text_chunks:
<mask> (born <mask>; June 11, 1911 – April 10, 1978) was an influential New York City talk radio show host. From the mid-1950s until his death in 1978, Nebel was a hugely popular all-night radio host, with millions of regular listeners and what Donald Bain described as "a fanatically loyal following" to his syndicated program, which dealt mainly with anomalous phenomena, UFOs, and other offbeat topics. Biography

Youth and young adulthood
<mask> was born in Chicago, Illinois, United States. He dropped out of school after the eighth grade, but he was an avid reader throughout his life, and he was conversant on many topics. Rumor had it that he was the son of a physician and ran away with a circus as a youngster. According to his own account in The Way Out World (1961), Nebel moved to New York City "around 1930", at the age of 19. His first job there was usher in the New York Paramount Theater.Nebel pursued a number of careers in his young adulthood (including a long period as a freelance photographer and a stint as a sidewalk salesman) before establishing the successful Long John's Auctions, an auction and consignment store in New Jersey. At his auction barn in New Jersey, he was billed as "<mask>, the gab and gavel man", and people would attend just for an evening's entertainment. The nickname "<mask> Nebel" had several sources: "<mask>" was a nickname for his tall, slender build (he stood 6'4" [1.93 m] and never weighed more than about 160 pounds [73 kg]). Nebel did not seek a career in radio until around 1954, when he was 43 years old. In 1972, Nebel married the former pin-up model Candy Jones, who became the co-host of his show. Her controversial claims of having been a victim of CIA mind-control influenced the direction of the program during its last six years on the air. WOR
In the mid-1950s, radio throughout the United States was floundering and trying to redefine itself after the explosive popularity of television.Over several years, Nebel had many friends at various New York radio stations when he bought commercial time to advertise his auction house. WOR, one of New York's leading stations, faced poor ratings in 1954 when Nebel proposed an interview show. The format, as Donald Bain writes, "would be devoted to discussing strange and unexplained topics". WOR's management was not especially impressed by Nebel's idea. However, deciding they had little to lose (following WOR's failed foray into broadcasting facsimile editions of the morning paper during the early morning hours), WOR offered him a midnight to 5:30 am time slot, the poorest-rated hours. Building on the modest fame of his auction house (and also hoping to generate more business), he used the same name, <mask>, when he went on radio. To the surprise of WOR's management, Nebel's show was a quick success among New York's night-owls and early risers.Unidentified flying objects were discussed almost daily, alongside topics such as voodoo, witchcraft, parapsychology, hypnotism, conspiracy theories, and ghosts. Perhaps fittingly for an overnight show, one of Nebel's sponsors was No-Doz caffeine pills. Within a few months Nebel was getting not only high ratings, but press attention from throughout the United States for his distinctive and in many ways unprecedented program (WOR's powerful signal assured that Nebel's show was broadcast to over half of the United States' population). Bain notes that some listeners were put off by his "grating, often vicious manner", but many more adored him because of (or in spite of) his abrasive style. Keith writes: "Though Nebel could be brusque and even imperious in the phone, he was always a sympathetic listener and compasionate host." Seven-second delay
WOR was worried about some of Nebel's guests or callers using profanity on the air. Nebel used one of the first tape delay systems in radio, giving engineers a chance to edit any unacceptable language before it was broadcast.In 1956, engineer Russell Tinklepaugh invented the system Nebel used. He built a modified Ampex 300 tape deck with an additional set of heads. The deck was able to record on a loop of 1/4" tape, and carry the tape around the perimeter of the deck to be played on the second set of heads. This resulted in a delay of several seconds, enough time to hit the "stop" button to avoid airing foul language. (ref.ex-WOR engineer, Frank Cernese)

WMCA, which went all-talk in 1970, used a similar system. It involved two Ampex 350 reel-to-reel machines side by side, each with the order of its heads—normally (from left to right) erase-record-play—reversed, to be mounted play-erase-record. Thus the tape loop, transported counter-clockwise, would record the microphone output, and then have to go all the way around to play it back over the air before being erased.When the engineer, producer, or air talent hit the 'dump' button the feed would immediately be switched to the other Ampex, so there was very little disruption of the air product. Today, of course, such delays are done digitally. (ref. ex-WMCA engineer B. Golden)

WNBC
In 1962, WNBC offered Nebel more than $100,000 per year (if not a record sum paid to a radio personality at the time, then very nearly so) to begin broadcasting from the station, and he accepted the offer. He continued there until 1973, when WNBC, facing sliding ratings, decided to switch to an all rock music format. After a protracted battle with station management, Nebel refused to change the content of his show and resigned from the station in protest.According to Bain, one anonymous station  employee insisted that the management at WNBC "deliberately fucked up [Nebel's] career" by spreading unfounded rumors about the format switch and Nebel's reaction to it. WMCA
Nebel was quickly hired by WMCA, where, from 1973 to 1977, he continued his program, virtually unchanged from WNBC. The show was still popular, although his ratings on the less powerful WMCA were not as high as they had been at WNBC. At WMCA, <mask> was constantly pestered by prank callers who often told him "Yes <mask>, I'm coming down there, and I'm going to bash your head!" Mutual Broadcasting System
Beginning in 1977, Nebel's show was broadcast nationwide over the Mutual Broadcasting System, replacing Mutual's national distribution of Herb Jepko's radio talk show. Books
Nebel wrote two books that dealt with some of the most interesting of his guests. The Way Out World, published in 1961, covered his years at WOR and included UFO contactees, a stage magician, the Shaver Mystery, Edgar Cayce, and much more, which Nebel said he had gleaned from his "twenty thousand hours of interviewing and research".His second book, The Psychic World Around Us, co-written with Sanford M. Teller and published in 1969, dealt more specifically with tales of the paranormal and the guests whom he had interviewed while at WNBC. Marriage to Candy Jones
<mask> had had a short-lived marriage early in his life, and had a daughter Jackie from that marriage. In the early 1960s he was married to Margaret Dallas, but he was single again in 1972 when he met and married the fashion model Candy Jones. She had been one of the favorite pin up girls of the World War II era. The marriage took place after a whirlwind, month-long courtship, although Nebel and Jones had met briefly when Nebel was a photographer decades earlier. Jones became the co-host of Nebel's show almost immediately, and continued in this role until his death. Due to Jones's mood swings and shifts in personality, and some unusual and otherwise-unexplainable events in her life, Nebel said that he had come to suspect she had been a victim of a CIA mind control plot.Her story, with its conspiracy theory overtones, had a definite influence on the content of Nebel's radio show during its final six years. Death
Although long plagued with heart disease, he was diagnosed with prostate cancer in 1971. Nebel sought various treatments, but by the mid-1970s, he was in very poor health. He continued broadcasting, however, usually six nights per week, with Candy Jones as his co-host. Nebel died in April,1978 and his Mutual network slot was taken over by Larry King in January of that year. His show on WOR, called "Partyline", was handed to James Randi, skeptic and frequent guest on Nebel's show over the years. Format of the show
Nebel's program gave the impression of being freewheeling and unpredictable, prone to sidetracks and digressions; very different from the precise, mannered approach of most contemporary radio.There were occasional heated arguments—rather mild when compared to the conflict on more recent programs such as the Jerry Springer Show, but such open conflict in any media was quite startling in the 1950s and 1960s. Nebel, along with his regular guests and panelists, would interview various personalities and claimants (such as psychic Kuda Bux), and take occasional telephone calls from listeners in the New York area. He would also interview novelists and discuss their books in detail. He was surprised on one occasion by novelist Iris Murdoch's response that she was a frequent listener and had modeled one of her characters after one of his guests. Nebel's approach was unique: talk radio per se did not yet exist as it would in later decades, and Nebel was navigating largely uncharted territory. Sometimes, Nebel entered the discussions, other times he described himself as a "moderator" and allowed his guests to have spirited debates, commenting only occasionally to guide the debate, or to announce station breaks. It was not uncommon for Nebel to disappear for 20 minutes or more around 3:00 a.m. and leave his panel of frequent guests to run the show without him.Nebel usually invited callers during the last two hours of the program (from about 3:00 to 5:00 a.m.); up to 40,000 people might try to telephone during this period. Nebel was perhaps best described as a curious skeptic with respect to the reality of paranormal topics; he frequently characterized himself as a "non-believer". Regarding the claims of the many alleged UFO  contactees he interviewed, Nebel stated: "I don't buy any of it." He also noted that he was intrigued by the subject of UFOs, but did not have any firm theories or explanations about UFOs in general. Some critics attacked Nebel for allowing crackpots free rein on the program, but he responded by saying his was not a traditional news or investigative journalism show, and that it was up to listeners to determine the validity of any guest's claims. Nebel often asked pointed questions of his guests when he saw logical fallacies or inconsistencies in their stories. He did not suffer fools gladly, unless the fool was exceptionally entertaining.Still, he was rather sympathetic in at least offering guests a forum to state their claims. When programs dealt with health and exercise, Nebel was fond of saying: "I am a lover, not an athlete." He also popularized the expression "wack-a-ding-hoi" for an idea or guest he believed was a little "crazy". When asked why his television show was no longer on the air, Nebel would respond that he was not good-looking enough to be on television. His friendly, good-humored approach was one of the great reasons for his popularity. Regular guests
Jackie Gleason was a frequent guest. On one show, Gleason offered US$100,000 to anyone with physical proof of aliens visiting Earth (Gleason later upped the amount to US$1 million, but it was never claimed).Another memorable show found Gleason undertaking a sharp, occasionally even savage, debate with publisher Gray Barker. Gleason took Gray to task for presenting largely unsubstantiated tales of the Men in Black and contactees as factual. The two most frequent guests on his radio show were science fiction writers Lester del Rey and Frederik Pohl. Each appeared on more than 400 of Nebel's broadcasts. Nebel also had philosopher Mortimer Adler and James Randi on frequently. Sponsors
Nebel's sponsors included some unusual products. For example, the KelCo Class Calculator was, according to Nebel, developed by a NASA scientist, who was an occasional guest on his program.Basically a slide rule, the "calculator" was designed to pick horse racing winners. <mask>'s commercials were often as entertaining as the program itself. Nebel was a master story teller who could spin yarns around the virtues of his sponsors. Commercials often ran several minutes. His seven-minute commercial for a pornographic movie ("It Happened in Hollywood") was unforgettable. Apparently, he had not reviewed the copy before reading it cold on the air and he fell victim to uncontrollable fits of laughter throughout his long and fruitless attempt to read it. Another long running sponsor was Ho-Ho's Chinese Restaurant  - "Ho means Good, Ho-Ho means Good-Good".UFOs
Flying saucers were in the news regularly throughout the 1950s and 1960s and were a frequent topic on Nebel's show. Guests related to this subject included retired Marine Corps Major Donald Keyhoe, contactees George Adamski and George Van Tassel, artist Paulina Peavy, and skeptics like Arthur C. Clarke and Lester del Rey. Nebel discussed the so-called Shaver Mystery, the Flatwoods monster, the Nazca Lines, and many other uncommon subjects. Nebel gave a forum to Otis T. Carr, an Oklahoman who claimed to have discovered the secret of flying saucer propulsion, by studying the works of Nikola Tesla. With some of his regular panelists, Nebel journeyed to Oklahoma City for the unveiling of Carr's saucer. (Carr was later convicted of fraud and jailed after he took several hundred thousand dollars from investors, and never produced his prototype.) Strange Occurrences
During a Thursday afternoon matinee at New York's Paramount Theatre, Nebel's friend, William Neff, a well-known conjuror, stepped into a spotlight in front of the curtain and began his performance.As Nebel watched it seemed to him that he could see light through Neff's body, as if he were turning into frosted glass. Slowly, Neff became transparent, then disappeared completely, although his voice could still be heard. After a while, a faint outline like a very fine pencil sketch began to appear. A few minutes later, Neff gradually reappeared looking perfectly normal. The watching theatre audience assumed that the vanishing in front of there very eyes was a part of Neff's act. As soon as the show was over, Nebel rushed backstage to ask Neff how he had done the vanishing trick. Neff seemed surprised at the question; he was not aware that he had "faded", but he admitted that the same thing had happened three years earlier at a theatre in Chicago.Nebel would later write this story in his book "The Way Out World" and could offer no explanation for it. Pranks
Nebel was not above a few pranks, all in the name of showmanship and ratings: on one occasion, for example, he colluded with a friend to offer testimony supporting a guest's claims of astral projection. Nebel spent weeks on his show developing a tale for his audience that the Empire State Building was rotated on giant ball bearings in the wee hours of the morning. At first Nebel said the motion was almost imperceptible. As the prank developed over time, Nebel began telling callers that if they visited the Empire State Building very late at night, they would find the shops at ground level had switched location to the block around the corner. Nebel also was fond of telling his audience that the finest candle wicks were grown on "wick farms" located in the Midwest. The fact that Nebel's second wife, Candy Jones claimed to have been the subject of CIA experiments in mind-control was discounted as a prank by those who pointed out his history of promoting hoaxes.Nebel, on the other hand, said that he believed what Jones had revealed to him under hypnosis, and never believed that her story was false in any way. Influence
Jackie Gleason wrote in his introduction to Bain's biography of Nebel: "Why is [Nebel] so strangely entertaining?... because the best entertainment is entertainment that opens your mind and tells you the world is bigger than you thought it was." Radio historian Michael C. Keith wrote: "Few people before or since have brought to all-night radio the kind of ingenuity, originality and variety that Nebel did. He represents one of post-World War II radio's creative high points and another example of the special nature of overnight programming... He would come to be regarded as one of after-hours radio's true pioneers." Nebel was a formative influence on talk radio: Donald Bain noted that in the early 1970s: "Fledgling (radio) announcers at broadcasting schools around the country were played tapes of Nebel shows as part of their course study."Recordings of Nebel's shows have circulated among fans of esoterica for decades. Nebel's format paved the way for later radio hosts, including Art Bell, George Noory of Coast to Coast AM, Hilly Rose, Jeff Rense, and Clyde Lewis, all of whom have broadcast shows on paranormal topics. Colin Bennett called <mask> the Art Bell of his era. References

