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<mask> (born 26 January 1991) is an Irish footballer who plays as a centre back for  club Chesterfield. He has represented the Republic of Ireland at under-21 and youth team levels. He played Gaelic football and association football in his youth, before moving to England in February 2006 after being signed by Blackburn Rovers from Crumlin United. He never played a first-team game for Blackburn, though did have loan spells at Tranmere Rovers, Rotherham United, Bury, and Motherwell. He transferred to Dundee United in August 2011 and went on to be named on the PFA Scotland Team of the Year for 2011–12. He left the club in June 2014 and subsequently joined Birmingham City, though missed the 2014–15 season due to injury. He joined Oldham Athletic for a brief stay in August 2015, before returning to Dundee United three months later.He left United in April 2016, and signed a short-term deal with Greenock Morton five months later. He joined Grimsby Town in January 2017, and then moved on to Port Vale six months later. He switched to Forest Green Rovers in January 2018 and then moved into non-league football with Billericay Town in July 2019. He left Billericay for Solihull Moors in September 2019, before moving on to Gloucester City in March 2020 and then Chesterfield ten months later. Early life
Gunning was born in Dublin on 26 January 1991 and attended St Benildus College in the Kilmacud area of the city. As a youth, he played Gaelic football for Naomh Ólaf and Kilmacud Crokes and association football for Ballyogan Celtic, St. Joseph Boys and Crumlin United. Club career

