inconsolable", "No me quieras tanto", and "Silencio", and three <mask> songs, "Obsesión", "Amor", and "Esperanza inútil". The album also includes "Cruz de olvido", one of her hits, and "Vuelve pronto", a Spanish-language version of "Paper Roses". The album's release coincided with her appearance in the film Mi aventura en Puerto Rico, in which she sang "Desvelo de amor" and "Obsesión". This same year she appeared on the film Peregrina. She sang "La palma" in Simón Blanco (1975) and played the female leads in Don Herculano enamorado (1975), El moro de cumpas (1977), and Mi caballo el cantador (1979). In 1978, she released her album Ahora sí va en serio, which includes several songs written by Joan Sebastian. The title track was included in the Cashbox Latin Singles to Watch list.Other Sebastian songs included in the album are "Levantado en armas", "Te regalo mi pena", and "Trono caído". In 1979, Cashbox included her single "Morir al lado de mi amor" in its Latin Singles to Watch list. 1989–2020: Banda albums and tributes
In 1989, she recorded banda music for the first time. She told the press, "I was very afraid to record with a tambora; I thought it was too much sound, a lot of equipment, but when I recorded I loved it, I felt happy, and more because it was the band of Don Ramón López Alvarado. We recorded 'Los mirasoles', 'La rama', and 'Quiero que sepas'". She made her final film, Triste recuerdo, in 1990. In 1991, she recorded her first banda album, Flor Silvestre con tambora, which includes a banda version of one of her bolero hits, "Caricia y herida".In 1994, she released her album Me regalo contigo, which includes a song dedicated to her marriage with Aguilar, "Para siempre juntos", and a vallenato song, "Sólo para ti". In 2001, she released her second banda album, Flor Silvestre con tambora, which includes new versions of her 1960s hits "Cariño santo", "Celosa", "Desolación", "Mi destino fue quererte", and "El mar y la esperanza". On 21 December 2010, she released her most recent album, Soledad: canto a mi amado y a su recuerdo, which she dedicated to her late husband. The album features interesting songs she had never recorded before, such as "Soledad", "Y llegaste tú", "El andariego", "Luz de luna", "Amanecí en tus brazos", "Las ciudades", "Los ejes de mi carreta", and "Sombras". On 9 March 2015, her documentary Flor Silvestre: su destino fue querer premiered at Zapopan's Plaza de las Américas as part of the Guadalajara International Film Festival. The 24-minute documentary features interviews with <mask> Silvestre, who recounts her life and career; her five children, Dalia, Francisco, Marcela, Antonio, and Pepe; and singers Angélica María and Guadalupe Pineda. In 2016, she was featured on "Para morir iguales", a track of her son Antonio's most recent album, Caballo viejo.Personal life
<mask> <mask> married her first husband, Andrés Nieto, in the 1940s. She gave birth to her first child, singer and dancer Dalia Inés Nieto, when she was 16 years old. Around 1953, <mask> <mask> married radio announcer and bullfighting chronicler Francisco Rubiales Calvo "Paco Malgesto" (1914–1978), who would later become a famous presenter and pioneer of Mexican television. They had two children, translator Francisco Rubiales and singer and actress Marcela Rubiales. They lived in a house in Mexico City's Lindavista neighborhood. The couple separated and began divorce proceedings in 1958. <mask> <mask>'s third and last husband was singer and actor Antonio Aguilar, who died in 2007.He was the love of her life. They first met in 1950 when he was invited to sing on her program Increíble pero cierto at the Verde y Oro studio of radio station XEW in Mexico City. In 1955, they made their first film together, La huella del chacal, but their relationship began when they made the film El rayo de Sinaloa in 1957. They married in 1959 (or 1960, according to some sources) and had two sons who also became singers and actors, Antonio "Toño" Aguilar and José "Pepe" Aguilar. Aguilar built her a spacious home and ranch, El Soyate, northeast of Tayahua, Zacatecas. On 28 February 2012, <mask> Silvestre underwent surgery to extirpate the cancer-stricken half of her right lung. She responded well to the surgery.Death
<mask> <mask> died on 25 November 2020, on her estate in "El Soyate" Villanueva, Zacatecas, Mexico. She died of natural causes. Awards and honors
<mask> <mask> received many awards and honors throughout her career. She has her handprints in the Plaza de las Estrellas (the Mexican equivalent of the Hollywood Walk of Fame). In 1966, Musart Records awarded her The Golden Clover (known as Trébol de Oro in Spanish) for being one of the label's best-selling artists in 1965. In 1970, Musart Records awarded her another Golden Clover for being one of the label's best-selling artists in 1969. In 1972, she won the Record World Award for Best Mexican Actress-Singer.In 2001, the National Association of Actors awarded her the Eduardo Arozamena Medal for her 50-year career. In 2008, she was the grand marshal of the Comité Mexicano Cívico Patriótico's Mexican Independence Parade in Los Angeles, California. In 2010, the twenty-first edition of the World Mariachi Day (Día Mundial del Mariachi) awarded her the Pedro Infante Medal for her "outstanding work and dissemination of Mexican music". In 2012, the Confederation of Livestock Organizations awarded her a "bull sculpture" for her contribution to Mexican culture. In 2013, the Association of Mexican Cinema Journalists awarded her the Special Silver Goddess for her career. Mexican actor Ignacio López Tarso presented her with the award and said: "For me it is a great honor and personal satisfaction to give you this award, to a great figure of Mexican cinema who, either walking or on horseback, made the best movies of the Mexican film industry". In 2014, the Government of the State of Zacatecas paid tribute to her career and gave her a special accolade at the Teatro Calderón in the state capital as part of the First Corrido Festival.In 2015, while promoting the release of her documentary entitled Flor Silvestre: Su destino fue querer, she was honored in Lagos de Moreno, Jalisco; Los Angeles, California; and Aguascalientes, Aguascalientes. Discography