Additional references
 The Way Out World. <mask> Nebel. Prentice-Hall, 1961
 The Psychic World Around Us. <mask> <mask> and Sanford M. Teller, 1969.Long <mask>el: Radio Talk King, Master Salesman, Magnificent Charlatan. Donald Bain. Macmillan Publishing Co., 1974
 The Control of Candy Jones. Donald Bain. Playboy Books, 1975
 The UFO Book. Jerome Clark. Visible Ink, 1998
 Sounds in the Dark: All Night Radio In American Life.Michael C. Keith. Iowa State University Press, 2001;
from Archive.org, a 1957 episode of Nebel's show, featuring contactee George Van Tassel, writer Morris K. Jessup and others. Baptist minister Walter Martin vs. Atheist Madalyn Murray O'Hair MP3 (1968)

Further reading
 Norry, George, "Long <mask> Nebel and WOR", coasttocoastam.com

External links
 "Contactees I Have Known," by Long <mask>el
 Long <mask>el Papers at Syracuse University
 Declassified FBI File on <mask> Nebel at The Black Vault

1911 births
1978 deaths
American male journalists
20th-century American journalists
American talk radio hosts
Radio personalities from Chicago
Deaths from prostate cancer
20th-century American writers

masks:
Long John Nebel
John Zimmerman
Nebel
Long John
Long John
Long John
Long John
John
John
Nebel
Nebel
Nebel
Long John
Long John
Nebel
John Neb
John
John Neb
John Neb
Long John


text_chunks:
<mask> (; is a jazz pop singer songwriter based in Singapore. Her ability to sing in 5 languages has generated international interest and acclaim for each of her 5 albums. Despite her commercial success, she is credited with being a pioneer within the Singaporean DIY and independent musician community, having founded two music-based companies in addition to her own artistic pursuits since 2002. After parting ways with Japanese record label S2S in 2011, <mask> returned to her independent status focused efforts on The Storyteller Wave, the music production and consultancy company she founded in 2013. She currently teaches pop vocals to private students (SingingTechniques) and at various music colleges. Professional background
<mask> 邱意淋 was born in Singapore and was educated at River Valley High School, Singapore and Hwa Chong Junior College. She started singing part-time in 1999 at Singapore's Ark Cafe（木船）with singers Dennis Chew (周崇庆) and Kelvin Tan Wei Lian (陈伟联) while she was a student at the National University of Singapore.Amateur career

Ark Cafe and A Cappella Society of Singapore
Khoo signed as a part-time singer with the A Cappella Society of Singapore until 2006, during which she sang in two A Cappella groups. Xinyaojie’03
Khoo joined Singapore's national Mandarin-Pop Songwriting competition Xinyaojie 《新谣节》 in 2003., and though her song entry "Intersection"《交叉路口》 didn't win, it was one of 12 songs that made it to the finals of Xinyaojie'03. The song was later sold to award-winning Taiwanese singer Freya Lim (林凡), who released it on the soundtrack to Taiwanese TV drama "Tricks of the Trade" 《偷天换日》in 2005 under Linfair Records. Demo Recordings
Another avenue Bevlyn explored in the name of creative fulfilment was recording demos for regional songwriters. One of these demos, "Bottomless Pit"《无底洞》, was sold to Singapore Singer Tanya Chua (蔡建雅), who recorded it and released it on her album Stranger 《陌生人》in 2003. "Bottomless Pit"《无底洞》 was also published on a compilation of original demos titled True Colors 《爱原色》 that was released by HIM in 2003. Television Theme Songs
Bevlyn recorded the theme songs to two Media Corp hit TV series: "Keep Warm"《保温》 for Little Nynoya 《小娘惹》in 2008 and "Cinderella"《灰姑娘》for An Enchanted Life (钻石情缘) in 2006.In February 2015, two of her songs from her album 《我认识过的人》"The People I've Known", 《别太寂寞》and 《灵魂伙伴》were licensed for the opening and closing theme songs of Mediacorp Channel U's serial drama 《分手快乐》(Let It Go). 14 April 2015 was the debut of Starhub's first local serial drama Jump Class 《跳班》, which featured <mask>'s compositions for the opening and closing theme songs 《跳》and 《天天是好天》respectively. She also wrote and produced all the songs in episode 6, in which most of the lead actors sang for their characters. Albums