Blackburn Rovers
Gunning joined Blackburn Rovers from Crumlin United in January 2006, at the age of 15; it was reported as a "major coup" for Blackburn manager Mark Hughes as league champions Chelsea had also expressed an interest.After featuring in the academy and reserve sides, Gunning was described as "one of the most promising prospects from Blackburn Rovers' Academy" and in 2008, signed a two-year professional contract. He was given the number 29 shirt by Rovers manager Sam Allardyce for the 2009–10 season, having been given number 42 the previous season, though it was thought to be likely that he would be sent out on loan. On 6 August 2009, he moved to Tranmere Rovers on a one-month loan. He made his first team debut two days later, in a 2–0 defeat at Yeovil Town. He went on to make a total of six League One appearances whilst at Prenton Park. On 22 January 2010, Gunning started his second loan spell during that season when he joined League Two club Rotherham United on an initial one-month emergency loan. After making two appearances, his loan was extended until the end of the season.In the second leg of the 2009–10 League Two Play-offs against Aldershot Town, Gunning set up a goal for Adam Le Fondre, as Rotherham won 3–0 on aggregate. Gunning was in the starting line-up in the play-offs finals at Wembley Stadium, however Rotherham were defeated 3–2 by Dagenham & Redbridge. In November 2010, Gunning joined League Two side Bury on loan until 11 December 2010, before the deal was extended until the end of January 2011. He played just twice during his stay at Gigg Lane. On 28 January 2011, Gunning joined Scottish Premier League club Motherwell on loan until the end of the 2010–11 season. He made his debut for the club on 2 February, coming on as a substitute for Steven Hammell in a 1–0 defeat to Kilmarnock. On 27 February, he assisted one of John Sutton's two goals, as Motherwell beat Celtic 2–0 at Fir Park, Gunning started the Scottish Cup Final against Celtic and struck a terrific long-range shot in the 35th minute which bounced off the crossbar; Celtic went on to win the match 3–0.At the end of the season, he returned to Blackburn Rovers. Ahead of the 2011–12 season, Gunning was linked with a return to Motherwell and a move to Aberdeen, both as loan deals. He then went on trial at Scunthorpe United. After playing in a friendly match against Rotherham United, manager Alan Knill said he was satisfied with Gunning's performance, but thought that he, along with other players on trial with the club, needed to do more to get a contract. After playing for Scunthorpe in another friendly, Knill said he was hoping to get Gunning signed on a permanent contract. Dundee United
Having reportedly already rejected a move to Dundee United in July, as part of a swap deal involving David Goodwillie moving to Blackburn, manager Peter Houston then said that the club were hopeful of completing the signing of Gunning. On 12 August 2011, Gunning joined Dundee United on a three-year contract.Upon signing, he said he was very excited to be joining the club and he revealed he'd had other options in England and Scotland. He made his debut for the club in a 5–1 defeat to Celtic on 13 August, coming on as a substitute for Willo Flood in the 78th minute. He scored his first goal for the club against St Johnstone on 27 August, his goal levelling the score at 3–3. He scored his second goal of the season on 5 February, scoring with a powerful header, as Dundee United beat Rangers 2–0 in the fifth round of the Scottish Cup. His third goal for the club came on 24 February, as Dundee United beat Hearts 2–0, his goal coming after he had earlier cleared an effort off his own goal line. At the end of the 2011–12 season, Gunning was one of five Dundee United players alongside Paul Dixon, Gary Mackay-Steven, Johnny Russell and Jon Daly to be named in the PFA Scotland Team of the Year. He was linked with a summer move to Ipswich Town, but that was dismissed by Dundee United.In the 2012–13 season, Gunning appeared in both legs of the third qualifying round of the Europa League, as Dundee United faced the Russian club Dynamo Moscow. After a 2–2 draw in the first leg at Tannadice, United lost the second leg 5–0, going out 7–2 on aggregate. He scored his first goal of the season against Dundee on 17 August 2012, as Dundee United won the Dundee derby 3–0. Gunning scored two goals in three games between 26 December and 2 January against St Johnstone and Aberdeen. On 9 February, Gunning sustained an injury in a game against Hearts which ruled him out of action for the rest of the season. Speaking in July 2013, Gunning said that Dundee United should have finished the season higher than they did, with the squad they had available. Gunning made his return from injury on 17 August 2013, in a 1–1 draw against Hibernian.However, he was sent off along with Kevin Thomson in the 65th minutes after an off the ball incident between the pair following a foul by Gunning. While Hibernian unsuccessfully appealed Thomson's red card, Dundee United decided not to appeal the red card shown to Gunning. On 4 September, Gunning was offered a three-match ban by the SFA after an incident involving Celtic's Virgil van Dijk, where he was alleged to have kicked out at his opponent. Dundee United appealed against the ban, but this was rejected by the SFA's judicial panel. Following this incident, Dundee United officials banned both the BBC and STV from further interviews with the club, feeling that the BBC's highlighting of the incident had led to the suspension. In December 2013, Gunning said that he was looking at signing a new contract with Dundee United. On 29 January 2014, Gunning suffered a knee injury during training.He made his return against Motherwell on 21 February, where he scored twice as Dundee United won 3–1. This was the start of a run of four goals in three games for Gunning as he followed up those two with a goal on 28 February, in a 3–1 win over Hibernian and then another one in the quarter-final of the Scottish Cup, in a 5–0 win over Inverness Caledonian Thistle on 9 March. In the Scottish Cup semi-final against Rangers, Gunning set up Dundee United's first goal, scored by Stuart Armstrong, in a 3–1 win. In the Scottish Cup Final, <mask> started at centre back, alongside Seán Dillon, as Dundee United lost 2–0 to St Johnstone at Celtic Park. With his contract due to expire at the end of the 2013–14 season, Gunning was linked with a pre-contract move away from the club throughout the season, with Rangers amongst those mentioned, although Dundee United Manager Jackie McNamara said there had been no contact from them. In April, Gunning stated he would be willing to stay at the club, although he was uncertain about his future at Dundee United. After the Scottish Cup Final though, he said that he had probably played his last game for the club and that he would be leaving at the end of his contract.Dundee United confirmed on 4 June 2014, that <mask> had left the club at the end of his contract. Birmingham City
After leaving Dundee United, Gunning was initially set to sign for Sheffield Wednesday, but the deal fell through after he failed a medical. On 12 June 2014, Gunning then signed a one-year contract with Championship club Birmingham City. He made his debut in the first-round League Cup match against Cambridge United at St Andrew's, but was leaving the field injured just as Cambridge scored an equaliser; Birmingham won 3–1 after extra time. The injury was diagnosed as posterior cruciate ligament damage, and kept him out for the rest of the 2014–15 season. The club chose not to take up their option for another year, and confirmed that he would be released when his contract expired. Oldham Athletic
Gunning joined League One club Oldham Athletic on a short-term deal on 6 August 2015.He was released when the contract expired on 28 August, having made only one appearance for Oldham, against Middlesbrough in the League Cup at Boundary Park. Return to Dundee United
Gunning returned to Dundee United in November 2015, signing a contract for the rest of the 2015–16 season. On 12 April 2016, Dundee United announced that Gunning had left the club by mutual consent, describing the decision as "a private matter". This came three days after a match against Inverness Caledonian Thistle at Tannadice, during which Gunning, in what was described by the media as "a bizarre incident," had picked up the ball during play and walked off the pitch. He subsequently returned to the field to receive treatment for an injury before being substituted. It was reported that he had "sarcastically applauded" fans who verbally abused him over his conduct. Despite the club statement, manager Mixu Paatelainen subsequently clarified that while Gunning would not be considered for selection, he remained a Dundee United player and could return to training if he wished "or take an early summer holiday".Greenock Morton
Gunning had a trial at Southend United in July 2016. He signed a short-term deal with Scottish Championship side Greenock Morton in September 2016. Manager Jim Duffy tried to secure him on a longer stay at Cappielow, but was unable to compete with the money offered by clubs in England. Grimsby Town
After he chose not to extend his contract with Morton, Gunning returned to England and signed for EFL League Two club Grimsby Town on 5 January 2017 until the end of the 2016–17 season. After making 14 league appearances he was released by the club on 10 May 2017. He later admitted he was overweight during his time at Blundell Park and that he did not enjoy his time with the "Mariners". Port Vale
Gunning signed a contract of undisclosed-length at newly-relegated League Two club Port Vale in July 2017, having impressed manager Michael Brown on trial.He was sent off on his second appearance for the "Valiants" after picking up two yellow cards in a 4–1 defeat to Leeds United in an EFL Cup first round match at Elland Road on 9 August; Brown described it as an "extremely stupid" dismissal. However he impressed playing out-of-position at left-back under new manager Neil Aspin, who said his "heading and challenging has been first class". He added to his popularity at Vale Park with a headed goal in a 2–0 home victory over Oxford United in the first round of the FA Cup on 3 November. He left the club upon the expiry of his contract on 1 January 2018. Aspin revealed he had disagreed with owner Norman Smurthwaite over the failure to secure Gunning to a new contract. Forest Green Rovers
On 4 January 2018, <mask> signed an 18-month contract with League Two Forest Green Rovers. He made 21 appearances in the second half of the 2017–18 campaign to help Mark Cooper's Green avoid relegation by a one-point margin.On 18 August 2018, <mask> was sent off in a 1–1 draw at Bury for denying Gold Omotayo a clear goalscoring opportunity. On 22 April 2019, he scored his first goal of the season in a 2–1 win over Cambridge United at The New Lawn and was named in the EFL team of the week. He ended the 2018–19 season with 46 appearances to his name, but was sent off in the play-off semi-final defeat at Tranmere Rovers and was not retained beyond the summer. Non-league
On 17 July 2019, <mask> joined National League South club Billericay Town. He played seven games for the "Blues". On 24 September, he left Billericay and joined National League side Solihull Moors on a short-term deal in the hope of impressing manager Tim Flowers enough to win a longer stay at Damson Park. He went on to feature in 15 league games for the Moors during the 2019–20 season, before being released on 21 January.He joined National League North club Gloucester City on 6 March, signing a contract until the end of the 2019–20 season. He played just twice before the season was curtailed because of the COVID-19 pandemic, but went on to sign a new contract in August. After reportedly turning down a new contract offer, on 21 January, he became the latest player to leave Gloucester for Chesterfield. Chesterfield qualified for the play-offs at the end of the 2020–21 season, though were beaten by Notts County at the quarter-final stage. Gunning was appointed captain for the 2021–22 season and signed a new two-and-a-half year contract in November 2021 to keep him at the club until the summer of 2024.

