text_chunks:
<mask>'Keefe (born 4 March 1991) is an English professional footballer who plays as a central midfielder for  club Gillingham. He began his career with Ipswich Town, spending six years in the club's youth academy system, but was released as a teenager without making an appearance for the first team. Following his release, O'Keefe joined the academy at Southend United, making his first-team debut for the club in 2008, during a League One match, at the age of 17. In 2010, he completed a move to Championship club Crystal Palace on a free transfer and went on to make over 50 appearances in all competitions for the club during a five-year spell, helping the club gain promotion to the Premier League via the 2013 Championship play-off Final, also spending a brief period on loan at Blackpool in late 2014. In January 2015, he moved to Cardiff City for an undisclosed fee. Early life
O'Keefe was born in Eye, Suffolk. He grew up in the village of Gislingham, Suffolk and attended Gislingham Primary School and later Hartismere School.He is a supporter of Arsenal. Career

Youth
Having attracted the attention of scouts from several clubs whilst playing for local youth team Scole Lads, O'Keefe was invited to train with Norwich City's under-nine team. However, he later signed a youth deal with their East Anglian rivals Ipswich Town, joining the club at the age of nine and playing alongside Jordan Rhodes and Ed Upson in the academy during his time at the club. However, he failed to make an appearance for the first team and was released at the end of the 2006–07 season after Ipswich decided against offering him a scholarship, believing that he would be unable to compete physically at under-18 level. O'Keefe later commented on his release "It was disappointing to be released by Ipswich, especially since I had been there from such a young age, but I always kept believing in myself". Following his release, O'Keefe spent one month on trial at Aston Villa and impressed the club's coaching staff, including youth coach Gordon Cowans, but was forced to leave the club, who were only willing to offer him a one-year youth contract, after struggling to travel to the Midlands-based club on a regular basis as he continued to prepare for his GCSEs. He was also offered a trial with Nottingham Forest, scoring during a friendly match for the club but O'Keefe again moved on after Forest stalled over offering him a contract as they were only willing to offer him a one-year youth deal.Southend United
O'Keefe attended a trial with Southend United in November 2007 at the age of 16, having been recommended to the club by a scout working for Manchester United, and was offered a two-year scholarship just days after arriving at the club. In his first season with the academy, O'Keefe was part of the Southend team that reached the quarter-final of the FA Youth Cup and also featured for the reserves on several occasions. O'Keefe made his first-team debut for Southend on 18 November 2008, at home to A.F.C. Telford United in a 2–0 win in the FA Cup first-round replay as a late substitute in place of Alan McCormack, having signed his first professional contract with the club the week before. He made his debut in League One two months later against Leyton Orient on 20 January 2009 in a 1–1 away draw, again coming on as a substitute in the 84th minute for Alex Revell and nearly scoring late in the match with a volley. The following week, after one further substitute appearance, O'Keefe was handed his first league start for Southend by manager Steve Tilson against Leeds United at Elland Road on 27 January 2009. However, this proved to be his last appearance for the club during the 2008–09 season.Despite this, O'Keefe was nominated for the League One Apprentice of the Year award, eventually losing out to Carlisle United defender Tom Aldred. The following season, O'Keefe featured more regularly for the first team, making nine appearances in total despite missing two months of the season due to a hernia injury sustained in a match against Millwall on 26 January 2010. Following his departure from Roots Hall, the club's head of youth director Ricky Duncan praised O'Keefe's attitude, stating "<mask> was always very driven and single-minded and he was different to a lot of the other lads in that regard." Crystal Palace
On 18 August 2010, O'Keefe signed for Crystal Palace on an initial one-year contract after impressing manager George Burley in a trial match against West Ham United reserves, having been recommended to Burley by his assistant manager Dougie Freedman who had played alongside O'Keefe at Southend. On his signing, Burley described O'Keefe as "a young player with big potential". The transfer was free, although Southend would receive a percentage of any transfer fee for O'Keefe in his first 36 months at Selhurst Park. He made his debut for the club on 20 November 2010 as a substitute in place of Paddy McCarthy during a 3–2 defeat to Sheffield United, later being substituted himself in the 89th minute of the match for Pablo Couñago as Palace pushed for an equaliser.In his first season at Selhurst Park, O'Keefe was a backup player in the squad and made just four appearances during the course of the season. In the 2011–12 season, O'Keefe was given a chance to impress early on in the season in the League Cup, playing five times in the competition during the season as the team reached the semi-final, including starting in the team's 2–1 quarter final victory over Manchester United on 30 November 2011 at Old Trafford. Later in the season, O'Keefe was part of the end of season run in due to injuries and finished the season with 19 appearances for the first team, which saw him offered a new three-year contract with Palace that would last until summer 2015. During the 2012–13 season, Palace achieved promotion to the Premier League via the Championship play-offs after finishing fifth.O'Keefe featured just five times in the league during the season although he did make two appearances during the play-offs, replacing Wilfried Zaha as a late substitute during the second leg of their semi-final victory over Brighton & Hove Albion, and then playing the majority of the 2013 Championship play-off Final after replacing Kagisho Dikgacoi due to injury after just 17 minutes as Palace claimed a 1–0 victory in extra-time to earn promotion. At the start of the club's Premier League campaign the following season, on 31 August 2013, O'Keefe sealed a 3–1 victory in Palace's first three points of their Premier League return in the 92nd minute at home to Sunderland with a curling 20-yard shot after coming on as a late substitute, the first senior goal of his career and what later turned out to be his only goal for Palace. At the start of the 2014–15 season, O'Keefe featured in Palace's opening two matches of the Premier League season, defeats to Arsenal and West Ham United, but suffered an ankle injury in the latter which kept him out of the team for two months that saw him omitted from the club's 25-man squad for the Premier League season by new Palace manager Neil Warnock. Lacking match fitness on his return, Warnock made O'Keefe available for a loan move in order to gain playing time and, following a potential loan move to Championship club Charlton Athletic collapsing after they decided to sign Francis Coquelin on loan from Arsenal instead, Warnock stated that he could not "understand how nobody has come in for him".On 27 November 2014, O'Keefe eventually secured a loan move away from Palace on the final day of the emergency loan window, joining struggling Championship club Blackpool on loan until 1 January 2015, along with Wolverhampton Wanderers defender Kevin Foley. He made his debut on 29 November 2014, starting in a 1–1 draw with Rotherham United, being replaced by Nathan Delfouneso after 56 minutes, and went on to make four appearances for the team before returning to Palace. On his return to Selhurst Park, O'Keefe found himself under a new manager for the fourth time since August 2014, following the appointment of Alan Pardew. Despite being handed a starting spot in Pardew's first match in charge at the club, a 4–0 win over non-League team Dover Athletic in the third round of the FA Cup on 4 January 2015, he was later informed that he was not part of the manager's new plans at the club. Cardiff City
On 28 January 2015, O'Keefe signed for Championship club Cardiff City, who beat off competition from Millwall, for an undisclosed fee on a two-and-a-half-year contract, joining former Palace teammates Danny Gabbidon and Kagisho Dikgacoi at the Cardiff City Stadium. He made his debut against Derby County, having trained with the team for just two days following the completion of his transfer, in a 2–0 loss. He featured in the following two matches but, with heavy competition from Peter Whittingham, Joe Ralls and Aron Gunnarsson, he did not appear for the first team again until 11 April and made a total of just six appearances during the second half of the season for Cardiff.The start of the following season continued the same trend for O'Keefe as he made just eight appearances during the first five months of the season before returning to the starting line up against Wolverhampton Wanderers on 16 January 2016, in a match that Cardiff went on to win 3–1. O'Keefe's performances saw him establish himself in the first team and his attitude to being left out of the team for long periods drew praise from Cardiff manager Russell Slade who commented "<mask> has got a fantastic attitude, he's a real, real good professional, even when he wasn't in the side he was pushing. [...] some players when they're not in the side get disillusioned and want to move on, but not O'Keefe." He later scored his first goal for the club in a 2–0 victory during a Severnside derby match against Bristol City on 5 March 2016, adding his second one-month later with the winning goal during a 2–1 win over Derby County on 2 April. He finished the season having made 27 appearances for the club in all competitions, the most appearances he has made during a season to date and the first time in his career he made over 20 appearances in a single season. His impressive form during the second half of the 2015–16 season saw him handed a new contract during the summer, keeping him at Cardiff until summer 2019. After featuring as an unused substitute during the first match of the 2016–17 season, O'Keefe was handed his first appearance of the season in a 1–0 defeat to Bristol Rovers in the first round of the EFL Cup, where he suffered a broken arm in extra-time.He made his return to the team one month later on 25 September, helping Cardiff to their second win of the season during a 2–1 win against Rotherham United. However, with first-team opportunities limited at Cardiff, on 31 January 2017, O'Keefe joined League One club Milton Keynes Dons on loan until 1 May 2017, making his debut for the club as a substitute in place of Chuks Aneke during a 1–1 draw with Bolton Wanderers on 4 February 2017. He made a total of 18 appearances during the loan spell, scoring four times. On 31 August 2017, O'Keefe joined League One club Portsmouth on loan until the end of the 2017–18 season. At the start of the following season, O'Keefe was sent out on loan for the second successive season, joining Plymouth Argyle. He returned to Cardiff in January 2019, but was released later that year. Gillingham
O'Keefe signed for League One club Gillingham on 11 June 2019.He scored his first goal for Gillingham when he scored in an EFL Trophy tie against Colchester United on 3 September 2019. In September 2020 O'Keefe suffered a broken leg and ligament damage in an EFL Cup tie against Coventry City. O'Keefe knocked months off of his return date following his broken leg, and after a few appearances off the bench, made his first start since the injury against Charlton Athletic in February 2021. Style of play
After originally beginning his career as a winger, O'Keefe switched to central midfield and was described by former Cardiff City manager Russell Slade as a "hard working, energetic, athletic midfield player." Slade also praised O'Keefe for his determination when not playing regularly in the first team, stating " <mask> will roll his sleeves up, work harder, to try and show his manager and the coaching staff that he's capable of playing in the first team." Career statistics

Honours
Crystal Palace
Football League Championship play-offs: 2013

References

External links

Profile at the Gillingham F.C. website

1991 births
Living people
People from Eye, Suffolk
Footballers from Suffolk
English footballers
Association football midfielders
Ipswich Town F.C.players
Southend United F.C. players
Crystal Palace F.C. players
Blackpool F.C. players
Cardiff City F.C. players
Milton Keynes Dons F.C. players
Portsmouth F.C. players
Plymouth Argyle F.C.players
Gillingham F.C. players
English Football League players
Premier League players

masks:
Stuart Antony Alan O
Stuart
Stuart
Stuart


text_chunks:
<mask> of Massilia (died c. 496), also known as <mask>us or <mask>iliensis, was a 5th-century Christian priest and historian. His best-known work is De Viris Illustribus ("Of Famous Men"), a biography of over 90 contemporary significant Christians, which continued a work of the same name by Jerome. Life