Lonely Afternoon (EP)
Bevlyn's first record as a solo artist was Lonely Afternoon, an EP consisting of 5 originals and one gypsy jazz cover of Edith Piaf's "La Vie en Rose" that was released in February 2008. The EP's diverse genres and languages led World Music Magazine to praise Bevlyn's versatility as a musician. Title track "Lonely Afternoon" showcased Bevlyn's ability to transition between singing in multiple languages within one song, as she sings the verses in Mandarin and choruses in English. Moshin Magazine reviewed a live performance of the song, saying "Articulating the verses with fluent Mandarin, Bevlyn easily transitioned into perfectly enunciated English.Her voice constantly stirred emotion, dripping with a honey-like quality and filling the Rainbow Canopy with a powerful resonance." The EP was a hit with fans and critics, winning the Best Independent Album at the 2009 Singapore Entertainment Awards. Motivated by Lonely Afternoon's success, <mask> submitted the EP to Japanese record label S2S. Though initially rejected by the label, Khoo was signed to S2S in 2008 after label founder, the late Ken Suzuki, heard the album. S2S years
Khoo was signed to the Japanese independent record label S2S from November 2008 – 2011, a time period in which she released 3 albums. You Are My Angel (LP)
You Are My Angel is a 10 track LP and the first record Khoo released under S2S on 11 April 2009 in Singapore and in Japan on 12 August 2009. It is significant also for being the first time S2S, a Japanese record label, ventured into Chinese music as 6 of the songs on the album were covers of classic Chinese songs.Several well established producers, arrangers, and session artists played a part in the album's creation, including producers Goh Kheng Long and Kenn C, and arranger/ guitar players Roger Wang of 2VIG and Jamie Wilson. GogoYoko says of You Are My Angel, "The most interesting thing about this album is the charm and spirit that Bevlyn manages to inject into long-standing and endlessly covered songs. She makes them entirely her own." Specifically regarding her voice, Gogoyoko says "(<mask>lyn's second album release under S2S, 2010s Bistro Affair (released under the title Weekend Journey in Japan on 16 March 2011) is a 14 track LP composed entirely of French songs. Khoo learned French for 5 years before making the record, and her efforts paid off as Bistro Affair charted at the top of popular music charts in Malaysia, Hong Kong, and Taiwan. This feat aside, Bistro Affair is also the only album ever recorded by a Singaporean singing French.Feel About You (LP)
The final album Bevyln Khoo released while signed to S2S was 2011's Feel About You. This record is unique in the sense that it featured a mix of original songs (8) and covers (6) of well known Mandarin songs like Singapore's award-winning lyricist Xiaohan's (小寒) "Together Forever"《我们要一直这么要好》and Western songs like Frankie Valli's "My Eyes Adored You" and Duran Duran's "Ordinary World". The album also features "Keep Warm" 《保温》, the sub-theme song <mask> recorded for Media Corp's popular television series Little Nyonya《小娘惹》prior to her signing with S2S. Power of Pop noted that "Songs like 'A Love Song', 'The Goodbye Waltz', 'Feel About You', 'Call It A Day' and 'Barbie Song' all prove that there's more to Bevlyn than a pretty face and silky voice." The review goes on to highlight tracks "Call It A Day" and "The Goodbye Waltz" for their "strong melodies and dynamic arrangements." S2S Split
After her three-album contract with S2S was up, <mask> parted ways with the label amicably in 2012. In an interview with The Straits Times, Khoo cited creative differences as the reason for the separation, saying "I didn't want to end up with people thinking I sing a lot of covers and that's it.After all, I started out as an indie singer who writes original songs." In the same interview, Khoo states that she wanted to "prove she was capable of more than just sad love songs." The People I've Known 《我认识过的人》(LP)
Khoo re-emerged on the independent scene with 2013's concept album, The People I've Known 《我认识过的人》. Without S2S funding the album's production, Khoo turned to Pledge Music for help generating the resources necessary to produce the record, ultimately raising $5k USD from fans (15% of the money received after the $5k goal was reached went to the charity Food From the Heart) and further funding the project with $20k SGD of her own money. In an interview with Music Weekly, <mask> explained the album's concept: "I realised that the majority of my songs are usually inspired by the people I know in my life, as opposed to 'fiction-writing'. The songs were inspired by my friends who practically grew up together with me ("Touch of an Angel"), songwriting friends ("The Letter That Never Came"《来信》), ex-relationships, crushes, and... my husband ("Soulmate" 《灵魂伙伴》)!”

The People I've Known received generally positive reviews from several critics. Today Online's Christopher Toh gave the record a 3.5 / 5 rating, and said "(Khoo's) emotive vocal delivery works wonderfully on ballads such as The Letter That Never Came."Power of Pop observed that Khoo was back in her element as an indie songwriter, and said "(The People I've Known) demonstrates <mask>'s astute understanding of the soft rock dynamics of the Seventies (which forms the core of Mando-pop). Crucially, <mask> is much more than a pretty face and pleasing voice – she is a serious songwriter in her own right!" Title track "The People I've Known" was nominated for Best Local Lyrics at the 2013 Singapore Hits Awards (新加坡金曲奖). At the time The People I've Known was recorded, Khoo considered it her final album according to an interview with Today Online. However, she also conceded that she will miss the challenge, saying "But I know that I will miss the whole thing: Producing, recording, sharing of my originals, the whole indie marketing thing, and the feeling of going against all odds as an indie artist". Beautiful Purpose (Single)
<mask> wrote and performed the 2013 Miss World Singapore theme song, "Beautiful Purpose." Awards

Discography

TV

Performances

<mask> performed publicly for the first time as an independent artist in August 2008 at the NUS UCC Theater Hall for the launch of her EP 'Lonely Afternoon'.Since then, she has been invited to perform at a number of notable venues, events, and festivals. In 2009, Khoo was invited to perform for several countries' delegates, including Hillary Clinton, at the Asia-Pacific Economic Cooperation meetings. In March 2012, <mask> represented Singapore in Hong Kong Asian Pop Music Festival. She was also a featured performing artist at the Spring Wave Singapore 《春浪新加坡》in May 2013. In August 2014, <mask> was also invited to represent Singapore in "The Harmony of Chimes" in Bangkok, a concert put up by the Bangkok Symphony Orchestra for the Asean Economic Community (AEC). Entrepreneurial Endeavors

A Little Dream

In 2002, <mask> and friends founded A Little Dream, an agency responsible for booking musical artists at events like weddings. The agency has booked thousands of events and currently has upwards of 50 performers.The Storyteller Wave

The Storyteller Wave was a music production company set up by Bevlyn in 2013. It provides music production services for TV music, music albums and wedding songs. <mask>'s latest project was Jump Class （跳班）, a comic-series turned serial drama by renown comic author Johnny Lau. Other than helming the role of the music producer for the series, she also composed the theme songs 《跳》and 《天天是好天》and all the musical songs in episode 6. References

Living people
1979 births
Hwa Chong Junior College alumni
Singaporean people of Chinese descent
21st-century Singaporean women singers
Singaporean Mandopop singers

masks:
Bevlyn Khoo
Bevlyn
Bevlyn Khoo
Bevlyn
Khoo
Bevlynv
Bevlyn
Bevlyn
Bevlyn
Bevlyn
Bevlyn
Bevlyn
Bevlyn
Bevlyn
Bevlyn
Khoo
Bevlyn


text_chunks:
<mask>giorno (; born 9 November 1974) is an Italian theatre and film actress. Early life
Mezzogiorno was born in Rome, 9 November 1974, a daughter of actors <mask> and Cecilia Sacchi. She grew up watching her parents on set. At first, she wanted to become a ballerina, and she studied dancing for 13 years. After her father's death when she was 19, Mezzogiorno moved to Paris, where she attended the stages by Arianne Mnouchkine and worked for two years at the Peter Brook Workshop. She made her stage debut with the role of Ofelia in Qui est là, based on Shakespeare's Hamlet. The play toured various European cities.She received the Premio Coppola-Prati 1996, the jury was presided over by theatre critic Franco Quadri. One year later, she made her film debut in Il viaggio della sposa (The Bride's Journey), written by and starring Sergio Rubini. Mezzogiorno was awarded the Targa d'Argento as the New Talent in Italian Cinema, she was also given the Grolla d'oro, and the Globo d'Oro by the Foreign Press Association and the Premio Flaiano as Best Actress of the 1997 - 1998 season. Career
In 1998, she starred in the film Del perduto amore directed by Michele Placido, with Fabrizio Bentivoglio and Sergio Rubini (she was awarded the Nastro d'Argento, the Ciak d'Oro and Premio Pasinetti as best actress in a starring role) and, for the Italian National Television Network RaiDue, in a film made-for-TV Più leggero non basta ("A lighter burden to bear") in the role of a young girl with muscular dystrophy, directed by Elisabetta Lodoli with Stefano Accorsi. In 1999, she played the role of Silvia, daughter of Enzo Tortora by whose mistaken conviction the film was inspired. The film Un uomo perbene with Michele Placido and Mariangela Melato, was directed by Maurizio Zaccaro. In that same year, she worked in Asini, directed by Antonello Grimaldi, with celebrated Italian comedian Claudio Bisio.In 2000, she travelled between Prague and Paris for work in the TV miniseries Les Miserables, directed by Josée Dayan, with Gérard Depardieu and John Malkovich. She worked in Denmark in Nobel, directed by Fabio Carpi, with Héctor Alterio. In Italy, she worked with Puglielli in Tutta la conoscenza del mondo ("All There Is to Know"), and then, L'ultimo bacio ("The Last Kiss") directed by Gabriele Muccino with Stefano Accorsi and Stefania Sandrelli (winning the Premio Flaiano). With the success of this last movie Giovanna become really famous in Italy. In 2001, she worked in the film Malefemmene with Ángela Molina and directed by Fabio Conversi, in the role of Francesca, who was imprisoned following a judicial error and came into contact with the reality of friendship and attachment which she had never imagined possible. She also worked on Stai con me, with Adriano Giannini and directed by Livia Giampalmo, in the role of a mother of twins. In 2002, she worked on the set of Ilaria Alpi - Il più crudele dei giorni, in the role of the protagonist, directed by Ferdinando Vicentini Orgnani (the film tells the tragic and dark story of the Italian TV journalist killed in Mogadiscio).She also starred in France in the Holocaust-period TV drama Entrusted, directed by Giacomo Battiato, with Klaus Maria Brandauer, Thomas Brodie-Sangster and Steven Moyer, based on Loup Duran's best-seller. In Italy, she starred in the film La finestra di fronte ("Facing windows") directed by Ferzan Özpetek, costarring Massimo Girotti and Raoul Bova. This film, critically acclaimed and a box office success, earned her a lot of awards: the David di Donatello, the Ciak d’Oro, the Nastro d'Argento, the Globo d'oro by the Foreign Press, the Flaiano Award, the Karlovy Vary Award as "Best Actress in a Leading Role". Lately, she starred in the film L’amore ritorna, directed by Sergio Rubini, costarring Fabrizio Bentivoglio and Margherita Buy. She was also working in France, on the set of her first comedy: Au secours, j'ai 30 ans, directed by Marie-Anne Chazel, with Pierre Palmade. Then, in 2004, Giovanna worked in the TV movie Virginia (La monaca di Monza), directed by Alberto Sironi. She then returned to the theatre, working with the director Piero Maccarinelli in 4.48 Psicosi, written by Sarah Kane.In 2005, La bestia nel cuore ("Don't Tell"), directed by Cristina Comencini, was an Academy Award candidate for Best Foreign Language Film and earned <mask> one of the most important international prizes for an actress: the Coppa Volpi, previously won by Shirley MacLaine, Gong Li, Isabelle Huppert, Catherine Deneuve and Sophia Loren. Then in 2006, she acted in AD Project, a sci-fi thriller by Eros Puglielli, and acted in "Lezioni di Volo" ("Flying Lessons") by Francesca Archibugi. In 2007, she became Leila, a sexy thief, in the black comedy Notturno Bus ("Night Bus"), directed by Davide Marengo and starring Valerio Mastandrea and Ennio Fantastichini. She travelled to Colombia to become Fermina Daza, the principal female character from Love in the Time of Cholera based on the book written by Nobel Prize winner Gabriel García Márquez and directed by Mike Newell (Four Weddings and a Funeral). After two films shot in 2008, Sono Viva and Palermo Shooting by Wim Wenders, in 2009 she achieved great international success with Vincere by Marco Bellocchio, selected for the official competition in Cannes and a solid candidate for the final award. She has voiced and produced a documentary to celebrate the career of her father Vittorio, 15 years after his sudden death in 1994. She was a member of the jury at the Cannes Film Festival in May 2010.In January 2011, she was rewarded with the National Society of Film Critics Award for Best Actress 2010 for her role in Vincere. In 2017, she appeared in a role of Adriana in a film called Napoli velata. She has two sons, Leone and Zeno, born 26 August 2011. Filmography