International career
Having represented the Republic of Ireland at under-19 level, Gunning made his under-21 debut against Georgia in a 2011 UEFA European Under-21 Championship qualification match on 9 October 2009. Style of play
Primarily a left-sided and left-footed centre-back, his wholehearted approach and eccentric personality earned him the nickname "Mad Gav <mask>". Career statistics

Honours
Individual awards
PFA Scotland Team of the Year: 2011–12

References

External links

1991 births
Living people
Naomh Ólaf Gaelic footballers
Kilmacud Crokes Gaelic footballers
Association footballers from Dublin (city)
Republic of Ireland association footballers
Association football defenders
Republic of Ireland youth international footballers
Republic of Ireland under-21 international footballers
Crumlin United F.C.players
Blackburn Rovers F.C. players
Tranmere Rovers F.C. players
Rotherham United F.C. players
Bury F.C. players
Motherwell F.C. players
Dundee United F.C. players
Birmingham City F.C.players
Oldham Athletic A.F.C. players
Greenock Morton F.C. players
Grimsby Town F.C. players
Port Vale F.C. players
Forest Green Rovers F.C. players
Billericay Town F.C. players
Solihull Moors F.C.players
Gloucester City A.F.C. players
Chesterfield F.C. players
English Football League players
Scottish Premier League players
Scottish Professional Football League players
National League (English football) players

masks:
Gavin Jude Gunning
Gunning
Gunning
Gunning
Gunning
Gunning
Gunning


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<mask> (August 23, 1917 – June 5, 1998) was an American farmer, businessman, and politician from Mississippi. A staunch segregationist, in 1964 he became the first Republican to be elected to the United States House of Representatives from Mississippi during the twentieth century. Early life
<mask> was born in Taylorsville, Mississippi. He attended public schools in Taylorsville, Mize, and Las Cruces, New Mexico. In 1936, he attended Mississippi College in Clinton. During World War II, he served in the US Army in the Pacific Theater of Operations. Then, he returned to his previous work as a chicken farmer in Smith County and became president of Walker Egg Farms, Inc., based in Mize.From 1937 to 1963, he was the owner of Walker's Supermarket. In 1960, <mask> served on the executive committee of the Mississippi Game and Fish Commission under Governor Ross Barnett. Political career
In 1964, <mask> was a delegate to the Republican National Convention, which met in San Francisco, California, and he ran as a Republican in , in the central eastern part of the state. He unseated 11-term incumbent W. Arthur Winstead by some 7,000 votes, an 11% margin, the first Republican breakthrough in Mississippi since Elza Jeffords served a term in Congress from 1883 to 1885. <mask>'s victory was made possible by two factors. The first was white Mississippians' anger at the national Democratic Party's support for civil rights, which pushed many registered Democrats to vote for Barry Goldwater, who carried Mississippi in the 1964 presidential election with 87 percent of the vote. The second was widespread suppression of African Americans' right to vote.Only 6.7 percent of eligible Black Mississippians were registered to vote in 1964. In <mask>'s Congressional district, Goldwater won many of the counties with greater than ninety percent of the vote; two, Holmes and Noxubee, gave him a staggering 96.6 percent, tied for his best showing in the nation, and one which has never since been equalled by any presidential candidate in any county nationwide. After winning the election, <mask>'s first public appearance was to speak at a meeting organized by the group Americans for the Preservation of the White Race. At a Republican fundraiser at the Mississippi Coliseum in the capital city of Jackson on June 20, 1983, US President Ronald Reagan would tell the following anecdote:

Former Congressman <mask> <mask>, who I understand is here today, tells a story about his first campaign. He dropped in on a farm and introduced himself as a Republican candidate. And as he tells it, the farmer's eyes lit up, and then he said, "Wait till I get my wife. We've never seen a Republican before."And a few minutes later he was back with his wife, and they asked Prentiss if he wouldn't give them a speech. Well, he looked around for kind of a podium, something to stand on, and then the only thing available was a pile of that stuff that the late Mrs. Truman said it had taken her thirty-five years to get Harry to call "fertilizer." So, he stepped up on that and made his speech. And apparently he won them over. And they told him it was the first time they'd ever heard a Republican. And he says, "That's okay. That's the first time I've ever given a speech from a Democratic platform."<mask> relinquished his House seat after only one term. He instead challenged U.S. Senator James Eastland. He ran well to Eastland's right and accused the veteran senator of being too friendly with US President Lyndon Johnson and of not doing enough to block integration-friendly judges in his position as chairman of the Senate Judiciary Committee. Like Eastland, <mask> had voted against the Voting Rights Act of 1965 and focused only on the white vote in his Senate race. In the words of Claude Ramsey, president of the Mississippi AFL-CIO, <mask> tried to "outsegregate" Eastland, but most white voters stayed with Eastland, who finished with 65.6 percent of the vote. With 105,652 votes, <mask> polled 26.7 percent at the general election.His supporters included blacks in southwestern Mississippi, which came as a surprise because of <mask>'s open support for segregation. Black voters had entered the political process under the Voting Rights Act of 1965 and carried Claiborne and Jefferson Counties for <mask> in protest of Eastland as a "Democratic Regular." Years later, Wirt Yerger, the chairman of the Mississippi Republican Party in the 1960s, noted that <mask>'s decision to relinquish his House seat after one term for the vagaries of a Senate race against the powerful Eastland was "very devastating" to the growth of the Republican Party in Mississippi. In 1966, state Representative Lewis McAllister of Meridian, the first Republican elected to the Mississippi House of Representatives since Reconstruction, sought to hold <mask>'s House seat for the Republican, but victory went to fellow State Representative Gillespie V. "Sonny" Montgomery, also of Meridian, who held the seat for 30 years. <mask> tried to unseat Montgomery in 1968 but got only thirty percent of the vote. When <mask> again ran for the Senate against Eastland in 1972, as an Independent, rather than a Republican, he drew only 14,662 votes (2.3 percent). The Rockefeller-style Republican Gil Carmichael, a former critic of <mask>, trailed with 249,779 votes (38.7 percent), as Eastland won handily with 375,102 votes or 58.1 percent.Private life
<mask> and his wife, the former Dimple Howell (1919-2013), the last surviving of six children of the former Emily Dorilla Johnson (1880-1977) and John Fleming Howell (1882-1967), had two daughters, Treta <mask> and husband James of Mize and <mask> Magee of Magee. <mask> and Dimple <mask> are interred in Mize at Zion Hill Missionary Baptist Church Cemetery. <mask> <mask> Lake (originally called Ross Barnett Lake) near Mize is named in his honor. Sources
 "G.O.P. Threatened in South by Loss of Backlash Vote," October 9, 1966; ProQuest Historical Newspapers, The New York Times (18512003)

References

External links

Sid Salter: "Smith County congregation sends a Republican delegate every 40 years", Jackson Clarion Ledger, August 30, 2004. 1917 births
1998 deaths
American grocers
United States Army personnel of World War II
Burials in Mississippi
Businesspeople from Mississippi
Farmers from Mississippi
Members of the United States House of Representatives from Mississippi
Mississippi College alumni
Mississippi Independents
Mississippi Republicans
People from Simpson County, Mississippi
People from Taylorsville, Mississippi
Politicians from Las Cruces, New Mexico
Republican Party members of the United States House of Representatives
United States Army soldiers
20th-century American businesspeople
20th-century American politicians
New Right (United States)

masks:
Prentiss Lafayette Walker
Walker
Walker
Walker
Walker
Walker
Walker
Prentiss
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker Butler
Jan Walker
Prentiss
Walker
Legacy Prentiss
Walker