<mask> was a priest of Massilia (now Marseille) and a  contemporary of Pope Gelasius I. Nothing is known of his life, save what he tells us himself in the last of the biographies he wrote: "I, <mask>, presbyter of Massilia, wrote eight books against all heresies, five books against Nestorius, ten books against Eutyches, three books against Pelagius, a treatise on the thousand years of the Apocalypse of John, this work, and a letter about my faith sent to blessed Gelasius, bishop of the city of Rome". Gelasius reigned from 492 to 496, so Gennadius must have lived at the end of the 5th century. Writings

Gennadius knew Greek well and was well read in Eastern and Western, orthodox and heretical Christian literature. He was a diligent compiler and a competent critic.De Viris Illustribus

De Viris Illustribus, in its most commonly accepted form was probably published c. 495 and contains, in some ten folio pages, short biographies of ecclesiastics between the years 392 and 495. It is a very important source and in part the only source of our acquaintance with the over ninety authors treated therein. It is a continuation of St. Jerome's De Viris Illustribus. In that work Jerome had for the first time drawn up a series of 135 short biographies of famous Christians, with lists of their chief writings. It was the first patrology and dictionary of Christian biography. This book of reference was so useful that it naturally became popular, and many people wrote continuations after the same method. We hear of such a continuation by one Paterius, a disciple of Jerome, and of a Greek translation by Sophronius.It was <mask>'s continuation that became most popular and was accepted everywhere as a second part of Jerome's work, and was always written (eventually printed) together with his. <mask>'s part contains about one hundred lives, modelled closely after those of Jerome. Various edits and reprints do not number them consistently; by Bernoulli, i to xcvii, with some marked as xciib, etc., originally cxxxvi-ccxxxii). The series is arranged more or less in chronological order, but there are frequent exceptions. In xc, 92, he says (in one version) that Theodore of Coelesyria (Theodulus) "died three years ago, in the reign of Zeno". From this Czapla deduces that <mask> wrote between 491 and 494. The present form of the text indicates a repeated revision of the entire work.Other people have modified it and added to it without noting the fact—as is usual among medieval writers. Some scholars including Richardson and Czapla consider that chapters xxx (Bishop John II of Jerusalem), lxxxvii (Victorinus), xciii (Caerealis of Africa. ), and all the end portion (xcv-ci), are not authentic. There is doubt about parts of the others. Other writings

Gennadius states that he composed a number of other works, most of which are not extant:

Adversus omnes hæreses libri viii., "Against all heresies" in 8 volumes
Five books against Nestorius
Ten books against Eutyches
Three books against Pelagius
Tractatus de millennio et de apocalypsi beati Johannis, "Treatise on the thousand years and on the Apocalypse of St. John"
Epistola de fide, a "letter of faith" which he sent to Pope Gelasius. Works of Evagrius Ponticus and of Timothy Ælurus, translated and restored to their authentic form. These translations are also lost.De Ecclesiasticis Dogmatibus

There is a treatise called De Ecclesiasticis Dogmatibus ("Of Church Doctrine") which was originally attributed to Augustine of Hippo but is now universally attributed to <mask>. The work was long included among those of St. Augustine. Some scholars (Carl Paul Caspari, Otto Bardenhewer, Bruno Czapla) think that it is probably a fragment of Gennadius's eight books "against all heresies", apparently the last part, in which, having confuted the heretics, he builds up a positive system. Publication
The De Viris Illustribus was edited and published by J. Andreas (Rome, 1468), by J. A. Fabricius in Bibliotheca ecclesiastica (Hamburg, 1718), and by E. C. Richardson in Texte und Untersuchungen, xiv. (Leipsig, 1896). It also appears with many editions of the works of Jerome.An English translation by Richardson was produced in the Nicene and Post-Nicene Fathers, 2nd ser, iii. 385–402. A critical edition of the Liber de Ecclesiasticis Dogmatibus under the title Liber Ecclesiasticorum Dogmatum was published by C. H. Turner in the Journal of Theological Studies vii. (1905), pp. 78–99 at pp. 89–99. Turner's introduction reviews a number of previous editions and also provides a survey of manuscript copies that were known to him, including several that he used for the edition.Attitude and views

There are many indications that the author was a Semipelagian in "De Viris Illustribus". Semipelagians are warmly praised (Fastidiosus, lvi, p. 80; Cassian, lxi, 81; Faustus of Riez, lxxxv, 89); full Pelagians (Pelagius himself, xlii, 77; Julian of Eclanum, xlv, 77) are heretics; Catholics are treated shabbily (Augustine of Hippo, xxxviii, 75; Prosper of Aquitaine, lxxxiv, 89); even popes are called heretics (Julius I, in i, 61). The same tendency is confirmed by the treatise "De eccles. dogmatibus", which is full of Semipelagianism, either open or implied (original sin carefully evaded, great insistence on free will and denial of predestination, grace as an adjutorium in the mildest form, etc.). Gennadius considers (like later writers, e.g. Thomas Aquinas) that all men, even those alive at the Second Coming, will have to die. But this conviction, though derived from a widespread patristic tradition, is, he admits, rejected by equally catholic and learned Fathers.Of the theories concerning the soul of man subsequently known as the creationist and the traducianist views, he espouses the creationist. He will not allow the existence of the spirit as a third element in man besides the body and the soul, but regards it as only another name for the soul. In De Ecclesiasticis Dogmatibus, his views include the following points. Heretical baptism is not to be repeated, unless it has been administered by heretics who would have declined to employ the invocation of the Holy Trinity. He recommends weekly reception of the Eucharist by all not under the burden of mortal sin. Such as are should have recourse to public penitence. He will not deny that private penance may suffice; but even here outward manifestation, such as change of dress, is desirable.Daily reception of holy communion he will neither praise nor blame. Evil was invented by Satan. Though celibacy is rated above matrimony, to condemn marriage is Manichean. A twice-married Christian should not be ordained. Churches should be called after martyrs, and the relics of martyrs honoured. None but the baptized attain eternal life; not even catechumens, unless they suffer martyrdom. Penitence thoroughly avails to Christians even at their latest breath.The Creator alone knows our secret thoughts. Satan can learn them only by our motions and manifestations. Marvels might be wrought in the Lord's name even by bad men. Men can become holy without such marks. The freedom of man's will is strongly asserted, but the commencement of all goodness is assigned to divine grace. The language of Gennadius is here not quite Augustinian; but neither is it Pelagian. References

Attribution

External links
Opera Omnia by Migne Patrologia Latina with analytical indexes
 English translation of De Viris at the Christian Classics Ethereal Library

5th-century Christian clergy
5th-century Gallo-Roman people
History of Marseille
Writers from Marseille
5th-century Latin writers
5th-century historians
Clergy from Marseille
Ancient Massaliotes

masks:
Gennadius
Gennadius Scholastic
Gennadius Mass
Gennadius
Gennadius
Gennadius
Gennadius
Gennadius
Gennadius


text_chunks:
<mask> (; born 25 April 1994) is a Russian former competitive ice dancer. With partner Ruslan Zhiganshin, she is the 2015 Russian national champion. With former partner Nikita Katsalapov, she is a 2014 Olympic champion in the team event, a 2014 Olympic bronze medalist in ice dancing, a three-time European medalist (silver in 2013 and 2014; bronze in 2012), and the 2010 World Junior champion. Also along with former partner Nikita Katsalapov, she is the second-youngest Olympic Ice Dance medalist in history and the junior world record holder for the Original Dance. Personal life
<mask> was born in Aktau (Shevchenko), Kazakhstan and raised in Moscow, Russia. Her parents divorced when she was two years old. From around 2006 to 2008, Ilinykh lived in Michigan with her grandmother and became fluent in English.Her mother adopted a two-year-old boy in around 2010. As of 2020, Ilinykh is engaged to ballet dancer Sergei Polunin. On 16 January 2020, their son, Mir, was born in Miami, Florida, U.S. Mir means 'peace' or 'world' in Russian. Early skating career
As a child, Ilinykh trained in single skating, under Natalia Dubinskaya, until her mother decided she should try ice dancing. She was paired with Nikita Katsalapov, who had trained in the same singles group. Irina Lobacheva and Ilia Averbukh were the team's first coaches. In 2005, <mask>/Katsalapov attended a training camp under Alexander Zhulin — who was preparing Tatiana Navka / Roman Kostomarov for their Olympic gold-medal winning season — but split soon after.In 2010, Ilinykh said that they were too young at the time to understand partnership. She left Russia and trained in Marina Zueva and Igor Shpilband's group in Canton, Michigan for two years without a partner. At some point, she had a brief partnership with Ivan Bukin, the son of 1988 Olympic ice dancing champion Andrei Bukin. Renewed partnership with Katsalapov

Junior career
In spring 2008, Ilinykh returned to Moscow after Katsalapov expressed interest in reuniting with her. He organized tryouts with her and other skaters at around the same time before making a final decision. <mask>/Katsalapov rejoined Zhulin and began competing together in the 2008–09 season, placing fourth at the Russian Junior Championships. Their international debut came in the 2009–10 season.After winning gold medals at their Junior Grand Prix events in Budapest and Torun, they qualified to the JGP Final, where they took the silver medal behind Ksenia Monko / Kirill Khaliavin. Though second also at the Russian Junior Championships, <mask>/Katsalapov outscored Monko/Khaliavin for the gold at the 2010 World Junior Championships. They were named Discovery of the Year at the 2010 Crystal Ice Awards held in October 2010 in Moscow. 2010–11 season
For the 2010–11 season, <mask>/Katsalapov chose a ballet-themed free dance to Don Quixote: "[Zhulin] wanted us to do something classical Russian, and only very few people have done a real ballet program in dance." Ilinykh's tutu was made at the Bolshoi. They made their senior debut at the 2010 NHK Trophy where they finished fourth. At their next event, 2010 Cup of Russia, they won the bronze medal, their first medal on the senior Grand Prix series.At the 2011 Russian Nationals, they were second after the short dance behind Ekaterina Bobrova / Dmitri Soloviev but placed fourth in the free dance to finish third overall behind Ekaterina Riazanova / Ilia Tkachenko. However, their bronze medal was enough to earn them their first berth to the European Championships. At the 2011 Europeans, <mask>/Katsalapov set new personal bests in the short dance (60.93), free dance (92.55) and combined total (153.48) to finish fourth in their debut at the event. They were in a battle with Riazanova/Tkachenko for Russia's second of only two berths to the 2011 World Championships. By finishing ahead of them, <mask>/Katsalapov won the right to make their senior Worlds debut. They finished seventh at the event. Following the end of the season, they ended their collaboration with Alexander Zhulin and Oleg Volkov to begin working with new coach Nikolai Morozov in May 2011.During the off-season, they spent some time in the U.S. preparing for the 2011–12 season. 2011–12 season
For the 2011–12 Grand Prix season, <mask>/Katsalapov were assigned to 2011 NHK Trophy and 2011 Trophée Eric Bompard. At NHK Trophy, they placed first in the short dance but in the warm-up before the free dance Ilinykh crashed into the boards and injured her knee. The couple finished the competition, winning the bronze medal, but withdrew from the exhibitions. <mask>/Katsalapov then finished fourth at the 2011 Trophee Eric Bompard. They won the silver medal at the 2012 Russian Championships. At the 2012 European Championships, <mask>/Katsalapov were seventh in the short dance but set a personal best in their free dance, resulting in an overall total of 153.12 points.They won the bronze medal at the event and then performed with Art on Ice. <mask>/Katsalapov finished 5th—the highest of the three Russian teams—at the 2012 World Championships. Their final event of the season was the 2012 World Team Trophy. 2012–13 season
Ilinykh/Katsalapov started their season with gold at the 2012 Crystal Skate of Romania. They won silver at their first 2012–13 Grand Prix event, the 2012 Rostelecom Cup. At the 2012 NHK Trophy, <mask>/Katsalapov were third after the short dance. Ilinykh fell ill before the free dance due to food poisoning but went on to compete.They placed second in the segment and won the silver medal. They qualified for the 2012 Grand Prix Final in Sochi, Russia, and finished sixth at the event. At the 2013 Russian Championships, <mask>/Katsalapov won the silver medal behind defending national champions Ekaterina Bobrova / Dmitri Soloviev. At the 2013 European Championships, they placed second in the short dance and first in the free dance. They won the silver medal, just 0.11 of a point behind gold medalists Bobrova/Soloviev. <mask>/Katsalapov finished 9th at the 2013 World Championships. 2013–14 season