References

External links
Saverio Ferragina press agent

1974 births
Living people
20th-century Italian actresses
21st-century Italian actresses
Actresses from Rome
David di Donatello winners
Italian film actresses
Italian stage actresses
Nastro d'Argento winners
Volpi Cup for Best Actress winners
People of Campanian descent
People of Venetian descent

masks:
Giovanna Mezzo
Vittorio Mezzogiorno
Giovanna


text_chunks:
<mask> (born November 22, 1973) is an American designer, theoretician, theorist and founder of Mark Foster Gage Architects in New York City. He is a tenured associate professor and former assistant dean, from 2010 to 2019, at the Yale University School of Architecture where he has been on the faculty since 2001. His academic expertise is in the field of aesthetic philosophy. Background and education
<mask> holds a B.Arch. with a second major in Art History from the University of Notre Dame and a M.Arch. from  Yale University. <mask> spent his years as a student surrounded by some of the most notable architects of the twentieth-first century.He was a protegee of Robert A. M. Stern and studio assistant to Frank Gehry. Career
After completing his graduate studies at Yale University in 2001, <mask> <mask> joined the university’s faculty where he currently holds positions as a tenured Associate Professor of Architecture and an Assistant Dean in the Yale School of Architecture. There he teaches a plethora of upper level design courses and courses on ruination, or the process and implications of architectural decay. <mask> <mask> founded Mark Foster Gage Architects in 2002 as a firm dedicated to creating buildings that blend new technologies with novel design practices which place emphasis on aesthetics. <mask> was described as "the Most Prolific Architect of Buildings That Don't Exist" in the title for a Surface Magazine article on his work and career, a light-hearted jab the architect takes no offense to. <mask> often speaks to the fact that the vast majority of his and his firm's designs go unconstructed, treating the unbuilt as proof that the twenty-first century field of architecture must reexamine its core values. In a 2012 press interview with Designers & Books, conducted to promote his then recently published book Aesthetic Theory: Essential Texts for Architecture and Design, <mask> refers to himself as being "old-fashioned" due to his beliefs on the relationship between architectural form and symbolic meaning.<mask> makes a thinly veiled critique of ‘starchitect’ Santiago Calatrava’s World Trade Center Transportation Hub in New York City when asserting in the same interview that "some of our most celebrated architectural projects are celebrated for reasons that have nothing to do with the building itself—rather, they represent a bird or some other conceptual idea. My book is aimed at challenging the dominant practice of only justifying our work conceptually, in abstract terms." <mask> has been referred to by "The Spectator" magazine (London), as "the most decoratively radical architect at work today." His most recognized projects include his 2015 proposal for 41 West 57th Street, a 102-story skyscraper that a developer requested, which drew wide attention; however, the developer never built the structure. <mask> actualizes his thoughts about the need to challenge abstraction as the pinnacle of good design through a practice he refers to as kitbashing. Kitbashing typically refers to model train enthusiasts who combine parts from multiple model train kits to create their own unique train; <mask>, however, employs the term to refer to the process of combining basic and unrelated figures into cohesive adornments for his buildings. <mask>'s designs are created by compiling 2-D and 3-D images which he and his team find through simple Google searches which he thinks of as a kind of recycling process: giving the images the team kind's new life in his designs.<mask> proposed and designed the original Times Square Valentine's Day heart in 2009; a design competition for the Times Square heart has since become an annual event. <mask>'s work has been exhibited in numerous museums internationally including the MoMA, The Museum of the Art Institute of Chicago, The High Museum of Art in Atlanta, The National Gallery of Art in Japan, Hiroshima City Museum of Contemporary Art, Frac Centre-Val de Loire in France, The Franz Mayer Museum in Mexico City, and Venice Biennale, Beijing Biennale, and Prague Biennale. His work has been featured in most major architectural publications as well as Vogue, Newsweek, Fast Company, Wired, USA Today, The New York Times, New York Magazine, Harper's Bazaar, Surface, and a recent twenty-five page feature in A+U. Television coverage of his work has aired on PBS, Fox, and MTV, and he was recently the subject of a documentary segment on the Travel Channel China's program 'Go as Far as You Can' which focuses on international innovators in creative fields. <mask> also writes about architecture and design in both academic and popular formats- including books, magazines, and journal articles. Projects and proposals

Proposal for 41 West 57th St, New York City, New York (2015)
Also referred to as the Khaleesi Tower, 41 West 57th St is the most famous of <mask>'s designs. If completed the tower would stand at an imposing 1,492 feet tall, housing ninety-one residential units across 102 stories.Retail stores, a two-story ballroom, and a restaurant would inhabit a sky lounge located on the sixty-fourth floor. Visitors would not be confined to the indoors, however, as four cantilevered balconies would allow individuals to emerge from the sixty-fourth floor lounge and overlook Central Park. The location of the proposal is especially interesting with regard to its exterior due to the development of the surrounding area. The Khaleesi Tower, if constructed, would be one of many luxury residential towers built in Midtown Manhattan, referred to as Billionaire's Row. While the press described the Khaleesi Tower as a "sumptuous crust of carved and gilded forms," an "acid fever dream," and "what might happen if Michelangelo was brought back to life and commissioned to design a skyscraper," the surrounding towers, like Rafael Vinoly’s 432 Park Avenue and Roger Duffy’s 252 East 57th Street have been skewered for their simple designs. <mask> himself explained that his design for the Khaleesi Tower was an attempt "to try to find a cure for the bland and featureless modern glass-box structures that you find in nearly all cities worldwide." Nicola Formichetti Store, New York City, New York (2011)
<mask> has designed a series of retail stores for fashion designer Nicola Formichetti in New York City, Hong Kong, and Beijing, which showcased selected outfits from Lady Gaga.This series of projects led to his later collaboration with Formichetti on both an outfit for Lady Gaga and a line of cosmetic products for MAC Cosmetics which were sold internationally. The Nicola Formichetti Store, a pop-up shop constructed for the 2011 New York Fashion Week, utilizes "hundreds of robotically carved mirrored facets" to create a space to display many of the fashion pieces Nicola Formichetti designed for singer Lady Gaga. Books
<mask> <mask>: Projects and Provocations (monograph). Rizzoli Press, 2018
Designing Social Equality: Architecture, Aesthetics, and the Perception of Democracy. Routledge, 2018
Aesthetics Equals Politics: New Discourses Across Art, Architecture and Philosophy. MIT Press, 2019
 Aesthetic Theory: Essential Texts for Architecture and Design. W. W. Norton & Company, 2011
Composites, Surfaces and Software: High Performance Architecture, with Greg Lynn.Yale School of Architecture, 2010

References

Theorists
Architectural theoreticians
20th-century American architects
Yale School of Architecture faculty
Yale School of Architecture alumni
University of Notre Dame alumni
Living people
1973 births
People from Omaha, Nebraska
21st-century American architects

masks:
Mark Foster Gage
Gage
Gage
Mark Foster
Gage
Mark Foster
Gage
Gage
Gage
Gage
Gage
Gage
Gage
Gage
Gage
Gage
Gage
Gage
Gage
Gage
Foster Gage
Mark Foster
Gage


text_chunks:
<mask> (; ; September 1604 – 11 January 1679) was a Dalmatian historian, whose greatest work is De regno Dalmatiae et Croatiae ("On the Kingdom of Dalmatia and Croatia"), which includes valuable historical sources, a bibliography and six historical maps. Due to his critical approach, he is considered the founder of Croatian historiography. Born in September 1640 in Trogir in a noble family, <mask>nis confessoris episcopi Traguriensis et eius miracula [Life of St. John the Confessor, Bishop of Trogir] (1657) is an important source of Croatian, and especially Dalmatian, history between 11th and 13th centuries. His capital work is De regno Dalmatiae et Croatiae [On the Kingdom of Dalmatia and Croatia] (1662) in which he described the history of Dalmatia between the Roman times and 1480. The book contains the genealogy of Croatian dukes and kings and six historical Illyrian maps, regarded in Croatia as "the first Croatian atlas".The best known is map no. 6, Illyricum hodiernum [Present-day Illyricum], which <mask> dedicated to the Croatian ban Petar Zrinski, later included in Blaeu's Atlas Maior. In the book Memorie istoriche di Tragurio ora detto Traù [Historical testimonies about Trogir, now called Traù], he described the history of Trogir and Dalmatia to the mid 15th century. His book Inscriptiones Dalmaticae [Dalmatian Inscriptions] (1673) contains inscriptions and epigraphic monuments from Dalmatian heritage. In addition to his many other historical works, <mask> also engaged in archeology, geography, mathematics, physics, astronomy, construction and studying of ancient Christian monuments, Roman mosaics and inscriptions. He was a member of the Pontifical Croatian College of St. Jerome in whose catacombs he was buried after his death in January 1679. Today, <mask> is widely regarded in Croatia as "the father of modern Croatian historiography".Life and works