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<mask> is a British actor known largely for his roles in Big Finish Productions audio dramas as well as guest appearances in Red Dwarf, Mrs Brown's Boys, Casualty, The Bill, EastEnders and Doctor Who in a career which began in 1984. Career
<mask> began his career after leaving college and joining a theatre in education group called Bucket Theatre, touring schools in Buckinghamshire, performing at one occasion for The Princess Anne. For 18 months he played The Baker in Bill Kenwright's memorable national tour of Joseph and the Amazing Technicolour Dreamcoat, and many theatre jobs followed. This includes playing Judas in a national tour of Godspell, Big Jule in Guys and Dolls at the Everyman Theatre, Cheltenham, Reuben Starkadder in Cold Comfort Farm at the Watermill Theatre, Newbury, Oscar Wilde in The Mirror of the Moon at the Edinburgh Festival, and Hiram Otis in the national tour of The Canterville Ghost opposite Ron Moody. He has played in such diverse roles as Hamlet and Abanazar, Mr Peachum and Lady Bracknell. In the autumn of 2016 he played Major Watson opposite Brian Capron in a UK-wide tour of the R. C. Sherriff thriller Home at Seven. His has made many television appearances from EastEnders, to Heartbeat from London's Burning to The Bill (four separate times) and from Outside Edge to Casualty (twice).In a 1993 episode (Emohawk: Polymorph II) of Red Dwarf he appeared as a GELF set to marry the leading protagonist Dave Lister and it garnered him some cult notoriety. He became the only character other than the four primary regulars to appear in the title sequence. Nineteen years later he reappeared on Red Dwarf X (episode Entangled), this time playing the chief of a group of Biologically Engineered Garbage Gobblers. In 2010, he started alongside Rufus Hound in the CBBC sitcom Hounded, starring as the character Future Rufus in all 13 episodes, as well as playing a Russian conker champion in an episode of Hotel Trubble and Mr Cobb in the Little Britain spin-off Come Fly with Me with David Walliams and Matt Lucas. In May 2013 he filmed the role of Santa Claus for the Christmas special episode of Mrs Brown's Boys, the most watched TV programme on Christmas Day. He has made many commercials for many countries including for Israel, Germany, the Netherlands, Italy, Norway and the UK – most recently being Santa in the Littlewoods 2013 campaign, and Santa for a Schweppes Tonic campaign, and for Media Markt in Germany. For Christmas 2015 he played Santa in the Lloyds Bank/Applepay commercial.For Christmas 2016 he played Santa Claus (Babbo Natale) for the TIM network in Italy, in three major commercials and an advertising campaign. In 2017 he again played Santa for an advertising campaign for Tempo Tissues, and filmed the role of real life policeman Chief Inspector Shelley Symes for 'Murder Maps', a true crimes documentary series for Netflix (USA/Canada) and UKTV Play, in a dramatisation of the acid bath murders of John George Haigh. For Autumn 2018 <mask> played the Town Crier in commercials and newspaper advertisements for the Health Lottery Mega Raffle Draw. Recent Tv work includes playing a mysterious stranger in the BBC comedy drama 'Click and Collect' with Stephen Merchant, and playing a nasty neighbour and Father Christmas in two episopes of the CBBC comedy show 'Andy and the Band'. For Christmas 2017 <mask> was thrilled and honoured to give his time, appearing as Santa at the Christmas party for the survivors of the Grenfell Tower tragedy, and the surrounding community. He and has appeared in numerous Big Finish Audio dramas, in many guises, most notably Doggles (under the pseudonym of <mask>) and Joseph in the Bernice Summerfield series and Chancellor Valyes in the Gallifrey series. (as Harry Karter)Iris Wildthyme The Land of Wonder (as Professor Ramsbottom)James Follett's Mindwarp(as Mr Belan/The chairman)

Television and filmographyAndy and the Band - Save Christmas - CBBC (2020)Andy and the Band - Can I Have My Ball Back?- CBBC (2019)Click and Collect - BBC (2018) Murder Maps – Netflix/UKTV Play (2017)Mrs Brown's Boys – BBC (2013)Miss Wright – Sky Living/ITV (2012)Red Dwarf X "Entangled" (Chief BEGG) – Dave Channel (2012)Red Dwarf x "Emohawk: Polymorph II" (GELF Bride) - BBC (1993)Come Fly With Me (2010)Hounded – CBBC (2010)Hotel Trubble – CBBC (2010)
 The Wrong Door (2008)
 "The Wizard of Office"
 "Lose Weight Now"
 Casualty (2002–2006)
 "The Sunny Side of the Street: Part 2"
 "The Sunny Side of the Street: Part 1"
 "What Becomes of the BrokenHearted"
 Time Trumpet (2006)
 Eastenders (2004)
 Chocolate – Bollywood movie Orrible Ellington Outside Edge Chandler and Co The Knock London's Burning The Bill (Four episode)
 Doctors Heartbeat Red Dwarf Doctor Who''
 "The Twin Dilemma" (Giant Gastropod)
 "The Caves of Androzani" (Planetary Soldier)