Ilinykh/Katsalapov's first assignment of the 2013–14 Grand Prix season was the 2013 NHK Trophy where they placed fourth.At their next event, the 2013 Trophee Eric Bompard, they scored personal bests in both segments, finishing with an overall score of 171.89 points and winning the silver medal ahead of French ice dancers Nathalie Pechalat / Fabian Bourzat. Ilinykh/Katsalapov won their third national silver medal at the 2014 Russian Championships behind Bobrova/Soloviev and then won silver at the 2014 European Championships with an overall score 1.1 points less than gold medalists Cappellini/Lanotte. At the 2014 Winter Olympics in Sochi, <mask>/Katsalapov were assigned to the free dance in the inaugural team event. They placed third in their segment and Team Russia won the gold medal. Ilinykh/Katsalapov then won the bronze medal in the individual ice dancing event behind champions Meryl Davis / Charlie White and silver medalists Tessa Virtue / Scott Moir. They scored personal bests in both segments and an overall total of 183.48 points. At 19 years of age, <mask> is second youngest Olympic ice dance medalist in history after Marina Klimova.The next month, <mask>/Katsalapov traveled to Saitama, Japan for the 2014 World Championships. On 26 March 2014, just before the short dance, ITAR-TASS reported that they would split after the competition. Katsalapov had a serious error on the twizzles and they placed fifth in the short dance. Despite winning the next segment, they finished off the podium in the closely contested event. Their total score was just 1.05 less than the gold medalists. On 4 April 2014, Katsalapov confirmed to Ilinykh that he wanted to end their partnership. Partnership with Zhiganshin
Soon after, in early April 2014, Ilinykh accepted an invitation from Ruslan Zhiganshin's coaches to try out with their student.Coached by <mask> in Moscow, Ilinykh/Zhiganshin began training together in an unofficial partnership — the Russian federation having decided to give <mask>/Katsalapov time to reconcile — and received approval at the end of May. 2014–15 season
For the 2014–15 Grand Prix season, Ilinykh/Zhiganshin were assigned to Cup of China and Rostelecom Cup. Making their international debut, they placed fourth at Cup of China and then won the silver medal behind Americans Madison Chock / Evan Bates at Rostelecom Cup. They qualified for the Grand Prix Final in their first season as a team. At the GPF in Barcelona, they placed sixth in the short dance, fourth in the free dance, and sixth overall. At the 2015 Russian Championships, Ilinykh/Zhiganshin won the national title in their first season as a team. 2015–16 season
Ilinykh/Zhiganshin began their season at the Mordovian Ornament, which they won with new personal bests in all segments.For the 2015–16 Grand Prix season, they were once again assigned to Cup of China and Rostelecom Cup. They won the bronze at Cup of China behind Italians Anna Cappellini / Luca Lanotte and Americans Madison Chock / Evan Bates. Their next competition they finished 5th at the 2015 Rostelecom Cup. On 24–27 December, Ilinykh/Zhiganshin competed at the 2016 Russian Championships, where they finished 4th behind Alexandra Stepanova / Ivan Bukin after placing fourth in the short dance and second in the free dance. Ilinykh/Zhiganshin decided to fly to Michigan on 27 February 2016 to work with Igor Shpilband. 2016–17 season
They finished fourth at the 2017 Russian Championships, losing the bronze to Sinisina/Katsalapov by 0.17. They had a one-point deduction after part of their costume fell onto the ice.Programs

With Zhiganshin

With Katsalapov

Competitive highlights
GP: Grand Prix; CS: Challenger Series; JGP: Junior Grand Prix

With Shibnev

With Zhiganshin

With Katsalapov

Detailed results
Small medals for short and free programs awarded only at ISU Championships. With Zhiganshin

With Katsalapov

References

External links

1994 births
Living people
Russian female ice dancers
Figure skaters from Moscow
People from Aktau
European Figure Skating Championships medalists
World Junior Figure Skating Championships medalists
Figure skaters at the 2014 Winter Olympics
Olympic figure skaters of Russia
Medalists at the 2014 Winter Olympics
Olympic medalists in figure skating
Olympic gold medalists for Russia
Olympic bronze medalists for Russia
Kazakhstani emigrants to Russia

masks:
Elena Ruslanovna Ilinykh
Elena Ilinykh
Ilinykh
Ilinykh
Ilinykh
Ilinykh
Ilinykh
Ilinykh
Ilinykh
Ilinykh
Ilinykh
Ilinykh
Ilinykh
Ilinykh
Ilinykh
Ilinykh
Ilinykh
Ilinykh
Elena Kustarova
Ilinykh


text_chunks:
<mask> (July 27, 1908 – May 24, 1996) was an American writer best known for his works of creative nonfiction he published in The New Yorker. His work primarily consists of character studies, where he used detailed portraits of people and events to highlight the commonplace of the world, especially in and around New York City. Biography

Early life
<mask> was born on July 27, 1908 on his maternal grandfather's farm near Fairmont, North Carolina and was the son of Averette Nance and <mask>. He had five younger siblings: Jack, Elizabeth, Linda, Harry, and Laura. <mask>'s father, a fourth generation cotton and tobacco farmer, was a Southerner steeped in the values of the Baptist church, and he tried to instill these values into his children. As his eldest son, Averette hoped that <mask> would someday take over the family business and continue the family's legacy. <mask>'s adventurous personality as a child contradicted his father's staunch work ethic and traditional Southern values.From a young age, <mask> was deeply touched by nature. He loved to climb trees, and it was one of the few activities that allowed an outlet for his young imagination to develop. He also tended to escape to the swamps surrounding his father's property as often as he could, as it allowed him to feel connected to the world around him. <mask> stated, "the water mesmerized me; everything in it interested me, still or moving, dead or alive." Education
<mask> left home and attended college at the University of North Carolina at Chapel Hill in 1925. As a journalism major, he was "a solid if not superior student," and he was successful in humanities courses such as history, language, music, and literature and explored classes in nearly every subject. Aside from his studies, he began writing for the campus literary magazine and newspaper as a sports reporter.Because he had no aptitude for mathematics, he was unable to successfully finish his degree. He left college and moved to New York City in 1929. Family
On February 27, 1932, he married Therese Jacobsen, a reporter and photographer. They remained married until her death in 1980, and had two daughters, Nora and Elizabeth. Mental health
<mask> suffered from depression all of his life. An unsteady relationship with his father and his lack of belonging in his two homes of North Carolina and New York left <mask> isolated and listless for much of his life. He lived in an era of psychology that focused purely on anxiety, and doctors regarded depression as a severe side effect of existing anxiety.However, symptoms of this condition did not clearly manifest in his life until late in his career. Many of <mask>'s coworkers, as well as his biographer, Thomas Kunkel, tell of the toll the subjects of his works had on him, specifically his greatest subject, Joe Gould. <mask> once remarked to Washington Post writer David Streitfeld, "You pick someone so close that, in fact, you are writing about yourself. Joe Gould had to leave home because he didn't fit in, the same way I had to leave home because I didn't fit in. Talking to Joe Gould all those years he became me in a way, if you see what I mean." Even with Joe Gould as a way to explore his own reality, <mask> began to attract characters with similar attributes. In a feature within The New Yorker magazine, Charles Mcgrath notes that "the critic Stanley Edgar Hyman first pointed out that the people <mask> wrote about more and more resembled himself: loners, depressives, nostalgists, haunters of the waterfront, cherishers of arcane information.The characters in his pieces began to share a similar voice; they all sounded a little like <mask>." From 1964 until his death in 1996, <mask> would go to work at his office on a daily basis, but he never published anything further. Although he struggled to publish, he did write hundreds of pages of manuscripts for several pieces, including his own memoir, which Thomas Kunkel used extensively in writing <mask>'s biography. After he died, his colleague Roger Angell wrote:Each morning, he stepped out of the elevator with a preoccupied air, nodded wordlessly if you were just coming down the hall, and closed himself in his office. He emerged at lunchtime, always wearing his natty brown fedora (in summer, a straw one) and a tan raincoat; an hour and a half later, he reversed the process, again closing the door. Not much typing was heard from within, and people who called on Joe reported that his desktop was empty of everything but paper and pencils. When the end of the day came, he  went home.Sometimes, in the evening elevator, I heard him emit a small sigh, but he never complained, never explained.While his battle with mental illness continued in the workplace, he was known by his family as a dependable and caring father and husband at home. Therese Jacobson and their children, Nora and Elizabeth, retained nothing but fond memories of their father, even though they knew he was struggling in his career. Death
In 1995, <mask> was diagnosed with lung cancer after he began experiencing back pain. The cancer eventually spread and metastasized in his brain. On May 24, 1996, <mask> died at Columbia-Presbyterian Medical Center in Manhattan at the age of 87. He was laid to rest in Floyd Memorial Cemetery in his hometown of Fairmont, North Carolina next to his wife. His daughters inscribed a quote from Shakespeare's seventy-third sonnet, which was one of his favorite lines in literature: "Bare ruined choirs, where late the sweet birds sang."Further reading
For more information on <mask>'s biography and daily life, see Thomas Kunkel's Man in Profile: <mask> of The New Yorker (2015). Career