<mask> was the son of <mask> () and Clara Difnico (), born in Trogir, Venetian Dalmatia (now Croatia). After some schooling in his hometown, he went to Rome, where he spent two years, and then obtained his Ph.D. in ecclesiastical and civil law in the University of Padua. He returned to Trogir, and held various offices, but he returned to Rome in 1654. There he became a member of the Fraternity of Saint Jerome, and then its president. He participated in the work of many scientific academies of his age and wrote to scientists from Dalmatia, Italy and Europe. He wrote a number of historical works in Italian and Latin. His greatest and most famous work is De regno Dalmatiae et Croatiae (The Kingdom of Dalmatia and Croatia).The book was published after the war of Candia, a critical moment for the Republic of Venice. In his book <mask> pointed out the difference between the Romance and Slavic Dalmatia, the habits of the people and the cultural borderlines. It was first printed in Amsterdam in 1666. This book provides an overview of both, the history of Dalmatia and history of Croatia, from the prehistory to the 15th century. While his predecessors and contemporaries used suppositions as much as facts, <mask> founded his estimates on genuine sources. At the end of the book, he included certain valuable historical sources and a bibliography with his comments. The book had six historical maps.One of maps, the historical map Illyricum hodiernum (today's Illyria) was dedicated by Joan Blaeu, <mask>' publisher to the Croatian ban Petar Zrinski. Since everyone was looking up to antiquity, the Zrinski believed their ancestors were Roman aristocrats. <mask> showed them that their roots reached back to the famous medieval dukes of Šubićs noble family from Bribir. <mask> participated in the dispute about the authenticity of the text of Trimalchio's Banquet by the Roman satirist Petronius, which had been found in Trogir. He also published the history of his home town in Memoriae istoriche di Tragurio, ora detto Trau ("Trogir in Historical Literature"; 1673). He also published a book of Roman inscriptions from Dalmatia, including the inscriptions collected by the famous Croatian poet and writer Marko Marulić. Shortly before his death, <mask> prepared the Statute of Trogir for printing.<mask> was never married. He resided in Rome until his death, and was buried there, in the Church of St. Jerome. A monument was erected to his memory in 1740. Significance
<mask> was the first Dalmatian historian who critically examined and used historical sources: documents and chronicles, inscriptions and last wills. His historical methodology was far ahead of his time. He corresponded with many famous people from Republic of Ragusa (Dubrovnik), especially Stefano Gradi, the head of the Vatican Library. His numerous letters, revealing him as a man of integrity and a skillful writer are a valuable fresco of the conditions of his time.<mask>' work, written in a lapidary and clear style, based on critical considerations, is the cornerstone of the modern historiography about Dalmatia. Today in Croatia, <mask> is considered the father of modern contemporary Croatian historiography. Works
The following are his principal published works:
De Regno Dalmatiae et Croatiae libri sex (6 vols., Venice, 1673);
Inscriptiones Dalmaticae, notae ad memoriale Pauli de Paulo, notae ad Palladium Fuscum, addenda vel corrigenda in opere de regno Dalmatiae et Croatiae, variae lectiones Chronici Ungarici manuscripti cum editis (Venice, 1673). References

External links

Ivan Lučić <mask> - father of Croatian historiography

1604 births
1679 deaths
17th-century historians
Historians from the Republic of Venice
Croatian historians
Venetian period in the history of Croatia
University of Padua alumni
People from Trogir
History of Dalmatia
Italian-language writers
Venetian Slavs

masks:
Johannes Lucius
Luciusoan
Lucius
Lucius
Lucius
Johannes
Peter Lucius
Lucius
Lucius
Lucius
Lucius
Lucius
Lucius
Lucius
Johannes Lucius
Lucius
Lucius
Lucius


text_chunks:
<mask> (born 20 June 1975) is a Canadian-born chemist who studies the new reaction methods for organic synthesis with the use of catalysis. Yoon currently is a professor at the University of Wisconsin–Madison in the chemistry department. For his contributions to science, he has received numerous awards including the Beckman Young Investigator Award and National Science Foundation CAREER Award. Background
<mask> was born in Montreal, Quebec and grew up in Blacksburg, VA. As an undergraduate at Harvard University, he became fascinated by organic chemistry working in the laboratories of leading experts in contemporary asymmetric synthesis. Specifically, <mask> first experienced research in David A. Evans's lab studying stereocontrolled aldol reactions. After earning his A.B. in chemistry from Harvard in 1996, he proceeded to earn his M.S.under the guidance of Erick M. Carreira, who introduced Yoon to synthesis of complex natural products through applied photochemistry. Yoon was then accepted as Dave MacMillan's first graduate student, initially at UC Berkeley and later at Caltech, where he earned his Ph.D. investigating methods to control the stereochemistry of pericyclic reactions. He returned to Harvard in 2002 as a postdoc to research the use of hydrogen bonding urea catalysts in asymmetric synthesis in the laboratory of Eric Jacobsen. Independent career
Yoon has started his independent career in 2005 in the chemistry department at the University of Wisconsin-Madison where he has been ever since. His group specializes in studying the atomic level of control and molecular shape that can be manipulated by chemical synthesis. He has a research group that studies high energy and reactive molecules which convert into more stable molecules through chemical reactions. Such molecules include radicals and electronically organic triplets to more complex structures.Research

Yoon's research lab at the University of Wisconsin-Madison focuses on developing new reaction methods for organic synthesis, especially those involving transition metal photochemistry, stereocontrolling, and dual catalysis. Overview

In particular, Yoon's group aims to leverage the ability of visible light–absorbing transition metal complexes to catalyze synthetic reactions. They investigate various mechanisms of photocatalytic activation, which differ from complex to complex depending on reactivity patterns of intermediates and their ability to be activated by sources of white light, including sunlight. Traditionally, chemists have used high-energy UV light to activate simple organic molecules, but Yoon's group focuses instead on expanding the application of visible light sources to synthesize increasingly complex target molecules. By providing strategies for activation of organic substrates that do not require specialized high-pressure UV photolysis apparatuses, these procedures are rendered more environmentally-friendly and widely available to synthetic and organic chemists. Significant Developments

One notable process explored by Yoon's research is the generation of photoreductants by irradiation of [Ru(bpy)3]2+ that can initiate desired cycloaddition. The group proved [Ru(bpy)3]Cl2 to be an efficient photocatalyst for the formal [2+2] cycloaddition of enones and yields potential for development of new reaction protocols with reduced environmental impact.<mask>'s group has also researched into crossed intermolecular [2+2] heterodimerizations, proving the possibility of using two dissimilar enone substrates to successfully produce these dimers. This method bypasses some synthetic limitations of cycloadditions conducted under standard UV photolysis conditions. Yoon reviews the ways how cocatalyst strategies can be applied to synthesis, ranging from developments in organic photochemistry and the precedents that brought interest in photocatalytic synthesis. The interaction between an excited photocatalyst and organic molecule can show a diverse sample of reactive intermediates that can be manipulated to form a synthetic bond construction. This impacts the photocatalyst and the photoactivation steps such as the interaction with the excited state of the photocatalyst or controlling the rate and selectivity of the photoactivation steps. Additionally, Yoon takes a dual approach to the asymmetric of enantioselective [2+2] photocycloadditions by using visible light that can absorb transition metal and a Lewis acid cocatalyst. Yoon was able to see that each catalyst can be enabled to be independent resulting in a broader scope and greater flexibility and efficiency in enantioselective photochemical cycloadditions.Along with the metal photocatalyst being compatible with several types of Lewis acid catalyst. Yoon developed the first highly enantioselective intermolecular reaction of α-amino radicals by using the dual-catalyst protocol to combine the transition metal photoredox catalysis with the chiral Lewis acid catalysis. The combination of these catalysts provided an approach to control the stereochemistry of a wide variety of photoinitiated organic reactions. Furthermore, Yoon was able to perform quantum yield measurements to showcase that three distinct photoredox processes and involvement in the formation of chain reactions. In the combination of doing quantum yield and luminescence quenching experiments, it displays a method to estimate the length of these chains, to determine a lower limit for these chains and to diagnose inefficient initiation steps in photoredox reactions. Yoon demonstrated that the chain processes dominated the product formation of the three photoredox transformations. Awards and honors
2015 Friedrich Wilhelm Bessel Award, granted by the Alexander Von Humboldt Foundation
2013 William H. Kiekhofer Distinguished Teaching Award, presented by University of Wisconsin-Madison
2010 Eli Lilly Grantee Award, conferred by Eli Lilly & Company
2010 Camille Dreyfus Teacher-Scholar Award, granted by the Camille & Henry Dreyfus Foundation
2009 Amgen Young Investigator Award, sponsored by Amgen
2009 Alfred P. Sloan Research Fellowship, awarded by the Alfred P. Sloan Foundation
2008 Cottrell Scholar Award, presented by Research Corporation for Scientific Advancement (RCSA)
2008 Beckman Young Investigator Award, granted by the Arnold and Mabel Beckman Foundation
2007 NSF CAREER Award, initiated through the National Science Foundation CAREER Awards

Personal life
Yoon is openly gay and has been a vocal advocate for greater inclusion of and support for diverse members of the STEM community throughout his career.<mask> is a long time member of the UW-Madison Committee on LGBT Issues, which he chaired between 2013 and 2014. He has also given numerous invited lectures on topics relating to being LGBTQIA+ in STEM. <mask> lives in Madison, Wisconsin with his husband, Michael Velliquette, who is an artist. References