Notes

References

British male stage actors
British male television actors
Living people
Year of birth missing (living people)

masks:
Steven Wickham
Steven Wickham
Steven
Steven
Sam Stevens


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was a Japanese film and kabuki actor. His birth name was , and his name was legally changed several times, first to , and later to , separate from his performing name. Six months after his birth in Kyoto he became the adopted son of . He made his kabuki acting debut at the age of 15 under the name . In 1951 he was adopted by  and was renamed as  Ichikawa Raizō VIII. In 1954 he began a career as a film actor. He received breakout acclaim for his performance in Enjō and received several awards for the performance including the Blue Ribbon Award and the Kinema Junpo Award, both for the category of Best Performance by an Actor in a Leading Role.Among his fans he was referred to lovingly as "Rai-sama." In June 1968 he was diagnosed with and underwent surgery for rectal cancer, but it metastasized to his liver and he died the following year. <mask> Raizō appeared mostly in period dramas (jidaigeki). He is best known for the Sleepy Eyes of Death (Nemuri Kyoshirō) series, Ninja (Shinobi no Mono) series and Nakano Spy School (Rikugun Nakano Gakkō) series (based on the Nakano School). Raizō worked many times with director Kenji Misumi. Their collaborations include The Sword (Ken) (from a book by Yukio Mishima) and Destiny's Son (Kill!). Other great works include An Actor's Revenge (Yukinojo henge).He was so admired for his gracefulness that in his lifetime he was called "the genius who thinks with his body." Biography

Birth and adoption by <mask> Kudanji III
<mask> Raizō was born in the Nakagyō ward of Kyoto on August 29, 1931. At the time of his birth, he was named Akio Kamezaki. At six months of age he was adopted by <mask> Kudanji III, who renamed him Yoshio Takeuchi. According to the film critic Rikiya Tayama, the details of his adoption are as follows: While Raizō's mother was pregnant, <mask>'s father was transferred to Nara as an  in the Imperial Japanese Army, leaving her behind at his family's home. She was persecuted by his family and attempted to reach out to him for help but was ignored. When she could no longer bear it she fled to her own family's home, where Raizō was born.The relationship between her and her husband having deteriorated, Raizo's mother intended to raise him on her own. At this point she received repeated petitions from her husband's brother-in-law, <mask> Kudanji III, to allow him to raise the child. She initially refused these offers, but ultimately relented, and <mask> was officially adopted by Kudanji at the age of six months. <mask> was not aware of his adoption until he was 16 years old, and he did not meet his mother in person until he was 30. Kabuki Debut (1934 – May 1949)
In 1934, about two years after his adoption by <mask> Kudanji III, <mask> moved from Kyoto to Osaka. Kudanji did not train him as a kabuki actor during his childhood, but in 1946, when he was in his third and final year at Osaka Prefectural Tennoji High School, Raizō elected to withdraw from school to pursue an acting career. In November 1946, at the age of 15, Raizō made his kabuki debut at the Osaka Kabukiza theater under the name <mask> Enzō III (Kudanji had previously used the name Ichikawa Enzō II).His first role was the part of Lady Ohana (Musume Ohana) in the play Nakayamashichiri. In May 1949, a little over two years after his first performance, Raizō formed a study group with two other young kabuki performers. These were Rishō Arashi (known later in his kabuki career as Arashi Kichisaburō VIII, and as Yatarō Kitagami in his acting career) and Nakamura Taro II. They called this group the , which can be translated as "exhaustive meeting," and together they focused diligently on training. However, there was one obstacle that this training could not overcome: Kudanji had been the son of a member of a minor politician in Kyoto rather than a kabuki actor, and had only been apprenticed (to an actor known as <mask> Sadanji II) because of Kudanji's own strong desire to enter the world of kabuki. Thus Kudanji was forever labeled as a montei agari – someone born and raised outside of the kabuki world and its "lineage" and later apprenticed into it – and doomed never to exceed a supporting role. That being the case, no matter how hard Raizō trained, he was unlikely to gain noteworthy roles as a kenmon performer as long as he remained the son of Kudanji.Adoption by <mask> Jūkai III (June 1949 – June 1951)