<mask> came to New York City in 1929, at the age of 21, with the ambition of becoming a political reporter. He worked for such newspapers as The World, the New York Herald Tribune, and the New York World-Telegram, at first covering crime and then doing interviews, profiles, and character sketches. In 1931, he took a break from journalism to work on a freighter that sailed to Leningrad and brought back pulp logs to New York City. He returned to journalism later that year and continued to write for New York newspapers until he was hired by St. Clair McKelway at The New Yorker in 1938. He remained with the magazine until his death in 1996. His book Up in the Old Hotel collects the best of his writing for The New Yorker, and his earlier book My Ears Are Bent collects the best of his early journalistic writing, which he omitted from Up in the Old Hotel.<mask>'s last book was his empathetic account of the Greenwich Village street character and self-proclaimed historian Joe Gould's extravagantly disguised case of writer's block, published as Joe Gould's Secret (1964). <mask> served on the board of directors of the Gypsy Lore Society, was one of the founders of the South Street Seaport Museum, was involved with the Friends of Cast-Iron Architecture, and served five years on the New York City Landmarks Preservation Commission. In August 1937, he placed third in a clam-eating tournament on Block Island by eating 84 cherrystone clams. In 2008, The Library of America selected <mask>'s story "Execution" for inclusion in its two-century retrospective of American True Crime. The February 11, 2013 edition of The New Yorker includes a previously unpublished portion of <mask>'s unfinished autobiography entitled "Street Life: Becoming Part of the City." Central themes

Character study
Seen throughout <mask>'s oeuvre is his distinct focus on the underdog characters, or the laymen of NYC, and the focus on unexpected characters. For example, Mazie is a central focus for a New Yorker article bearing her name.“Mazie” first appears in the print edition of the December 21, 1940 issue of The New Yorker.The piece, later published in <mask>'s collection of essays in Up in the Old Hotel, creates and canonizes Mazie, a woman who worked in the ticket booth of The Venice theatre. <mask>'s meticulous reporting skills result in an account of Mazie complete with factual details, close observation, and direct quotations. Critics believe Mazie resembles <mask> himself: they share an affinity for remembering small facts and giving attention to the overlooked members of society. Mazie P. Gordon is tough and blunt. Detective Kain of the Oak Street Police Station declares that Mazie “has the roughest tongue and the softest heart in the Third Precinct. In <mask>'s profile, her life is confined to the ticket booth of the movie theatre where she socializes with “bums” that come and go from the surrounding flophouses. Direct conversations detail her interactions with her community.<mask> was open to taking on the challenge of profiling the female central character of Mazie. The writing process was challenging until his central character would give him “the revealing remark.” The 1938 World Telegram description of Mazie P. Gordon reveals she was known as “Miss Mazie” to the men she interacted with around the Venice Theatre. She is blonde, kind, and has exaggerated hair and makeup. Two years later, when <mask> profiled Mazie in The New Yorker, some critics called <mask> an anthropologist in his description. Mazie becomes more than just a blonde and kind woman, and instead is shown to be complex and strong-willed. <mask>'s close observation of Mazie set a new standard for writers and reporters. <mask>'s curiosity without judgement inspired writers to continue Mazie's legacy.The character of Mazie is popularized by the novel Saint Mazie by Jami Attenberg. She encountered “Mazie” through <mask>'s collection of his magazine pieces, and used <mask>'s profile to fashion Mazie into a fictional character. Ultimately, Mazie archetypes <mask>'s distinct characteristics that intrigue readers. Much of this intrigue, for all of <mask>'s underdog characters, comes from the access he provides into the lives of the people that the readers of the New Yorker wouldn't normally meet. The Rivermen, for instance, would be irrelevant people to most of NYC citizens until <mask> brings them into focus for the readers. In yet another way, Rats on the Waterfront (Thirty-Two Rats From Casablanca) tells a compelling story where the central character is not even human. <mask>'s focus on these unlikely characters gives his nonfiction a very distinct character.Time and passing
The term "<mask> time" was coined by novelist Thomas Beller to describe the gauzy effect in <mask>'s writings. He goes on to further describe <mask>'s temporal dimension as a "strange and twilight place where a density of historical fact and the feeling of whole eras fading from view are sharply juxtaposed with the senses of cinematic immediacy related in the present tense." <mask>'s distinctive voice can be seen in many, if not all, of his works. The most notable example of "<mask> time" is seen in the story Mr. Hunter's Grave where the narrative tells of the overlapping of many eras occurring in one small location. Landscape study
<mask> was born in North Carolina, yet throughout the majority of his writing career he centred his writing around New York City and its subjects. He brought a distinct and unique style of reporting to NYC that stemmed from his Southern upbringing. <mask> was said to have brought the ultimate Southern courtesy of accepting “people on their own terms”.Although he was a Brooklyn police reporter at first, by the time he moved to work in Harlem he began to connect with the “raffish side” of the NYC borough and it was here that his deep affection for NYC and its people started to blossom. Scholars claim that <mask>'s 1959 collection entitled The Bottom of the Harbor is his best and most “elegiac account of New York”. It is here that <mask> references not only the underdog characters of NYC, but also the underdog places - such as the Fulton Fish Market; a reoccurring place of study in this water based collection. For example, Dragger Captain is “the story of an old salt in the fleet out of Stonington, Connecticut, that supplies the Fulton Fish Market with flounder”. But it is once again <mask>'s character selection in The Bottom of the Harbor that allows him to portray NYC in his signature matte style. The subjects "are mainly old men, they are custodians of memory, their stories a link with the history of a city that has always been mercantile at heart." Additionally, <mask> liked to visit the Edgewater Cemetery, which was the inspiration for one of his most famous articles - Mr Hunter’s Grave.From North Carolina he “brought an interest in wildflowers” and these flowers “could be found most easily in overgrown cemeteries around New York City.”  <mask> managed to discover these quaint everyday places as he would often set off to work in his New Yorker office, but instead, he would carry on walking, taking in NYC and its landscape. Indeed, much of <mask>'s work was conceived due to his enchanted meandering of NYC where he “walked the city incessantly . . . little escaped his notice”

Selected works

"Up in the Old Hotel"
In <mask>'s feature "Up in the Old Hotel'," <mask> explores the Fulton Fish Market of New York, specifically Sloppy Louie's Restaurant. He features the owner of the space, and explores the character in full before adventuring up the old elevator shaft with Louie and exploring the abandoned and sectioned-off old hotel space. In his opening, <mask> surveys the personality of the man he has this experience with, setting the mood for the entire piece. Louie is an Italian immigrant that worked for years in restaurants around the city until The Crash of 1929, when the property that is now his restaurant finally came into his price range. It was never the flashiest or nicest building, but it was near the market and was plenty successful in housing a small restaurant.Louie is constantly experimenting with his dishes, making his shop the place to stop and try a new kind of fish, or other seafood. Growing up in a small Italian fishing village himself, he does not shy away from different flavors and possibilities with his fish. He's a humble and gentlemanly man that adds an air of propriety and humility to everything he does; he works the same as any of his employees to keep his restaurant running, doing the same jobs, and always keeps a white cloth folded over his arm for the sake of class, even when he's only running the register. He maintains relationships with his regular customers, like <mask>, and fosters business relationships with the fishermen that bring their catches to the dock for sale at the Fulton Market. "Up in the Old Hotel" isn't just the story of Louie, or Sloppy Louie's, but about the closed-off elevator shaft that not even Louie has ever traveled up into. This comes about over breakfast, when Louie tells <mask> he may need to add extra tables to the second floor of his place to make up for the growing lunch crowds coming in. When <mask> points out he has four empty floors above them, Louie explains that only the first two floors have stairs to access them, and the rest of the building is closed off.Out of pure curiosity, <mask> agrees to be the man who will go up to the unused four floors with Louie for the first time, when the opportunity arises. The elevator shaft, the equipment, nor the space above has been used or even really touched since it was shut out, making it a particularly risky endeavor for both of the men, and upon realizing it is safe to use, they travel up to the old hotel that hasn't been seen by anyone in  decades. Up on the first blocked floor, the two men find the remains

masks:
Joseph Quincy Mitchell
Mitchell
Elizabeth Amanda Parker Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Joseph Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Joseph Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Joseph Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Joseph Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Joseph Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell


text_chunks:
 of what was once a high-end hotel, finding bureaus with playing cards, hangers, mirrors, and the sign to the reading room. The environment itself was depressing to <mask>, and he decided the leave immediately, so neither of the men bothered to go up to the floor above them. This feature by <mask> really clings to his notions of the passage of time, and the coming change in New York, and the rest of the world. "Mr. Hunter's Grave"