Fellows of the American Association for the Advancement of Science
University of Wisconsin–Madison faculty
California Institute of Technology alumni
Harvard College alumni
Living people
1975 births
LGBT scientists from Canada

masks:
Tehshik Peter Yoon
Yoon
Yoon
Yoon
Yoon
Yoon


text_chunks:
<mask> (born 1940) is a psycholinguist currently serving as Professor of Psychology at Stanford University. His focuses include cognitive and social processes in language use; interactive processes in conversation, from low-level disfluencies through acts of speaking and understanding to the emergence of discourse; and word meaning and word use. <mask> is known for his theory of "common ground": individuals engaged in conversation must share knowledge in order to be understood and have a meaningful conversation (<mask>, 1985). Together with Deanna Wilkes-Gibbs (1986), he also developed the collaborative model, a theory for explaining how people in conversation coordinate with one another to determine definite references. <mask>'s books include Semantics and Comprehension, Psychology and Language: An Introduction to Psycholinguistics, Arenas of Language Use and Using Language. Education and academic career
<mask>, born in 1940, attended Stanford University until 1962 and received a B.A. with distinction.He attended Johns Hopkins University for post-graduate training, where he obtained his MA and his PhD, in 1964 and in 1966 respectively. The same year he finished his PhD, he completed his post-doctoral studies at the Linguistics Institute of UCLA. He has since worked at Carnegie-Mellon University, Stanford University. Scientific career

Semantics and pragmatics
<mask>'s early work explored theories of comprehension. He found that people interpret verb phrases, particularly eponymous verb phrases, against a hierarchy of information presumed to be common knowledge between the listener and the speaker. This hierarchy of beliefs is composed of
  The identity of the eponym,
  Acts by the eponym,
  Relevant acts of the eponym, and
  The type of act being referred to. For example, when a person instructed, “Do a Napoleon for the camera,” the listener would identify Napoleon, recognize acts that were done by Napoleon (such as smiling, saying ‘fromage’, or posing for paintings), and then use the context to identify the act being referred to (tucking one's hand into one's jacket.)Listeners would begin at level 1 with the broadest constraint and then, with each new constraint at levels 2, 3, and 4, find it easier to identify what the speaker intended as the relevant act. Listeners would proceed on a context-centered (the situation and what would be the appropriate act) or eponym-centered (the eponym what would be a relevant act) basis to get to the right meaning. Out of the requests “Please do a George Conklin for the camera,” and “Please do a Napoleon for the camera,” it would be hardest to progress past level 1 for George Conklin, presuming one may not even know who he is, and easiest to progress to level 4 for Napoleon, since of the known acts associated with him relevant ones come to mind easily. Another important finding by <mask> was that salience is necessary for two people to understand exactly what is being referred to. Napoleon did eat and sleep during his lifetime, but saying, “Do a Napoleon at the kitchen table,” to mean “eat” would create comprehension problems, because the salience of the act is limited. Irony
In his study of irony, <mask> examined the pretense theory, which states that two speakers in a conversation do not announce the pretense they make when speaking with irony, but do nevertheless expect the listener to see through it. Thus, common ground must be had by both speakers in order for the effect of irony to work.Irony contains three important features: asymmetry of affect, victims of irony, and ironic tone of voice. Asymmetry of affect speaks to the higher likelihood of making ironic positive statements (“What a smart idea!” to a bad idea) than ironic negative statements (“What a stupid idea!” to a good one). Since those who are ignorant of irony would be more likely to cling to the general tendency of seeing the world in terms of success and excellence, these are the people that ironists pretend to be. Victims of irony are the people in conversation presumed not to understand the irony, such as the person that the speaker is pretending to be, or the person that could be the listener who wouldn't understand the irony in the speech. The ironic tone of voice is the voice a speaker takes on in lieu of his own in order to fully convey the pretense. Ironic tones of voices tend to be exaggerated and caricatured, like taking on a heavily conspiratorial voice when discussing a widely known piece of gossip. The Mention Theory of irony states that sentences or phrases that are used in ironic speech are not being used, but are rather being mentioned.An example of this would be a person taking on the pretense of being a weatherman on the local news and saying, “What lovely weather it is! Rain, rain, and rain,” with an exaggerated enthusiastic voice and not explicit statement of whom she's referencing. The speaker would not be using a sentence, in this case, but rather she would be mentioning what she has heard the weatherman say before. Taking on the pretense of an oblivious weatherman and saying, “What lovely weather it is!” when it is storming and dark outside is making mention of a phrase previously said by weathermen and expressing contempt toward it. Speech acts
One of <mask>'s better-known studies was on how to make requests that overcome an obstacle to compliance. In making requests, speakers analyze the greatest potential obstacle they see to getting the information that they want, and frame their requests in a way that overcomes them in the easiest manner possible. They can frame the request in 3 different ways: to design an indirect request conditional on the absence or elimination of the obstacle, to make broadly applicable conditional requests, or to approach an obstacle sideways.For example, if a speaker wants to know the time of the concert he is attending with his friend, he knows his friend may not remember. He will therefore make an indirect request conditional on the elimination of the obstacle and ask, “Do you remember what time the concert is tonight?” which will mean “Do you remember what time the concert is, and can you tell me?” Therefore, if the friend does not remember, he can simply answer “no.”

The second way is illustrated in more frequent and general situations where the obstacle isn't well known or specific. So if the speaker were to ask a passing stranger near the arena about the start time of the concert, he might formulate, “Can you tell me when the concert starts?” The expected obstacle is formed by lack of ability and willingness of the stranger to answer the question. It is a useful convention due to how it provides the stranger with a broad range of graceful excuses not to give the desired answer. The last way of framing to overcome obstacles is for situations where the person being addressed seems unwilling to provide the information. Then the speaker can ask for related information that the addressee is willing to divulge, and the speaker appears polite while the addressee is not being forced to admit unwillingness. Whether the obstacle is being addressed directly or sidestepped, the speaker is still designing requests that best overcome the greatest expected obstacle.Referring as a collaborative process
In conversation, in order to establish common ground and make referencing known concepts or objects easier, speakers work together to establish definite references. Unlike the literary model of definite reference, which takes into account only what the speaker does to create the definite reference; the conversational model has the speaker and the listener working together. The listener is interpreting at the same time as the speaker is talking, and the speaker may have to edit to rephrase what is being said based on how the listener reacts. Speaker A and speaker B must mutually accept the functionality and usefulness of A's reference before they can allow the conversation to go on. The belief that both have accepted the reference is established through a two-part process: (a) presentation and (b) acceptance. Speaker A presents a reference (e.g. the dog with the pink collar) and Speaker B accepts it by responding with the affirmation that he understood which dog was discussed.If A realizes the presentation wasn't definitive enough, he may edit his speech to be more specific (e.g. the dog with the pink collar, near the tree, by the parking lot over there). If B doesn't accept the presentation (e.g. the dog with the what? that's not a dog, that's a weasel), then A has to reissue the reference. Completing the acceptance process may take several exchanges between the speakers. <mask> later developed his theory on discourse and how each speaker, or contributor, takes part in it with his or her partners.The most important element of common ground in discourse, he found, was the mutual understanding of each utterance by all partners. If speaker A makes an utterance that he believes will create common ground with speaker B but speaker B misheard it or misunderstood it, no progress on common ground has been made. A contribution can be made in two ways: collectively and individually. Both A and B adding what A said to their common ground is a collective act. A contributing and B registering the contribution are two distinctive individual acts. Therefore, discourse does not progress until both collectively and individually the discourse partners have accepted new references and established them as common ground. If A assumes the contribution was successful and adds what he said to the common ground he may continue to build upon what he believes was established, but B has not registered the contribution correctly, then they'll have to start over until all three steps are satisfied.One assumption of this model is the principle of least collaborative effort: participants in a contribution try to minimize the total effort spent on that contribution, both in the presentation and acceptance phases. The fewer exchanges between A and B to clarify references, the more successfully the common ground is being built. Common ground and grounding
<mask> began his work in common ground with studying the references in conversation between experts and novices. To develop references in discourse, speakers try to establish the mutual belief that all speakers understand the references to a criterion that is sufficient for the purpose of continuing the discourse. In a conversation between a physician and his patient, for example, the doctor may request, “Contract your deltoid,” making reference to a technical term that the patient may not know. If the patient doesn't know, he will ask, “My deltoid?” and the doctor will clarify, “Raise your right arm.” If the patient does know the reference, he will comply immediately. Throughout these exchanges, speakers supply and acquire expertise.<mask> test summarized the process into 3 stages: assessing (directly or in passing finding out the expertise level of the discourse partner), supplying (experts who are addressing novices can expand their contribution to explain the reference), and acquiring expertise (novices speaking to experts acquire knowledge and fill in the gaps during conversation). Perspective is also important to the conversations between experts and novices; as experts gain more expertise their understanding of the topic becomes more broad and abstract, taking on organization that novices cannot follow. When explaining certain concepts to novices, experts also have to take on the perspectives of novices to make the most effective references. In a different study, <mask> showed how coordinating beliefs in conversation shapes the effectiveness of references. When speaker A and speaker B are conversing, the references they use build common ground and allow them to make shorter inferences upon repeated use. So while the first reference may be “the dog with the pink leash next to the birch tree,” the second reference may become “the dog near the birch tree”, and the third may be “the birch tree dog”. But when a conversation partner C only listens to the conversation between A and B and doesn't participate, the references made earlier (although he heard all of them) are not as efficient when C switches places with B.As a matter of fact, he is treated like a novice in the conversation, despite having heard A and B use the references previously. Thus speakers redevelop common ground with new partners and create new references that both were presented with and accepted. Most recently <mask> studied how speakers monitor their addresses for understanding when giving directions, making references, or developing common ground. In a study where subjects used Legos to build copies of a prototype, subjects were divided into builders and those who were instructing the building. Some were able to see each other clearly as well as each other's workspaces, while others’ views were obstructed in some way. The pairs of partners who could clearly see each other and the instructing and the building that was happening had more success with their process than the pairs who could not see each other. The ability to see the builder's workspace enabled the instructor to nod, point, and otherwise aid the builder in precise and efficient ways.Those who couldn't see the workspace made more errors, due to lack of affirmation by the instructor and the inability to check how successfully they were following directions. Lastly, those who listened to the instructions from an audiotape without an instructor present were even less efficient with their building. This finding demonstrated how a conversation is a collaborative process, and that speakers and listeners work together to achieve a common goal. The ability to interact to maintain common ground throughout discourse or any communicational process allows for both parties to feel like they're keeping up. Addressees and overhearers
Similarly to the Lego study, <mask> examined the differences in understanding and compliance between addressees and overhearers. In an experiment where one person told another person how to arrange 12 complex figures and a third person listened in, and all began the conversation as strangers with equal background information. Nevertheless, addressees were more accurate at following the directions and arranging the figures than the overhearers even though they heard exactly the same things.From this, <mask> concluded that the social process of interacting in conversation plays a central role in the cognitive process of understanding. If hearing the same words were enough to understand the directions, addresses and overhearers would have performed similarly. Since they did not, there is cause to conclude that understanding is part of a collaborative process. The process of grounding in a conversation happens at the point where both A and B find a perspective they can agree on. If C, the overhearer, understands this perspective then he keeps up; if he does not, then he is left behind. Since he's an overhearer, his understanding does not affect whether A and B continue on, and while they continue to build common ground for the remainder of the conversation, C is not following or understanding them. Disfluencies and strategies in speaking
<mask> worked with Jean E. Fox Tree to study the pronunciation of ‘the’ and ‘thee’ and their use in signaling problems while speaking.What they found was that the shorter pronunciation of ‘the’, phonetically thuh, was used far less frequently to show a problem in speech production. Only 7% of  were followed by a suspension of speech due to articulation errors, word retrieval, or choice of message consideration. However, the longer pronunciation, , was used 81% of the time to signal an immediate oncoming pause. was frequently followed by a pause and reformulation of speech and could also foreshadow the use of thuh before speech resumed its regular pace. 20% of the time  is used, speakers can repair the problem in time and continue without further disruption, but 80% of the time they deal with the problem by pausing, repeating the article, repairing what they were about to say, or abandoning the original plans for speech altogether. A similar study by the same researchers examined ‘uh’ and ‘um’ in spontaneous speaking. Like  and thuh, um and uh signal varying degrees of delay, which um creating a major pause and uh creating a minor one.Because of how they are incorporated into speech, such as specifically put to use at certain pauses in speech, attached as clitics onto other words, and prolonged for additional meaning, they have become a part of spontaneous speech that have meaning. What they argued was that um and uh are conventional English words and speakers plan for them, formulate them, and produce them just like any other vocabulary. Joint actions
Conversations as joint projects were where <mask> explored vertical and horizontal transitions prompted by dialogue. A horizontal transition, for example, would be speaker A beginning a stage of a conversation about a car he and speaker B saw. Until speaker B understands the car being referenced, the exchange will be horizontal within the same joint project of understanding the reference. Once B recognizes the reference and the car is no longer the joint action of the speakers, they have made a vertical transition in dialogue. <mask> proposed that m-hm, uh-huh, yeah, yes, and yep are all horizontal markers that do not interrupt the flow of the joint activity.They are used as continuers and display to the speaker that the listener is following the exchange and the speaker still has the floor. As long as horizontal markers are used, they are allowing the current speaker to continue with their action. Once the speaker's action is interrupted with side projects, such as clarifying what model car is being discussed or where it was seen, a vertical transition was made and is completed once the original speaker has the floor again. A digression by speaker can cause a vertical transition as well: by the way and as a matter of fact, and exits from the transition are prompted by anyway and so. Some words, like okay are universally used for a variety of transitions, like digression, vertical transition, and horizontal transition. Speakers understand and use these markers seamlessly and precisely in conversation to coordinate joint actions and maintain common ground for future direct reference. Language use and language users.In G. Lindzey & E. Aronson (Eds. ), Handbook of social psychology (3rd ed., pp. 179–231). New York: Harper and Row. <mask>, H. H., 1996. Using Language. Cambridge University Press, hardbound, , paperbound,