In 1949, in the same period that <mask> was establishing the Tsukushikai, a kabuki theater director named Tetsuji Takechi was scouting for young, talented kabuki performers to join his traditionalist troupe, Tetsuji Kabuki. The members of the Tsukushikai participated in this troupe and thus made the acquaintance of Tetsuji. Tetsuji thought very highly of Raizō's acting talents, but realized that so long as he remained known as Kudanji's son he would never be able to truly shine in the world of kabuki and his talent would be wasted. To that end Tetsuji formed a plan to have Raizō take the name of , which had been unused for a quarter century, but Nakamura Jakuemon III – who was no longer performing, but still alive – was dissatisfied with Raizō's thus-far inability to gain real recognition and refused to allow the name's use. After that, it is known that Tetsuji intended to apprentice Raizō under the childless . In December 1950, <mask> Jukai III attended a meeting of the Tsukushikai in an observational capacity. He was highly impressed by <mask>'s performance as Minamoto no Yoriie in the play Shuzenji Monogatari.Jukai had been the son of a kimono-maker and thus had had no connection to the world of kabuki through his lineage, but despite this, through great effort on his part, Jukai had become quite renowned in the Kansai kabuki scene during and after the Second World War. By the time he met Raizō in 1950, Jukai had become the president of the Kansai Kabuki Actors Guild, a position of great influence. Furthermore, the name "Jukai" had been bestowed upon <mask> Jukai III by both of the actors who had used it before: <mask> Danjūrō VII and Ichikawa Danjūrō IX; and he had even been granted usage of the  and  yagō and kamon traditionally used by the head of the Ichikawa line. With the help of some mutual friends, Tetsuji was successful in his efforts and Jukai agreed to officially adopt Raizō. At this point Jukai wished to give Raizō the name , a name with deep roots in the Ichikawa house stretching back to the 1600s, but the chief cabinet secretary of the Ichikawa house, <mask> En'ō II, viciously fought against this wish, stating "We can't bestow a name with such deep family ties to some unknown performer from an unknown line." After long negotiations they finally settled on the name "Ichikawa Raizō." The adoption was finalized in April 1951, and the ceremony for the succession of the "Ichikawa Raizo" name was carried out in June of the same year.According to the film director Kazuo Ikehiro, around this time rumors began to circulate that <mask> Jukai III was actually <mask>'s biological father. Upon his second adoption <mask>'s legal name was changed again as well, to Yoshiya Ōta. This name was chosen by <mask> himself, as he was weary of being judged by his current family name. According to Akinari Suzuki, the studio president of Daiei Kyoto Studio, Raizō often advised those around him to consider changing their names, and it's said that some 20 to 30 people related to the film studio did so upon Raizō's recommendation. In fact,  Masako Nagata, the woman <mask> would eventually marry, was originally named Kyōko, and changed her given name after Raizō suggested she do so. Transition into Film Acting (July 1951 – 1957)
<mask> became Jukai's adopted son in 1951, but Jukai believed that the 20-year-old <mask> was still too young to take on major roles and adopted a policy of only giving him minor roles for the time being. As a result of this Raizō decided to pursue a film career in 1954 and joined the Daiei film studio.Regarding his transition to film acting, <mask> maintained that he did it simply because it seemed like a good opportunity and he wanted to try it out. Rikiya Tayama has said that the real reason was that <mask>, dissatisfied with the treatment he received over the years, was extremely upset when he was cast as an idiot without a single line in the Osaka Kabukiza's performance of Kōya Hijiri in June 1954, and thus decided to leave the world of kabuki for good. Fortuitously he received an offer from Daiei Films who intended to position him as a star in their jidaigeki – period dramas – and accepted it, leaving the kabuki world for film. From that time forwards, Raizō only performed in a single kabuki play: the January 1964 production of Kanjinchō directed by Tetsuji Takechi at the newly completed Nissay Theater, in which he played Yasuie Togashi. On that occasion Raizō said, "In Kabuki you're no good unless you're old. In film you're no good once you're old. While I'm still young I'll make a living in film, once I've gotten older I'll try kabuki again."Once he had decided to pursue a film career, Raizō began to frequent the movie theater to study the performances of Yorozuya Kinnosuke in jidaigeki produced by Toei. <mask> made his film debut on August 25, 1954 in The Great White Tiger Platoon (Hana no Byakkotai). While Raizō had been held back in the world of kabuki by the circumstances of his parentage, he was treated with great respect in the world of film, as the son of <mask> Jukai III, president of the Kanto Kabuki Guild. Daiei's management intended to position Raizō as a successor to the popular Kazuo Hasegawa, and gave Raizō the starring role in his fifth and sixth films, The Young Swordsman (Shiode Kushima Binan Kenpō), released December 22, 1954, and The Second Son (Jinanbō Garasu), released January 29, 1955. In 1955, two years after his film debut, Raizō received great attention for his portrayal of Taira no Kiyomori in director Kenji Mizoguchi's Shin Heike Monogatari, released on September 21 of that year. Tokuzō Tanaka, director of 16 of Raizō's films, stated that at first it seemed as though it would be difficult to make Raizō into a great success, but that impression changed instantly with Shin Heike Monogatari. Kazuo Ikehiro, who directed another 16 of Raizō's films, said that until that point it had seemed that Raizō was simply imitating Kazuo Hasegawa, but bit by bit his innate acting talent had begun to shine through.The film critic Tadao Sato wrote that until now <mask> had "portrayed only handsome young samurai and yakuza, as though following in the footsteps of Kazuo Hasegawa" but that now he "has come to be a distinguished actor worthy of high praise, giving fresh performances in elegant dramas, rather than only performing in chanbara – samurai films with an action focus. In the wake of Shin Heike Monogatari, Raizō performed in over 10 films released in the period of a single year. He worked tirelessly, giving up holidays and weekends to continue filming. Raizō had weak legs, and would often become faint when standing or walking. Masayoshi Tsuchida, then head of Daiei's planning department, said that it must have been an incredible adventure to play "Kiyomori, the youth who pierced the heavens" for the physically frail Raizō. Raizō was self-conscious about the weakness of his legs and joined the sumo club at Doshisha University in an attempt to train and strengthen them, but it was no use. Whenever photos were taken of Raizō, the photography staff took special precautions to frame the