"Mr. Hunter's Grave" was published by The New Yorker on September 22, 1956. To this day, the piece remains one of <mask>'s biggest journalistic successes—with an array of positive reviews."Mr. Hunter's Grave" was republished in one of <mask>'s collections, Up In The Old Hotel, which was  released in 1992. The article is based on an encounter <mask> had with an African-American man named George Hunter, who lived in Sandy Ground, a black community in Staten Island, one that is credited with being the oldest, established, free black community in the United States. This article in particular begins with what one could consider a “typical <mask> day” and allows for the reader to get closer to <mask> in a sense. One day, <mask> wakes up, admittedly feeling stressed form his surroundings, packs a couple sandwiches, and decides to go down to Staten Island to explore the cemeteries. <mask> walks the reader through a number of cemeteries he enjoys walking through on days like that day, which include places such as “Woodrow Methodist Church on Woodrow Road in the Woodrow community, or to the cemetery of St. Luke’s Episcopal Church on the Arthur Kill Road in the Rossville community, or to one on the Arthur Kill Road on the outskirts of Rossville” before leading the reader to The South Shore, a more rural part of Staten Island, where trees tend to dominate, and a place where some of the oldest graveyards can be found, (<mask>). <mask> continues his exploration of several graveyards, stopping at gravestones, studying them, reading the names off of them, and moving vines and dirt off of certain ones he ponders upon. <mask> begins to grow weary, preparing to leave the graveyard off of Rossville until he notices a wildflower that catches his attention, drawn to the grave of a Rachel Dissoway, which is when <mask> is noticed by the rector of the graveyard, Mr. Brock.The two men discuss <mask>'s interest in wild flowers, particularly Peppergrass, which leads to Mr. Brock telling <mask> about a cemetery in a black community off of Bloomingdale Road. Mr. Brock gives <mask> the contact of a Mr. G. Hunter, who is the chairman of trustees of the Methodist Church in the community, Sandy Ground, where <mask> would like to go look for Peppergrass. <mask>, using the information given to him by Mr. Brock, contacts Mr. Hunter, and sets up a time to meet the man at his house that coming Saturday morning, for him to explore Sandy Ground. On Saturday morning, <mask> arrives at Mr. Hunter's home, where he is greeted by Mr. Hunter, who at the time of his arrival is icing a cake. In the time while <mask> is at Mr. Hunter's home, <mask> learns a great deal about the history of Sandy Ground. While in the kitchen, the two men discuss multiple concepts—such as the wildflower pokeweed that the older women of Sandy Ground, including Mr. Hunter's mother, believed that they root had healing properties, even though others just generally regard them as poisonous. Following this, there's commentary about what kind of wood Mr. Hunter's house is built of, and talk about how much he despises flies while the two men are sitting on the porch, (as well as a discussion about the history of Sandy Ground, which started due to the wanting of oysters).Following the incident with the flies, Mr. Hunter and <mask> begin their trip to the graveyard. On the way to the graveyard, <mask> discusses more discussion  regarding Mr. Hunter's family and himself—such as the fact that Mr. Hunter wasn't born in the South, but his mother was; more so, his mother was a slave from Virginia, and her mother before her. After Mr. Hunter's mother's slavery days, she moved to Brooklyn, where she met and married his father, although, after his father served a sentence, the family moved to Sandy Ground, hoping to get work by harvesting oysters. After his father's death, Mr. Hunter's mother married a man from Sandy Ground, who Mr. Hunter did not much care for, but goes into the history of his step family nonetheless. Mr. Hunter then goes into discuss how he too became a drunk, and the several jobs he had such as a bricklayer and a business owner, before marrying his first wife. Mr. Hunter reveals that he was married twice, and lost both his wives, he also reveals that he had a son who died. After this revelation, the two men enter the cemetery.The men discuss different roots, some of which <mask> is familiar with, and one of which he is not, until they come across a grave that Mr. Hunter says is his Uncle's. Mr. Hunter, while <mask> explores a little more, works on getting the vines off the gravestone, so the two men can better observe it. Following this, the two men stop at a number of different graves, with Mr. Hunter narrating short life stories of each individual they tend to stop at. The routine of stopping, narrating, and continuing comes to a cease upon the two men reaching Mr. Hunter's plot, where he will actually not be buried due to a mishap—of which Mr. Hunter explains clearly, and emotionally, admitting it outraged him. Taking two steps further, Mr. Hunter shows <mask> were he will be buried in all actuality, stating, “'Ah, well, (…), it won’t make any difference'” ending the article, (<mask>). The article, like many others did acquire a level of scrutiny following the publication of a <mask> biography written by Thomas Kunkel in 2015. Kunkel's biography brought to light several fascinating facts about <mask>'s life, however, some of the information provided from it opened up a wormhole, specifically the revelation that certain pieces of <mask>'s articles were fabricated and the period of time of which the events took place shortened.Many critics it appears were distraught, such as Michael Rosenwald, a writer for the Columbia Journalism Review. Following the publication of the book, Rosenwald wrote an article entitled, “‘I Wish This Guy Hadn’t Written This Book’”. In this article, Rosenwald explores his own relationship with <mask> -- stating how the man influenced both himself and other generations of writers and how his favorite article by him is "Mr. Hunter's Grave", then goes into his disappointment about what was put in the Kunkel biography, stating, “For me, learning these things was like a kid discovering his favorite baseball player whacked long home runs while juicing on steroids” showcasing the betrayal he felt. Rosenwald's article also entails the opinion of another well respected journalist, Gay Talese, who Rosenwald is friends with. Upon reading the novel, and hearing about it himself, Rosenwald records that Talese said something along the lines of, “'To hear that one of the guys I grew up admiring did things I don’t think I’d want to be accused of doing, it’s troubling and sad'”. "Dragger Captain"
In January 1947 "Dragger Captain" appeared in The New Yorker in two parts. In this profile <mask> talks to and follows 47-year-old Ellery Thompson who is captain of a dragger boat, named Eleanor.The Eleanor works out of Stonington port in Connecticut. <mask> chooses Ellery Thompson as he is “the most skillful and the most respected of the captain in the Stonington fleet”. <mask> and Captain Thompson soon find that they have compatible personalities, thus, allowing <mask> to accompany Ellery during his drags. Throughout the article we gradually learn more about Ellery as a person and not just a dragger captain. Ellery's brother, Morris, died at sea trying to combat poor sailing conditions to try and make a living. Ellery has to then drag for his own brother's body, giving us an insight as to the reason why Ellery looks upon life “with a droll world-weariness”. But Ellery is also a kind and thoughtful man.For example, unlike other draggers, he keeps the best lobster he catches for himself and his crew. Additionally, when the oceanographers from Yale University sail with him on the Eleanor one day a month he flies an “old Yale pennant”. The article closes with Frank, one of Ellery's two crew mates, telling an interesting folk tale. The story is about Old Chrissy, “an old rascal of a woman that was the head of a gang of Block Island wreckers”. The gig was that Chrissy and her crew would lure ships in “with false lights, & they killed the sailors & the passengers, so there wouldn't be any tales told”. On one occasion she unknowingly lures in her own son's ship. But, she chooses to “clout him on the head.‘A son’s a son,’ she said, ‘but a wreck’s a wreck”. “Dragger Captain” was met with much critical acclaim. So much so, that the rights were acquired by Warner Brothers and it was rumoured that they were going to “develop it for Gary Cooper”. Thompson was promised 10% of any proceeds by <mask>. Ultimately though, nothing came of the rumours with Michell calling it “studio commissary gossip” and stating that “the only truth in it is that a writer has been assigned to try and work out a script on dragger finishing, using the Profile as background”. Joe Gould's Secret
In Joe Gould's Secret (1965), <mask> expanded upon two earlier New Yorker profiles, “Professor Sea Gull” (1942) and “Joe Gould’s Secret” (1964), concerning Joe Gould, an eccentric bohemian living in New York City. Following Gould's death, <mask> embarks on a search for the massive book Gould had long claimed to be writing, An Oral History of Our Time.<mask> soon learns that the purportedly nine-million-word work of oral history does not exist. However, he finds that Gould is a popular and central figure within a number of New York circles. Extending <mask>'s abiding concerns with the anti-hero and the New York landscape,Joe Gould’s Secret also captures the essence of Gould's non-existent oral history by preserving the life and voice of Joe Gould. Gould's writing is digressive and self-referential; however, <mask>'s writing in Joe Gould’s Secret diverges from his previous works. <mask> often speaks in first person while offering personal accounts and memories revolving around the plot. Furthermore, Gould's nonexistent “Oral History” is an attempt to capture the voices of the plebeian class, or the anti-heroes. <mask>'s entire work, especially Joe Gould’s Secret, captures the selfsame essence.His work often revolves around character study, in which he captures Joe Gould's profile. Gould struggles with writing and rewriting the first few chapters of his “Oral History” because of writer's block. Ironically, <mask>, himself, is struggling with a degree of writer's block in which he was unable, later in life, to continue his previous writing output. Critical reception
Critical reviews of <mask>'s works are, almost overwhelmingly, positive. Many critics have labeled <mask> "the best reporter in the country" and marked him as the writer with whom "any writer with aspirations in literary journalism...has to reckon with," and the writer that "transform[ed] the craft of reporting into art". William Zinsser states that <mask> serves as the "primary textbook" for "nonfiction writers of any generation". Critics credit <mask>'s strength as a writer to his "skills as an interviewer, photographic representation of his characters and their speech, deadpan humor, and graceful, unadorned prose style".Critics also note that it is <mask>'s "respect and compassion for his subjects" that allows him to explore uncomfortable themes like "mortality, change, and the past". Throughout <mask>'s career, he has been praised for his "ear for dialogue and eye for detail, genuine interest in the lives of his subjects, rhythmic, simple prose". For many critics, <mask> serves as the model writer for "generations of nonfiction writers" In the latter part of <mask>'s career, critics began to note that the tone of his writing had become "increasingly nostalgic" but that he retained his "earthly sense of humor and obvious delight in making new discoveries about New York". One notable literary critic, Noel Perrin, notes that "<mask> described the life and even the very soul of New York as perhaps no one else ever has". There are critics who question <mask>'s legacy as a journalist because of his tendency to "cross a line" between fiction and nonfiction, often "shaping the facts" of his stories to offer "the core 'truth' of the story" rather than "its interior factuality". One critic asks, "knowing [<mask>] fabricated and embellished, how should we view his legacy?" In popular culture
In 2000, Joe Gould's Secret, a feature film directed by Stanley Tucci and written by Howard A. Rodman, was released.It focuses on the relationship between <mask> (played by Tucci) and Joe Gould (Ian Holm) during the 1940s. <mask> is portrayed in The Blackwell Series, an indie computer game series revolving around paranormal themes. In the second game of the series, the player encounters <mask> during the prolonged writer's block of his later years. In the third game of the series, the player encounters ghosts of both <mask> and Joe Gould. <mask> is referenced by the editor of the Baltimore Sun, Gus Haynes, in the last episode of the HBO drama The Wire. Steve Earle's song "Down Here Below", from Washington Square Serenade, mentions <mask> directly saying, “I saw <mask>'s ghost on a downtown 'A' train. He just rides on forever now that the Fulton Fish Market's shut down."Bibliography

Collections from prior newspaper works

Collections of work from The New Yorker

)

All works from The New Yorker

1931–1939

 Comment With E.B. White Comment (January 16, 1931)
 Comment With E.B. White Comment (August 12, 1932)
 High Hats' Harold D. Winney & <mask> The Talk of the Town (June 9, 1933)
Reporter at Large They Got Married in Elkton A Reporter at Large (November 3, 1933)
Home Girl Profiles (February 23, 1934)
Reporter at Large. Bar and Grill. A Reporter at Large (November 13, 1936)
Mr. Grover A. Whalen and the Midway A Reporter at Large (June 25, 1937)
 The Kind Old Blonde Fiction (May 27, 1938)
Reporter at Large A Reporter at Large (August 19, 1938)
Mrs. Bright and Shining Star Chibby Fiction (October 28, 1938)
I Couldn't Dope it Out Fiction (December 2, 1938)
Christmas Story A Reporter at Large (December 16, 1938)
Obituary of a Gin Mill A Reporter at Large (December 30, 1938)
 Downfall of Fascism in Black Ankle County Fiction (January 6, 1939)
The Little Brutes! A Reporter at Large (February 3, 1939)
Dignity.The Talk of the Town (February 10, 1939)
All You Can Hold For Five Bucks. With Eugene Kinkead & Harold Ross The Talk of the Town (January 24, 1941)
Mr. Colborne's Profanity-Exterminators Profiles (April 25, 1941)
But There is No Sound A Reporter at Large (September 12, 1941)
The Tooth Profiles (October 24, 1941)
King of the Gypsies Profiles (August 7, 1942)
Professor Sea Gull Profiles (December 4, 1942)
Comment Comment (April 23, 1943)
A Spism and a Spasm Profiles (July 16, 1943)
The Mayor of the Fish Market Profiles (December 24, 1943)
Rebate. With F. Whitz The Talk of the Town (February 25, 1944)
Thirty-Two Rats from Casablanca A Reporter at Large (April 21, 1944)
Coffins! Undertakers! Hearses! Funeral Parlors! A Reporter at Large (November 17, 1944)
Solution.(March 2, 1945)
Mr. Flood's Party A Reporter at Large (July 27, 1945)
Dragger