External links
 Personal website

Living people
Cognitive psychologists
Psycholinguists
Fellows of the Society of Experimental Psychologists
Fellows of the American Academy of Arts and Sciences
Stanford University Department of Psychology faculty
Johns Hopkins University alumni
Stanford University alumni
Members of the Royal Netherlands Academy of Arts and Sciences
1940 births
People from Stanford, California
Fellows of the Cognitive Science Society

masks:
Herbert Herb Clark
Clark
Clark
Clark
Clark
Clark
Clark
Clark
Clark
Clark
Clark
Clark
Clark
Clark
Clark
Clark
Clark
Clark
Clark
Clark


text_chunks:
<mask>ía <mask> (; born September 3, 1984), know professionally as <mask>, is an American actress and model. She had roles in the films The Cider House Rules (1999) and A Walk to Remember (2002), and played Lucy Danziger in the HBO drama series Boardwalk Empire. Early life
<mask>a was raised by her mother, with her older sister <mask> (born November 5, 1981), in the New York City neighborhood of SoHo, located in Lower Manhattan. Her parents are Spanish nobleman <mask>, 14th Duke of Mandas, Grandee of Spain and Judith Bruce. <mask>a was born with recurrent cystic hygroma under her arm, which she has had treated with multiple surgeries. Her mother worked as an authority on birth control and women's issues in Third World countries. She attended private Saint Ann's School in the New York City borough of Brooklyn, with fellow student and future fashion designer, Zac Posen, for whom she has since modeled.She also attended the performing arts camp Buck's Rock. <mask> Huerta spent summers with her father in Spain while attending high school. Career
<mask> Huerta began modeling in her adolescence and became a runway model before transitioning into film. She made her film debut with a small role in the 1998 romantic comedy The Object of My Affection, and the next year appeared opposite Michael Caine and Charlize Theron in The Cider House Rules. In 2002, she appeared opposite Shane West and Mandy Moore in A Walk to Remember, an American coming-of-age romantic drama film based on the <mask>' novel. In 2007, <mask> <mask> was cast in the role of Linda for the film Enter the Void, a psychedelic melodrama set in neon-lit nightclub environments of Tokyo. Director Gaspar Noé found her after holding auditions in New York City."I met <mask> and I really liked her. She had the profile for the character because she likes screaming, crying, showing herself naked—all the qualities for it." In 2009, <mask> <mask> was cast in the HBO pilot Boardwalk Empire, set in Atlantic City during the Prohibition era, as Enoch "Nucky" Thompson's mistress, a former Ziegfeld Follies dancer. Boardwalk Empire was renewed for a second season, with <mask> Huerta returning as Lucy. Discussing the second season she said; "The first season was very different from the second season. With the first season, nobody really knew how the show was going to be received. With the second season, we had gotten lots of accolades and great reviews, so it was work, work, work, where we were shooting two episodes at a time."After the second season ended, <mask> <mask> and fellow co-stars Michael Pitt, Aleksa <mask>, and Dabney Coleman all departed the cast. In 2012, she commented on her departure from the series, stating she wanted to put her focus on other things. In 2013, she commented on how she would like to return to the hit series. "I’m still close with the producers. Terry (Terence Winter) always says it's possible for me to come back." Also adding; "I would love to come back with Lucy as a loving, doting mother." In 2011, Lana Del Rey, an American singer, received widespread attention when the music video for her single "Video Games" became a viral internet sensation.The video—directed and edited by Del Rey—included paparazzi footage of <mask> Huerta falling down while intoxicated. When asked if she was upset about the video, <mask> Huerta stated, "No, no. I don't get hung up about anything really. That's insignificant. I didn't really care." In April 2011, she was sued by MTV reality show actress Samantha Swetra after an altercation at a bar. <mask> Huerta was arrested, issued a desk appearance ticket, and released.In July 2011, she pleaded guilty to harassment and, in exchange, misdemeanor charges against her were reduced to a non-criminal violation. A judge ordered her to complete 12 weeks of alcohol counseling, one day of community service, and to stay away from Swetra. In July 2011, <mask> <mask> signed on to play Abby Russell, the protagonist in the horror film Nurse 3D. A sequel for Nurse had been rumored by <mask> Huerta on her Twitter page with her stating that Nurse 2 would start shooting soon. However, In 2015, it was reported that <mask> <mask> was suing the filmmakers, for ruining her career and injuring her when a speeding ambulance driven by a stunt driver struck her while shooting. She was the cover model in Playboy in 2013. In 2014, she completed filming in Las Vegas for the movie Death in the Desert, cast as Margo and co-starring with Michael Madsen and <mask> Beesley.She also had a supporting role in the Canadian horror film The Editor. She later appeared in Louis Theroux's 2015 documentary My Scientology Movie when she "crashed" an interview. The next year, <mask> <mask> played Pepper in the drama film Bare, opposite Dianna Agron. The film follows a young woman living in a small desert town in Nevada, who becomes romantically involved with a female drifter who leads her into a life of drugs, stripping, and psychedelic spiritual experiences. Director Natalia Leite wanted to cast two women who were willing to be totally raw and exposed on camera in the leading roles. She stated: "I wanted to find two women who were very different from each other to put those two contrasting energies together." The film had a world premiere at the Tribeca Film Festival on April 19, 2015.Frank Scheck of The Hollywood Reporter wrote that <mask> <mask> was perfectly cast for her role as Pepper, though the film has a "mundane storyline." John Stewart of The Slanted wrote, "The film is an wonderful departure for Glee’s Dianna Agron and her performance with <mask> <mask>a is sure to spark a lot more work in the future for both rising stars." Me Too movement
<mask> <mask>, at the height of the Me Too movement, said in an interview with Vanity Fair that movie mogul Harvey Weinstein raped her on two occasions in 2010, once after demanding to enter her apartment and have a drink, and once showing up after she  had been subjected to repeated phone calls and had been drinking. <mask> Huerta came forward to police in 2017, within the New York state statute of limitations for rape in the first degree, and the New York District Attorney's Office was considering bringing charges against Weinstein. While charges have yet to be filed in <mask> <mask>'s case, Weinstein has been charged in New York with the rape of another woman. More than 75 women have accused Weinstein of sexual abuse; he has denied all allegations. In November 2018, <mask> Huerta filed a $60 million lawsuit in Los Angeles Superior Court accusing Weinstein of raping her in 2010 and then embarking on a campaign of harassment that she contends damaged her career.Personal life
<mask> Huerta lived in New York City in an apartment on Gay Street, and then moved into an apartment adjacent to her mother in the Tribeca neighborhood. She has a cobra tattooed in one leg and a crown in an arm, the latter as a tribute to her lineage. Filmography