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

Studio albums

Extended plays
 Para morir iguales
 Desolación
 Volver a verte
 Mi destino fue quererte
 Aquel amor
 Vámonos
 Celosa
 Una limosna
 Miel amarga
 Perdámonos

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

Selected filmography

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

 Primero soy mexicano (1950)
 El tigre enmascarado (1951)
 El lobo solitario (1952)
 La justicia del lobo (1952)
 Vuelve el lobo (1952)
 La huella del chacal (1956)
 Rapto al sol (1956)
 El bolero de Raquel (1957)
 El jinete sin cabeza (1957)
 La justicia del gavilán vengador (1957)
 La cabeza de Pancho Villa (1957)
 Los muertos no hablan (1958)
 ¡Paso a la juventud..! (1958)
 Mi mujer necesita marido (1959)
 Kermesse (1959)
 Tan bueno el giro como el colorado (1959)
 Pueblo en armas (1959)
 El hombre del alazán (1959)
 La Cucaracha (1959)
 Escuela de verano (1959)
 ¡Quietos todos! (1959)
 El gran pillo (1960)
 Dos locos en escena (1960)
 Las hermanas Karambazo (1960)
 Poker de reinas (1960)
 Las tres coquetonas (1960)
 Vivo o muerto (1960)
 De tal palo tal astilla (1960)
 Los fanfarrones (1960)
 ¡Viva la soldadera! (1960)
 Luciano Romero (1960)
 Juan sin miedo (1961)
 Ánimas Trujano (1962)
 La venganza de la sombra (1962)
 La trampa mortal (1962)
 Aquí está tu enamorado (1963)
 Tres muchachas de Jalisco (1964)
 El revólver sangriento (1964)
 Escuela para solteras (1965)
 El rifle implacable (1965)
 Alma llanera (1965)
 El tragabalas (1966)
 El alazán y el rosillo (1966)
 Caballo prieto azabache (1968)
 El as de oros (1968)
 Lauro Puñales (1969)
 El ojo de vidrio (1969)
 Vuelve el ojo de vidrio (1970)

References

External links

 Entries at 45cat.com

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

masks:
Flor
Pedro Flores
Flores
Flor
Flor
Silvestre
Flor
Silvestre
Flor
Silvestre
Flor
Flor
Silvestre
Flor
Silvestre
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Silvestre
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Silvestre
Flor


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<mask> (1937–2017) was an artist and art critic from Melbourne, Australia, and a leading figure in Australian Conceptual art. Biography
Born in Melbourne on 24 September 1937, <mask> lived in Northcote until December 1939 when he moved to Broomfield Road, East Hawthorn. He trained at Swinburne College of Technology, Melbourne from 1954 to 1957, then at Preston Institute of Technology (Phillip Institute), Preston, between 1972 and 1973. His early work was hard-edged abstraction based on cereal packets, knitting patterns and suburban design for which, by the early 1960s, he had become well known, and for which he gained national recognition with his inclusion in the seminal exhibition of colour field painting The Field exhibited at the National Gallery of Victoria, Melbourne and Art Gallery of New South Wales in 1968. From 1969 to 1981 <mask> turned his attention to systematic photographic observation in a conceptual art mode, prior to which, from 1954 to 1963 he had used a Box Brownie camera to take photographs as references for his paintings, drawings and prints. <mask>, who stopped taking the serial photographs in 1975, said ‘I don’t particularly like photographer’s photographs.’. After this period he returned to painting In 1982 with ‘The Red Card, Australia’, 1944—45’ based on a Communist Party membership card he found in a book 20 years earlier.He continued plays on such printed ephemera, and it was included by Paul Taylor in Popism, a major exhibition at the NGV of Post-Pop art. <mask> wrote extensively on Australian art as critic for The Age (1980-July 1982) and as Melbourne Art Critic for The Australian (October 1982–99). He died on 21 March 2017. Selected exhibitions
 2013 <mask>, the Box Brownie Years 1956–58, Centre for Contemporary Photography, Melbourne. 2012 Play, National Gallery of Australia, Canberra. 2010 Endless Present: <mask> and Conceptual Art, National Gallery of Victoria, Melbourne. Retrospective with context provided by art donated from his collection of local and international conceptual art contemporary to the time.2009 Cubism and Australian Art, Heide Museum of Modern Art, Melbourne. 1990 The Readymade Boomerang: Certain Relations in 20th Century Art, 8th Biennale of Sydney. 1971 4 Conceptual Artists: Mel Ramsden, Ian Burn, Joseph Kosuth, <mask>, Pinacotheca, Melbourne, with catalogue by <mask>. 1968 The Field, National Gallery of Victoria, Melbourne and Art Gallery of New South Wales in 1968, seminal exhibition introducing international colour field painting into Australia. Between 12 November 2010 and 27 March 2011, the National Gallery of Victoria held a retrospective of <mask>'s work, titled 'Endless Present', w