masks:
Mitchell
Mitchell
Mitchell
Mitchell
Joseph Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Joseph Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Mitchell
Joe Mitchell
Joseph Mitchell


text_chunks:
<mask> (, ; April 2, 1908, Ekaterinodar, Russian Empire – 1986, Leningrad, USSR) was a Soviet, Russian–Latvian painter, watercolorist, graphic artist, and art teacher, lived and worked in Leningrad, a member of the Leningrad Union of Artists, regarded as one of representatives of the Leningrad school of painting, most famous for her still life painting. Biography
<mask> was born April 2, 1908 in Ekaterinodar, Kuban Oblast, Russian Empire, in the teacher's family, who arrived in the Kuban from Riga. After graduation nine-years high school she studied in 1926-1930 at the Kuban Teachers College, where she gained first professional skills of the painter. After graduating from college in 1930-1931 she taught drawing in high school in Krasnodar. Ability to draw, a bright character and a desire to improve in their chosen profession identified further choice of the path. In 1931 <mask> comes to Leningrad, worked as an artist at the Stalin Metalworks, then studied at the Institute for Advanced education of Art workers. In 1936 <mask> entered at the third course of the Painting department of the Leningrad Institute of Painting, Sculpture and Architecture.She studied of Semion Abugov, Genrikh Pavlovsky, Dmitry Mitrokhin, Rudolf Frentz. In 1939 <mask> graduated from Leningrad Institute of Painting, Sculpture and Architecture in Alexander Osmerkin personal Art Studio. Her graduate work was genre painting named "Lesson of the circle, studying the Naval Science" (Museum of Academy of Arts, Saint Petersburg). In October 1939 <mask> was admitted to the Leningrad Union of Soviet Artists, receiving a membership card number 285. In 1940-1941, by the invitation of Professor Rudolf Frentz she works as an assistant in his studio of battle painting of the Leningrad Institute of Painting, Sculpture and Architecture. After the beginning of Great Patriotic War <mask> and her daughter were evacuated to Kazakhstan in city Leninsk-Kuznetsk. There she worked as an artist of Drama Theater named after S. Ordzhonikidze, participated in the design of the city, as well as exhibitions of artists of Kuzbass.In 1944 <mask> returned to Leningrad. She began her teaching job, first in the Secondary Art School at the Leningrad Institute of Painting, Sculpture and Architecture named after Ilya Repin, then at the Department of General Painting in Vera Mukhina Institute. At the same time she works a lot creatively and participated in most exhibitions of Leningrad artists. She painted genre paintings, portraits, still lifes, and landscapes. She worked in oil painting, watercolors, charcoal drawings. The greatest success and recognition achieved in the genre of still life paintings and watercolors. In 1951 <mask> leave teaching and move to work under contracts with LenIzo (Commercial Association of Leningrad Artists) as an artist of painting.It was during this period of still life is establishing itself as the leading genre in her work. This is evidenced by the work shown at the Spring exhibitions of Leningrad artists in 1954 and 1955 years, and the Autumn exhibitions in 1956 and 1958 years. Still lifes with flowers and fruits that are painted by her in this period were frankly fictional, masterfully orchestrated, elegant and solemn talking about the fullness and joy of life. In 1960s <mask> made some creative journeys in search of material for paintings, including her native Kuban land. Their results led to numerous sketches done from the life, also paintings "Tobacco of Kuban", "In horticulture" (both 1962), "Tobacco", "Garden Still Life" (both 1964), and others, as well as turn in the manner of her painting. After trips to the Kuban tonal painting techniques are giving way to decorative painting. The leading place in her works is given color spot, specifying the character of the composition.For her manners are typical of a bright saturated colors, exquisite color relationships, broad painting, decorative and upbeat attitude. A peak of her decorative painting comes in the works of 1971 "Dark-blue buckets", and "Still Life with red balloons". Here the color spot conveys the shape of objects with modeling just one silhouette. The brevity decision created at the same time a wide range of associations. A color of objects, ordinary and familiar, becomes self-sufficient, and received semi-mystical importance, with a deep richness of overtones, with a broad associative, emotional content. Among her famous paintings of this period are "Still Life with Quince", "Still Life with Fish" (both 1961), "Begonia", "Watering can and Roses" (both 1964), "Violets" (1965), "Still Life with Jug and persimmon", "Blue Still Life" (both 1968), "The branch of the Apricot Tree" (1968), "Wistarias", "Lacemaker" (both 1969), "Evening Primrose and Cyclamen" (1971), "Favorite profession. Florists" (1975), "Lilacs", "The Apple Tree in Blossom" (both 1980), and others.In 1970s <mask>in lot works in watercolor. Such works as "Still Life with bluebell" (1969), "Old English china and pineapple" (1971), "Red Corner" (1974), and others can be attributed her as outstanding master of watercolors. Owning a variety of watercolor techniques, she created a vivid memorable images close contemporary of the objective world, passing its aesthetic value and giving warmth things that make our everyday environment. Her solo exhibitions were in Leningrad (1978) and Saint Petersburg (2005). <mask> <mask> died in Leningrad in 1986. Her paintings reside in State Russian Museum, in Art museums and private collections in Russia, in the U.S., Japan, Germany, England, France, and throughout the world. See also
 Leningrad School of Painting
 List of 20th-century Russian painters
 List of painters of Saint Petersburg Union of Artists
 Saint Petersburg Union of Artists

References

Sources
 The Spring Exhibition of works by Leningrad artists of 1954.Catalogue. - Leningrad: Izogiz, 1954. - p. 18. The Spring Exhibition of works by Leningrad artists of 1955. Catalogue. - Leningrad: Leningrad Union of artists, 1956. - p. 17.The Fall Exhibition of works by Leningrad artists of 1956. Catalogue. - Leningrad: Leningrad artist, 1958. - p. 22. The Fall Exhibition of works by Leningrad artists of 1958. Catalogue. - Leningrad: Khudozhnik RSFSR, 1959.- p. 25. Exhibition of works by Leningrad artists of 1960. Exhibition catalogue. - Leningrad: Khudozhnik RSFSR, 1961. - p. 38. Exhibition of works by Leningrad artists of 1961. Exhibition catalogue.- Leningrad: Khudozhnik RSFSR, 1964. - p. 37. The Fall Exhibition of works by Leningrad artists of 1962. Catalogue. - Leningrad: Khudozhnik RSFSR, 1962. - p. 25. The Leningrad Fine Arts Exhibition.- Leningrad: Khudozhnik RSFSR, 1964. - p. 50. The Spring Exhibition of works by Leningrad artists of 1965. Catalogue. - Leningrad: Khudozhnik RSFSR, 1970. - p. 28. The Fall Exhibition of works by Leningrad artists of 1968.Catalogue. - Leningrad: Khudozhnik RSFSR, 1971. - p. 14. The Spring Exhibition of works by Leningrad artists of 1969. Catalogue. - Leningrad: Khudozhnik RSFSR, 1970. - p. 17.Our Contemporary Exhibition catalogue of works by Leningrad artists of 1971. - Leningrad: Khudozhnik RSFSR, 1972. - p. 20. Art works by Russian Federation Artists grants to Museums and Culture Institutions (1963–1971). Official Catalogue. - Moscow: Russian Federation Union of Artists, 1972. - p. 102.The Still-Life Exhibition of works by Leningrad artists. Exhibition catalogue. - Leningrad: Khudozhnik RSFSR, 1973. - p. 12. Our Contemporary regional exhibition of Leningrad artists of 1975. Catalogue. - Leningrad: Khudozhnik RSFSR, 1980.- p. 24. The Fine Arts of Leningrad. Exhibition catalogue. - Leningrad: Khudozhnik RSFSR, 1976. - p. 30. Exhibition of works by Leningrad artists dedicated to the 60th Anniversary of October Revolution. Catalogue.- Leningrad: Khudozhnik RSFSR, 1982. - p. 21. Directory of Members of the Union of Artists of USSR. Volume 2. - Moscow: Soviet artist, 1979. - p. 356. Regional Exhibition of works by Leningrad artists of 1980.Exhibition catalogue. - Leningrad: Khudozhnik RSFSR, 1983. - p. 23. Charmes Russes. Auction Catalogue. - Paris: Drouot Richelieu, 15 Mai 1991. - p. 77.Saint-Pétersbourg - Pont-Audemer. Dessins, Gravures, Sculptures et Tableaux du XX siècle du fonds de L' Union des Artistes de Saint-Pétersbourg. - Pont-Audemer: 1994. - p. 49. Sergei V. Ivanov. The Still-Life in Painting of 1940-1990s. The Leningrad School.Exhibition catalogue. - Saint Petersburg: Nikolai Nekrasov Memorial museum, 1997. - p. 6. In Memory of the Teacher. Exhibition of Saint Petersburg artists - students of Alexander Osmerkin. - Saint Petersburg: Nikolai Nekrasov Memorial Museum, 1997. - p. 4–5.Matthew C. Bown. Dictionary of 20th Century Russian and Soviet Painters 1900-1980s. - London: Izomar, 1998. , . Link of Times: 1932 - 1997. Artists - Members of Saint - Petersburg Union of Artists of Russia. Exhibition catalogue. - Saint - Petersburg: Manezh Central Exhibition Hall, 1997.- p. 298. <mask> <mask>. - Saint petersburg: RusArt, 2005. Sergei V. Ivanov. Unknown Socialist Realism. The Leningrad School.- Saint Petersburg: NP-Print Edition, 2007. – pp.9, 15, 20, 21, 369, 384, 385, 389-397, 401, 404-407, 439, 443. , . Anniversary Directory graduates of Saint Petersburg State Academic Institute of Painting, Sculpture, and Architecture named after Ilya Repin, Russian Academy of Arts. 1915 - 2005. - Saint Petersburg: Pervotsvet Publishing House, 2007. p. 51. .
 Логвинова Е. Круглый стол по ленинградскому искусству в галерее АРКА // Петербургские искусствоведческие тетради. Вып. 31. СПб, 2014.С.17-26. External links

 Art works and Biography of <mask>in in ARKA Fine Art Gallery

1908 births
1986 deaths
People from Krasnodar
People from Kuban Oblast
20th-century Russian painters
Soviet painters
Socialist realism
Socialist realism artists
Russian watercolorists
Leningrad School artists
Members of the Leningrad Union of Artists
Russian women artists
Russian women painters
Russian still life painters
Soviet women artists
Women watercolorists
Repin Institute of Arts alumni
20th-century Russian women

masks:
Elena Petrovna Skuin
Elena Petrovna Skuin
Elena Skuin
Elena Skuin
Elena Skuin
Elena Skuin
Elena Skuin
Elena Skuin
Elena Skuin
Elena Skuin
Elena Sku
Elena Petrovna
Skuin
Elena Petrovna
Skuin
Elena Sku


text_chunks:
<mask> (born <mask>., August 25, 1971) is an American DJ and record producer, mostly known for house music and electro. <mask>calateer, Thee Maddkatt Courtship, Aphrohead and Sharkimaxx, but also for his ownership of Radikal Fear Records. Musical career