Films

Television

Music videos

References

External links

 <mask> <mask>a: Behind the Nude, article at Focus Features' website
 Are You Ready for <mask>?, article at New York magazine's website
 Interview with <mask> <mask> by Imagine Fashion

1984 births
Living people
20th-century American actresses
21st-century American actresses
Actresses from New York City
American child actresses
Female models from New York (state)
American film actresses
American people of Spanish descent
American people of Basque descent
American television actresses
People from SoHo, Manhattan
Saint Ann's School (Brooklyn) alumni

masks:
María de la Paz Elizabeth Sof
Adriana de la Huerta y Bruce
Paz de la Huerta
De la Huert
Rafaela de la Paz
Inigo de la Huerta y Ozores
De la Huert
De la
De la
Nicholas Sparks
de la
Huerta
Paz
de la
Huerta
de la
de la
Huerta
Palladino
de la
de la
De la
de la
Huerta
de la
de la
Huerta
Shayla
de la
Huerta
de la
Huerta
Paz de
la Huert
De la
Huerta
De la
de la
Huerta
de la
De la
Paz de
la Huert
Paz
Paz de
la Huerta


text_chunks:
<mask> (本田雅人, born November 13, 1962), is a Japanese saxophone player, composer, and multi-instrumentalist. Born in Nakamura City, Kochi Prefecture (now Shimanto City), he graduated from Kunitachi College of Music. He is most well known for being a member of the band T-Square and appearing on Cowboy Bebop's soundtrack with The Seatbelts. Biography

Early life and career
<mask> started playing the saxophone in the 3rd grade under the influence of his father, after trying out both the flute and clarinet. During his high school years at the Kochi Prefectural Nakamura High School he participated in a pop band where he played guitar and sang. Afterwards, he went to Kunitachi College of Music, where he studied classical saxophone until he won the 14th Yamano Big Band Jazz Contest in 1983. Afterwards, he turned his focus to jazz and fusion styles.In 1985, he graduated from Kunitachi College of Music at the top of his class and joined Nobuo Hara's Sharps and Flats. Afterwards, he worked as a session musician, notably working with Toshiki Kadomatsu, Hiroshi Sato, and the Katsumi Horii Project, and formed the group WITNESS with Masaharu Ishikawa and Jun Kajiwara. T-Square
The 1990 live, T-Square Live (featuring F1 Grand Prix Theme) theme was Honda's first time working with T-Square as a session musician. The then-current saxophonist Takeshi Itoh stepped down from the group to pursue a solo career soon after. <mask> debuted as an official member in T-Square Live - "Farewell & Welcome" in 1991, which was Itoh's official send-off from the group. Prior to this, <mask> began recording his first studio album with T-Square in January 1991, New-S, where he composed the opening track, Megalith. It would release on March 21 that same year.Also in 1991, the group recorded the album Refreshest as T-Square and Friends, the first album under that name. It was composedly mainly of arrangements of previous songs, one of which was a version of It's Magic. Following the death of racing legend Ayrton Senna in 1994, T-Square released SOLITUDE, also as T-Square and Friends. David Liebman, Michael Brecker, and Mike Stern joined T-Square and Friends for the album Miss you in New York in 1995. After the album Blue in Red, <mask> left T-Square for unknown reasons and pursued a solo career. He participated in the 20th Anniversary Performance at Yaon de Asobu, and Farewell & Welcome Live 1998, which was recorded on April 28, 1998 and released on VHS the following July. Berklee alum Takahiro Miyazaki replaced him starting with the album Gravity, however Honda still contributed to it, playing on the song Japanese Soul Brothers.Other work
Honda has participated in the works of Shiro Sagisu, Ringo Sheena, Hiroshi Sato, Toshiki Kadomatsu, L'Arc-en-Ciel, Kukeiha Club, FictionJunction, Kohei Tanaka, Motoaki Furukawa, SunSet Swish, Nana Mizuki, Aiko, Yuji Toriyama, Masayuki Suzuki, Yui Makino, Sumire Uesaka, Junna, Ryo Takahashi, and Round Table

He has also recorded for the soundtracks of Cowboy Bebop, Souryuden, Gunstar Heroes, Tenchi-Muyo! Ryo-Ohki, Mega Man X, Arc the Lad, F-Zero X, Shenmue, Napple Tale, Gensō Suikogaiden, Ghost in the Shell: Stand Alone Complex, Detective Conan: Strategy Above the Depths, Detective Conan: The Private Eyes' Requiem, Angel Heart, Wild Arms, Detective Conan: Jolly Roger in the Deep Azure, Hayate the Combat Butler, Dengeki Gakuen RPG: Cross of Venus, Pandora Hearts, Evangelion Wind Symphony, One Piece, Cute High Earth Defense Club Love!, Cat Planet Cuties, Negima! Magister Negi Magi, Heaven's Memo Pad, Listen to Me, Girls. I Am Your Father!, Kids on the Slope, Nyaruko: Crawling with Love, The Third, Sound! Euphonium, Showa Genroku Rakugo Shinju, Wake Up, Girls!, Prison School, Active Raid: Special Public Security Fifth Division Third Mobile Assault Eighth Unit, Journey of Midgard/Michiko Naruke Ragnarok Online, ACCA 13-ku Kansatsu-ka, Square Enix Jazz Final Fantasy, City Hunter: Shinjuku Private Eyes, Code Geass Lelouch of the Rebellion Orchestra Concert, and Arifureta: From Commonplace to World's Strongest. Since his work with T-Square, he has led and been a part of several other bands. Honda founded the group B.B.Station as a "train station" between the styles of jazz fusion and swing music.Trumpeter Eric Miyashiro is part of this group. <mask> has also been a member of the Blue Note Tokyo All-Star Jazz Orchestra that Miyashiro leads. <mask> has been in a number of other fusion acts besides T-Square such as Four of a Kind, which participated in the 2004 JVC Jazz Festival in Seoul, and Voice of Elements, which live-streamed performances because of the COVID-19 pandemic. In his 2008 solo album, Across the Groove, he featured jazz keyboardist Bob James. Also significant is his second solo album, Carry Out, in which he played every instrument and composed every song on the record. <mask> is a visiting professor at Showa University of Music. He was previously employed by Kunitachi College of Music as a professor of saxophone and jazz.His name was removed from the faculty list in 2020. Instruments
Honda has experience on a variety of instruments. Aside from the four main soprano, alto, tenor and baritone saxophones he has been observed playing the clarinet, flute, EWI, guitar, bass guitar, keyboards, trumpet, flugelhorn, trombone, and recorder. He also has ability as a jazz scat singer. On the alto saxophone he uses a refaced 7* Yanagisawa mouthpiece, as well as a model made specifically for him by the brand Saxz, and a Meyer 5M. He used a Selmer Mark VII saxophone for most of his career, but switched to the more renowned Mark VI at some point in the 2010s For his time in T-Square during the 90s, he primarily used a synthetic Fibracell reed, but now uses Vandoren's Green Java reeds. Discography

As leader
 Growin (A-Pro C&C, 1998)
 Carry Out (JVC, 1999)
 Real-Fusion (JVC, 2000)
 Illusion (JVC, 2000)
 Cross Hearts (JVC, 2001)
 What is Fusion (JVC, 2001)
 Crowded Colors (JVC, 2003)
 Assemble a Crew (JVC, 2004)
 Masato <mask> with Voice of Elements (Kang & Music, 2006)
 Across the Groove (RCA, 2008)
 Solid State Funk (Sony, 2009)
 Saxes Street (GRP, 2015)

With T-Square
 T-Square Live - Featuring F-1 Grand Prix Theme (1990)
 New-S (1991)
 T-Square Live - Farewell & Welcome (1991)
 Megalith (1991)
 Refreshest (1991)
 Impressive (1992)
 Human (1993)
 Summer Planet (1994)
 SOLITUDE (1994)
 Welcome to the Rose Garden (1995)
 Miss you in New York (1995)
 T-Square and Friends Live in Tokyo (1995)
 B.C.A.D.(1996)
 Blue in Red (1997)
 Farewell & Welcome Live 1998 (1998)
 20th Anniversary Performance at Yaon de Asobu (1998)
Gravity (1998)

With Four of a Kind

 Introducing Four of a Kind (2002)
 Four of a Kind (2002)
 Four of a Kind Live At Blue Note Tokyo And Osaka Blue Note (2002)
Four of a Kind II (2004)

With Witness

 Witness (1988)
 Witness Live (2005)

With B.B. Station

 B.B. Station Live at Roppongi Pit Inn (2000)
 Jazz'n Out Marlene Meets Masato <mask> (2007)

See also

 T-Square (band)
 Casiopea
 Eric Marienthal

References

1962 births
Living people
Japanese jazz composers
Japanese musicians
Japanese saxophonists
Japanese jazz saxophonists
Japanese jazz musicians

masks:
Masato Honda
Masato Honda
Honda
Honda
Honda
Honda
Honda
Honda
Honda
Honda