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

Bibliography
 Allen, T. Cross-Currents in Contemporary Australian Art, Craftsman House, 2001
 Allen, C. Art in Australia: From Colonization to Postmodernism’, Thames and Hudson, 1997
 Allen, C. Conceptual Ascetic, Review, Weekend Australian, 5–6 February 2011
 Allen, F. Portraits of an artist, The Herald-Sun, 7 March 2001
 Barlow, G; Delaney, M; & McFarlane, K. (Eds.)Change – Monash University Museum of Art, Pub. MUMA, Melbourn 2010, p. 151
 Burt, W. Thirty Years of Australian Experimental Music 1963–1993, Sounds Australian: Journal of Australian Music, Autumn 1993
 Butler, R. A Secret History of Australian Art, Craftsman House, 2002
 Campbell, J. Wide-Eyed: Melbourne, the US and Back Again, interview with <mask>, John Campbell's Greatest Hits Vol. 1 (catalogue) Glen Eira City Gallery, 1999
 Catalano, G. Building a Picture: Interviews with Australian Artists, McGraw-Hill, Australia, 1997
 Catalano, G. Who's the Artist? Gary Catalano interview with <mask>, Art Monthly Australia, June 1994
 Catalano, G. <mask> retrospective reveals the enigma of a straight-shooter, The Age, 7 November 1990
 Clabburn, A. Bizarreness seen as if for the first time, The Australian, 19 February 2001
 Clement, T. <mask>: Balletomania Australian Art Collector, Issue 37 – July – September 2006. p. 255
 Colquhoun, B. The Lure of Light, interview with <mask>, Art and Australia, 39/2, 2001
 Crawford, A. Acquisitions in Australian Art Collector, Issue 47 – January–March 2009, pp.134–135
 Creagh, S. Open Gallery Sydney Morning Herald Spectrum 26–27 August 2006, p. 16
 Crombie, I & Blainey, G. Sites of the Imagination: Contemporary Photographers View Melbourne and its People, National Gallery of Victoria, 1992
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 Engberg, J. Downtown: Ruscha, <mask>, Arkley, catalogue, Museum of Modern Art at Heide, 1995
 Ferber, S., Healy, C. & McAuliffe, C. (ed). Beasts of Suburbia, Melbourne University Press, 1994
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 Green, C. Have a Nice Day Mr. <mask>, Art/Text 66, 1999
 Green, C. Pinacotheca, Art and Australia, 34:4, 1997
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 Reid, B. & Underhill, N. (eds.) Letters to John Reed: Defining Australian Cultural Life 1920–1981, Viking, 2001
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 Rogers, J. The Art of Knitting, Angus & Robertson, 1991
 <mask>, R. <mask>, 21st Century Modern: 2006 Adelaide Biennial of Australian Art catalogue essay, exhibition catalogue, Art Gallery of South Australia, 2006
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 Stanhope, Z. The Persistence of Pop: Works from the Monash University Collection, catalogue, Monash University Gallery, 1999
 Thomas, D. Melbourne Modern: The Art of Robert Rooney, Art and Australia, 34:4, 1997
 Tomas, D. Golden oldies: four artists who were new and exciting in the 1960s and early 1970s and are still going strong, Art and Australia, 50:4, 2013
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 Tonkin, S. When visual and performing arts align, Silver lined – Contemporary artists and the Performing Arts Collection exhibition catalogue, The Arts Centre, Melbourne, Australia, 2008
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 Whiteoak, J. Playing ad Lib: Improvisatory Music in Australia 1836–1970, Currency Press, 1999
 Whiteoak, J. Melbourne Leads the Revolution, La Trobe Bulletin, September 1994
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External links
 Biography/CV - on the Darren Knight Gallery website. The High Art of the Routine - Review of 'Endless Present', from The Age.Untitled: Portraits of Australian Artists - Chapter on <mask>, at Academia.edu

1937 births
2017 deaths
Australian painters
Australian art critics
Australian photographers

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