Early life
Stallings developed an interest in the emergent Chicago house music scene at a young age. While a student at Rich East High School in Park Forest, Illinois in the mid-1980s, a chance introduction to acid house pioneer DJ Pierre gave the then 15-year-old Stallings his break, and under the patronage and guidance of Pierre, he released his first single, "Phantasy Girl," in 1987. Also in 1987, <mask> went to Alabama State University to study media and communication. There he studied different musicians of the era, including Prince, A Tribe Called Quest, and Gang Starr, as well as developing an interest in hip hop and R&B tracks.1990s
After graduating, he released "Thee Dawn" on Guerilla Records. He became popular in Europe, and in the following year, "By Dawn's Early Light" and "Thee Industry Made Me Do It" followed. A further single, "In The Dark We Live (Thee Lite)", appeared under his pseudonym, Aphrohead. Originally released on the UK label, Bush, "In The DaAlbum", followed in 1998. In 1999, he released "In The Dark We Live". Shortly afterwards, Stallings formed Radikal Fear Records. It released material from Mike Dunn, DJ Sneak, and Armando as well as <mask> himself.During 1995, he released his debut album Alone in the Dark (as Thee Maddkatt Courtship) on Deep Distraxion, followed by the Radikal Fear compilation album, The Chicago All Stars and a remix album entitled Clashbackk Compilation Mix. The album I Know Electrikboy was never officially released in either the US or UK, although promotional copies are in circulation. 2000s
In 2001, Kittenz and Thee Glitz, written and produced alongside Tommie Sunshine, Miss Kittin, Dave The Hustler, Harrison Crump, Junior Sanchez, Junior Jack and Melistar, was released which gained <mask> mainstream exposure. At the end of that year, <mask> won Best Album at the now-defunct Muzik Awards. The ensuing fame brought <mask> remix work for Madonna, Britney Spears and Kylie Minogue. The proper follow-up, Devin Dazzle & the Neon Fever, was released in 2004, though <mask> released a pair of mix albums, 2002's Excursions and 2003's A Bugged Out Mix, in between. <mask> also collaborated with P Diddy on the pair's "Jack U" single.The pair remain friends, with Diddy performing alongside <mask> at Space in Ibiza in 2005, and <mask> performing at Diddy's after-party for The Main Event at the Winter Music Conference. Various remixes of "Silver Screen Shower Scene" were used in video games such as Midnight Club 2, and SSX 3. The Soulwax Remix of his song "Rocket Ride" was featured in the game Need for Speed: Underground 2. "Everyone Is Someone in LA" was featured in Tony Hawk's American Wasteland. His songs have also featured in television programs such as The Sopranos and "Silver Screen Shower Scene" featured in the party scene in Shane Black's 2005 film, Kiss Kiss Bang Bang. <mask>'s album, Virgo Blaktro and the Movie Disco, was released on October 2, 2007 in the US on Nettwerk Records. Production was overseen by Dallas Austin."Future Calls The Dawn" was released on July 9, 2007 on Wall of Sound/PIAS with "Sweetfrosti" featured as the B-side. "Sweetfrosti" contained a sample of Devo's "Snowball", originally released in 1981. "Like Something 4 Porno!" was released as the album's lead single on September 24, 2007 with remixes from Kris Menace, Teenage Bad Girl and Armand Van Helden, while a third single, "Radio", was released digitally in April 2008. Since then, <mask> has released his first Global Underground compilation, for the Newcastle-upon-Tyne compilation and club label. <mask> also teamed up with Kris Menace to release "Artificial" in June 2008. In 2009, <mask> released He Was King, via Nettwerk Records.Discography

Studio albums

Mix albums

Singles

Remixes
Passion Pit – "Little Secrets (<mask> Spears – "Toxic (<mask> Housecat's Club Mix)" (2004)
Buy Now! – "For Sale (<mask> Housecat Remix)" (2007)
Ladytron – "Playgirl (<mask> Housecat Glitz Club Mix)" (2001)
The Chemical Brothers – "Get Yourself High (<mask> Housecat's Chemical Meltdown Mix)" (2003)
The Disco Boys – "Born to Be Alive"
Garbage – "Androgyny (Thee Glitz mix)" & "Androgyny (Thee Drum Drum mix)" (2001)
Gwen Stefani – "What You Waiting For? (The Rude Ho Mix by <mask> Housecat)" (2005)
Holly Valance – "State of Mind (<mask> Da Housecat's Dub)" (2003)
Madonna – "American Life (Felix Da Housecat's Devin Dazzle Club Mix)" (2003)
Madonna – "Die Another Day (Thee RetroLectro Mix)" (2003)
Miike Snow – "Silvia (Felix Da Housecat Remix)" (2010)
Mylène Farmer – "Je t'aime mélancolie (Felix Da Housecat Remix)" (2003)
Mylo – "Drop the Pressure"
Nina Simone – "Sinnerman (Felix Da Housecat's Heavenly House Mix)" (2003)
Pet Shop Boys – "London (Thee Radikal Blaklight Edit)" (2003)
Pet Shop Boys – "I don't know what you want but I can't give it anymore (Thee 2 black ninja mix) (1999)
New Order – "Here To Stay (Felix Da Housecat Extended Glitz mix)" (2002)
Paola & Chiara – "Vanity & Pride (Felix Da Housecat Club Mix)" (2008)
Uffie – "Pop the Glock (Felix Da Housecat's Pink Enemy Remix)" (2009)
Kylie Minogue – Where Is The Feeling? (Da Klub Feelin Mix)" (1995)
RAC – "Hollywood Featuring Penguin Prison (Felix Da Housecat Remix)" (2012)
Ali Love – "Another (Felix Da Housecat Remix)" (2013)
Pompeya – "Y.A.H.T.B.M.F. (Felix Da Housecat Heavenly House Mix)" (2014)
Born Dirty and Diplo - "Samba Sujo (Felix Da Housecat and Dave The Hustler Remix)" (2019)

DJ Magazine top 100 DJs

References

External links

Official Website

1971 births
Living people
African-American DJs
American electronic musicians
American house musicians
Record producers from Illinois
Musicians from Chicago
DJs from Chicago
Club DJs
Electronic dance music DJs
Electroclash
Remixers
Alabama State University alumni
21st-century African-American people
20th-century African-American people

masks:
Felix da Housecat
Felix Stallings Jr
Felixz
Felix
Felix
Felix
Felix
Felix
Felix
Felix
Felix
Felix
Felix
Felix
Felix
Felix
Felix Daritney
Felix Da
Felix Da
Felix Da
Felix Da
Felix Da
Felix


text_chunks:
<mask>. (April 4, 1838 – March 10, 1926) was a pioneer Montana entrepreneur, cattle rancher, miner and vigilante, who was a notable resident of Bozeman, Montana. He was best known for his 1866 cattle drive from Texas with approximately 1000 head of Texas Longhorns to Montana along the Bozeman Trail—the first major cattle drive from Texas into Montana. His business ventures in Bozeman were so successful that he became the town's first millionaire. In 1893, he played a prominent role in the establishment of the Agricultural College of the State of Montana by donating land and facilities. He built the first Story Mansion on Main Street in Bozeman in 1880 and later built today's Story Mansion at the corner of Willson and College for his son, T<mask> in 1910. In his later years, he became a prominent real estate developer in Los Angeles, California. Early life
<mask>. was born in Burlingham, Meigs County, Ohio in 1838.<mask> was the youngest son of Ira and <mask> previously from New Hampshire. By the age of 18, <mask> was an orphan, taught school, and had been a student at Ohio University for two years. He made his way west to Fort Leavenworth, Kansas Territory to hire on as a bullwhacker with a freighting outfit. By 1862 he was a successful freight driver operating out of Denver, Colorado. During a trip to Missouri, he met Ellen Trent and married her in Kansas 1862. In 1863, <mask> left Colorado with pack mules and ox teams and headed for Montana territory. <mask> and Ellen arrived in Virginia City, Montana in June 1863 shortly after the major gold strike at Alder Gulch, Montana.Montana gold fields
<mask> learned of a gold field that he felt had not been fully worked near Alder Gulch and began working it. Within a few months <mask> made $30,000 in gold; he exchanged it for $20,000 in cash and traveled to Fort Worth, Texas. He used this stake to finance the first cattle drive from Texas to Montana. Later, as a merchant operating in the Bannack and Virginia City, Montana, <mask> participated in the vigilante committees that ultimately hanged 21 criminals, including Henry Plummer. 1866 Cattle Drive

In 1866, <mask> traveled to Texas and spent $10,000 for 1000 (some accounts indicate possibly as many as 3000) head of Longhorn cattle. 1866 was the first year after the end of the American Civil War, and the economy of Texas, as in the rest of the former Confederacy, was devastated. However, there were significant numbers of cattle roaming Texas that could be had for very little money.Also, there was great demand for beef in the northern states along with money to pay for it. So, many returning Confederate soldiers begged or borrowed a stake to get a herd together. Many others signed on as trail drive cowboys. Give or take, about 260,000 cattle were driven north from Texas that summer toward the nearest rail shipping point at Sedalia, Missouri, in hopes of selling them there for a quick profit. To reach Sedalia, the cattle first had to be driven through the territory which was to become Oklahoma, but which at the time was the Indian Territory. This was the domain of the remnants of the Five Civilized Nations who had survived the Trail of Tears. While the tribes previously had tolerated the passage of a few herds, an exodus of this magnitude threatened their ability to support their own grazing cattle.Rather than blocking the herds entirely, they decided to charge 10 cents a head for passage. <mask> paid the fee. During the Civil War, bands of Union Kansans known as Jayhawkers had raided east into Confederate Missouri. At the war's close, they remained as a force in Kansas. The crossing point for the Texas herds into Kansas/Missouri was at the town of Baxter Springs in the southeast corner of Kansas. Here the Jayhawkers stopped cattle drives cold, stealing some herds and generally forcing the rest to stay in the Indian Territory. This was the situation that <mask> found when he arrived at Baxter Springs.As he approached the town, armed men demanded two dollars per head for the longhorns to continue. <mask> refused to pay, and instead routed his cattle through Indian Territory on a circuitous route toward Fort Leavenworth. <mask> decided to try for Montana and its lucrative market of gold miners in Virginia City, Montana, and became part of the first ever cattle drive on the Bozeman Trail. He pointed his herd north for the long drive. With a large measure of courage and a large measure of luck he brought his cattle over the Bozeman Trail into Montana. At Fort Phil Kearny, between present day Buffalo and Sheridan, Wyoming, the U.S. Army ordered <mask> and his drovers to stop because of aggression by Sioux warriors led by Red Cloud. <mask> ignored the order, evaded the Army, and continued the drive into Montana, encountering and fighting Sioux warriors along the way.Only one drover was killed by Indians. The feat would not be duplicated for another 4 years. <mask> and the herd arrived in what is now Livingston, Montana, in December 1866 and established winter quarters for his men and cattle. <mask> established a thriving cattle herd, and for at least two years he shrewdly bought and sold cattle to hungry miners for up to ten times the Texas price. In 1870, when placer mining in Montana was starting to decline, <mask> and his ranch in the Paradise Valley had become the leading cattleman in the northern plains. Some credit <mask> with naming the now famous Paradise Valley for its grand scenery and abundant wildlife. This 1866 cattle drive inspired Larry McMurtry's Pulitzer Prize-winning novel Lonesome Dove.,

Bozeman, Montana
<mask> settled his family in Bozeman where he used his business sense and cattle fortune to engage in banking, mercantile, and grain businesses.In 1882, along with Lester S. Willson, J.E. Martin, Broox Martin, and Edwin Lewis, <mask> helped capitalize one of the first banks in the county, the Gallatin Valley National Bank. The bank failed during the Panic of 1893 and never reopened. In 1882, <mask> opened the Story Flour Mill at the mouth of Bridger Creek. This mill produced up to 100 bushels a day and was a major source of flour for the U.S. Army at Fort Ellis and for the Crow Indian Reservation in southeastern Montana. His business activities made him Bozeman's first millionaire. <mask> was a charter member of the Society of Montana Pioneers and society Vice President for Gallatin County in 1886.Los Angeles, California
<mask> and his wife Ellen had a son, Walter Perry <mask>, who was born in Bozeman, Montana, on December 18, 1882. He was the last born of their children. Walter began his education but later attended Shattuck Military Academy at Faribault, Minnesota. He left there in 1902 and graduated from Eastman Business College at Poughkeepsie, New York in 1903. He returned to Bozeman to work with his father until 1905, when he went back to Los Angeles. There he worked in real estate and founded the first motor transit line in the western United States. He then helped his father develop more business in Los Angeles, including building the Story Building, which had twelve stories and was completed on April 1, 1910.The elder <mask> then retired and move back to Bozeman but died in Los Angeles on March 10, 1926. Walter began his military service by enlisting as a private, later serving in World War I. He was out of the military until 1920 when he was commissioned as a captain of infantry in the California National Guard. He became a Brigadier General in July 1926. He wasn't promoted to Major General for another 11 years. In 1928 he founded Camp Merriam, which is now known as Camp San Luis Obispo. He entered federal military service in March 1941 and took command of the 40th Infantry Division.He was relieved of command in September 1941, and retired from active list in July 1942. Legacy

<mask> and <mask> had seven children, four of whom survived to adulthood. <mask>. (1874–1932) became an alternate delegate to Republican National Convention from Montana in 1904, the mayor of Bozeman (1905–07), and the Lieutenant Governor of Montana (1921–25). Thomas Byron <mask> (1876–1954) became a prominent Bozeman merchant and lived in the new Story Mansion on College St. and Willson Ave.  Walter P<mask> (1882–1957) became a prominent Los Angeles businessman and decorated Major General in the California National Guard. The Walter P. Story Building (1909) at 6th and Broadway in Los Angeles, California, was built by <mask> as a gift to Walter. It was one of the first skyscrapers in Los Angeles and still stands today as The New Story Building. <mask>'s great-great grandson, <mask>, still operates the Story Ranch and Cattle Company in Paradise Valley, Montana.<mask> donated  of land in 1893 for an agricultural college that became Montana State University. In 1876 he was accused, but not indicted, of defrauding the Crow Indians—and later claimed he had bribed the jury. He was called a "cattle king", "captain of industry", and a "robber baron". In 1919, <mask>. and T. Byron <mask> funded the construction of the Ellen Theater on Main Street Bozeman to honor their mother Ellen. The theater was designed by architect Fred F. Willson, son of Bozeman pioneer Lester S. Willson and still operates as a theater today. In 1959, <mask> was inducted into the Hall of Great Westerners of the National Cowboy & Western Heritage Museum. In 2008, <mask> was inducted into the Montana Cowboy Hall of Fame as a founding, Legacy member.<mask> and <mask> are buried in Sunset Hills Cemetery, Bozeman, Montana along with several of their children. This photo is the marker to his family plot. These were once the marble front porch columns to his original house in Bozeman when it was built on Main Street. Strangers often wandered into the house because they thought it was the courthouse. Further reading

Notes

1838 births
1926 deaths
People from Meigs County, Ohio
People from Bozeman, Montana
Montana pioneers
People from Beaverhead County, Montana
People from Virginia City, Montana
American cattlemen

masks:
Nelson Story Sr
. Byron Story
Nelson Story Sr
Nelson
Hannah Story
Story
Story
Nelson
Story
Story
Story
Nelson Story
Story
Story
Story
Nelson Story
Story
Story
Story
Story
Story
Story
Story
Story
Story
Nelson Story
Story
Story
Story
Nelson
Ellen Story
Nelson Jr
Story
. Story
Nelson Story
Nelson Story
Mike Story
Story
Nelson Jr
Story
Nelson Story
Story
Nelson
Ellen Story


text_chunks:
<mask> (born June 5, 1967)  is a former center fielder in Major League Baseball who played for the St. Louis Cardinals and San Diego Padres from 1990 to 2004. He was known for his combination of power, speed, and defensive prowess. Early years
<mask> was born in Los Angeles and grew up in Modesto, California, where he attended Grace M. Davis High School and played both baseball and football. He later played baseball and football at Modesto Junior College. <mask>'s uncle, Carl Nichols, was a professional baseball player and spent parts of six seasons in the major leagues. Career

<mask> made his major league debut with St. Louis in August 1990, and soon after took over the center field position previously occupied by former National League MVP Willie McGee. He started his career as primarily a leadoff man, where his speed and plate discipline made him a potent force.In his first full season in 1991, he led the league with 15 triples, stole 44 bases, and scored 83 runs, earning him a third-place finish in NL Rookie of the Year voting. On September 15, 1991, he accomplished the rare feat of hitting for the cycle, becoming the first Cardinal rookie ever to do so. In 1992, he began to hit for more power, and posted a breakout season with a .293 batting average, 20 home runs, and 42 stolen bases. This season established <mask> as one of the best all-around outfielders in the game. He eventually moved down in the batting order to take further advantage of his power hitting ability. <mask> posted five seasons of 20 home runs and 20 stolen bases with the Cardinals (1992, 1995–1998), making him the only player in franchise history to accomplish the feat more than once. He also was an impressive fielder, posting a 2.90 range factor in 1992 and committing only one error in 1996.In the latter season, he led the league with a fielding percentage of .997 but was still not awarded a Gold Glove. On April 3, 1994, <mask> achieved an unusual distinction: he hit a home run as the first batter of the season (it was the first day of the season, and only one game was played that day). He was selected as the starting center fielder for the National League in the 1997 All-Star Game after a dominating hitting performance in the first half of the season, and posted an offensive career year the following season. In 1998, he hit .293 with 31 home runs, 105 runs batted in and 26 stolen bases. It was his late season surge batting cleanup that helped Mark McGwire, hitting in front of <mask> in the Cardinal order, to set the single season home run record with 70. Following the 1998 season, <mask> had knee surgery and was moved to left field. In his first year at the position, he posted a career high .306 batting average and 15 home runs in an injury-shortened season.He also compiled impressive defensive statistics at his new position. <mask> was traded from St. Louis to San Diego during the 2001 season for pitcher Woody Williams. Criticism of his always high strikeout totals helped prompt the trade, even though he had continued to be more productive statistically than many of the other outfielders receiving playing time in St. Louis, including journeyman utility player Craig Paquette and rookie Kerry Robinson. At the time of the trade, <mask> was slugging an impressive .496 and maintaining a .345 on-base percentage despite a disappointing batting mark of .235. His numbers, though, had declined as he increasingly found himself in a bench role as the season progressed. He responded to the trade well, however, batting .288 in the balance of the season for San Diego under the tutelage of eight-time batting champion Tony Gwynn. He returned to the Padres for 2002, but his lone full season in San Diego was marred by injury and inconsistency, as he appeared in only 81 games and batted a career low .221.He took the 2003 season off to continue his recovery process before returning to St. Louis, where he finished his career in 2004. Once again he saw his playing time dip late in the season after the Cardinals acquired Larry Walker from the Colorado Rockies in late August. He was not placed on the postseason roster in 2004, but did earn a National League championship ring for his role in the Cardinals' first pennant-winning season since 1987. <mask> finished his career among the Cardinal Top 10 in numerous statistical categories, including home runs (third), stolen bases (fifth), runs scored (eighth), runs batted in (eighth), and bases on balls (fourth). <mask> hit more home runs at Busch Stadium (123) than any other player, and finished his career in his home ballpark with a pinch hit home run in his final major league at bat on October 3, 2004. He is the only player to have 200 home runs and 200 stolen bases as a Cardinal. He participated in festivities commemorating the final season at Busch Stadium in 2005, including taking down his signature jersey number 16 from a banner counting down the remaining games at the ballpark and accepting a nomination for the All-Time Busch Stadium Team.He also indicated he is interested in making a return to baseball in the future. On January 31, 2018, the St. Louis Cardinals nominated <mask>, alongside Vince Coleman, Keith Hernandez, Jason Isringhausen, Scott Rolen, Lee Smith, and John Tudor as the seven players for possible induction into the St. Louis Cardinals Hall of Fame. On May 4, once the fan votes were tallied, <mask> and Vince Coleman were enshrined into the St. Louis Cardinals 2018 class. Career statistics

See also

 List of Major League Baseball annual triples leaders
 List of Major League Baseball career home run leaders
 List of Major League Baseball career games played as a center fielder leaders
 List of Major League Baseball career putouts as a center fielder leaders
 List of Major League Baseball players to hit for the cycle
 List of St. Louis Cardinals team records

References

Further reading

External links
, or Retrosheet
<mask>'s Official Site

1967 births
Living people
Major League Baseball center fielders
St. Louis Cardinals players
San Diego Padres players
National League All-Stars
Baseball players from Los Angeles
African-American baseball players
Johnson City Cardinals players
Modesto Pirates baseball players
Springfield Cardinals players
Arkansas Travelers players
Louisville Redbirds players
Prince William Cannons players
Memphis Redbirds players
21st-century African-American people
20th-century African-American sportspeople

masks:
Raymond Lewis Lankford
Lankford
Lankford
Lankford
Lankford
Lankford
Lankford
Lankford
Lankford
Lankford
Lankford
Lankford
Lankford
Lankford
Ray Lankford
Ray Lankford