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 shot in such a way as to avoid showing Raizō's weak legs.According to Kenji Misumi, director of 18 of <mask>'s films, Raizō deeply loathed the physical frailty of his body, but when he finally managed to overcome that loathing and accept himself he became capable of incredible composure. Rise to Stardom (1958 – May 1968)
In 1958 Kon <mask> cast <mask> in the lead role of the film Enjō, based on the novel The Temple of the Golden Pavilion by Yukio Mishima. The film was released on August 19 of that year. According to <mask>, Hiroshi Kawaguchi was originally intended for the role, but <mask> argued against this selection based on an instinctive feeling that Raizō was the right choice for the role and ultimately succeeded in convincing the studio president, Masaichi Nagata, to cast Raizō instead. There was some resistance within the studio, as it was felt that a newcomer with a stammer should not be given such a large role in his second film with the studio, but he was ultimately given the part, stating "we need to give the young actor <mask> Raizō a chance if we want to make him into a success." Raizō rose to the occasion and gave an excellent performance. <mask> praised Raizō's acting, saying "I give it a perfect score, 100 of 100.There's simply nothing else to say." It's often said that <mask>'s performance in Enjō reflected his childhood. <mask> said, "He's expressing something of his true self through his performance," and "He's overcome something through his acting ... some sort of burden he had been carrying; and his indescribable life can be seen in his expression." Tokuzō Tanaka said that <mask>'s complicated childhood had caused something like a base part of his heart to emerge, merging with and adding depth to his performance. Kazuo Ikehiro said that precisely because of this "hidden part of his childhood," or "base part of his heart," that Raizō was perfectly equipped for the performance. Once, when a member of the Daiei planning department named Hisakazu Tsuji mused aloud that he felt as though his performance in Enjō reflected Raizō's childhood, Raizō did not refute it. For his performance in Enjō, Raizō received the Kinema Junpo Award for best male actor in a leading role, and the Blue Ribbon Award for best performer in a leading role, among others.<mask>'s position as a star had been secured. The Nemuri Kyoshirō series of films, which began in 1963 and are known as Sleepy Eyes of Death in the west, are considered to be the representative work of Raizō's later years. According to Tokuzō Tanaka, playing the part of the protagonist, Kyoshirō, was an extreme challenge for Raizō. Speaking of the first film in the series, Sappōchō, even Raizō himself said that "the characteristic 'hollowness' of Kyoshirō simply didn't come out at all" and deemed the film a failure. It wasn't until the fourth film, Joyōken, that Raizō succeeded in bringing the hollowness, dandyism and nihilism of the character to life. The actor Shintarō Katsu described Raizō's performance in the Nemuri Kyoshirō films, saying "When he was playing Kyoshirō he had a real animal magnetism about him, didn't he. Maybe you could say it came from this sense of the shadow of death hanging over him.It really is the face people make when they die, that expression." “When he’d walk by, Rai-chan would cut you with his face. Not with a sword, with his face,” he reminisced, “Rai-chan didn’t become Kyoshirō through his fight scenes or the delivery of his lines, he did it through his face; that’s my opinion, anyway.” Kazuo Ikehiro said, “without speaking, without any kind of facial expression, simply by the way he walked around as though he were carrying his past on his back” Akira Inoue, director of the seventh film in the series, Tajōken, said that there were other actors who played Kyoshirō, but none of them could compare to Raizō when it came to portraying Kyoshirō's soul. Raizō went on to hold the starring role in 12 films in the series, which represents a majority of the starring roles for which Raizō was cast. According to Kazuo Ikehiro, as Raizō's experience as an actor accumulated he began to desire to take a larger role in film creation through directing. Ikehiro advised Raizō to pursue the role of producer, rather than director, as he would then be able to make decisions about subject matter, scripts, and casting in addition to direction. In January 1968, Raizō said “I want to assemble a new dramatic production, the likes of which has never been seen before,” and began the process of establishing a new theater company called “Teatoro Kaburaya” at which he would take a producer role, but as soon as it was founded he fell ill and the company never began operations.According to Seiji Hoshikawa, director of 14 of <mask>'s films, Raizō said to Hoshikawa and Kenji Misumi, “Cinema might not have that much time left. Let’s stage a play sometime, the three of us. Let’s give a new job a shot,” and more specifically “Let’s try to capture Kawatake Mokuami’s works through a modern lens.”

The Final Years and Premature Death at Age 37 (June 1968 – July 17th, 1969)
In June 1968, while in the process of filming Seki no Yatappe, Raizō visited a doctor because of bloody stool, and was soon admitted to the hospital. The results of his examinations clearly indicated rectal cancer, but the diagnosis was not made known to Raizō. On August 10, Raizō underwent surgery and was released from the hospital, but his family received a prognosis from his doctor stating that Raizō would “relapse in about half a year.” Raizō had possessed a weak digestive system from birth, and had previously visited a doctor for the same symptoms in January 1961, after filming Kutsukake Tokijirō. At that time he had been told simply that “there is a wound in the rectum” when examined. There's also a record of him confiding to Tetsuji Takechi, “I’m tormented by diarrhea,” in 1964, at the occasion of his performance of Kanjinchō at the Nissay Theater.After leaving the hospital, Raizo performed in the films Nemuri Kyōshirō: Akujo-gari (released January 11, 1969), and Bakuto Ichidai: Chimatsuri Fudō (released February 12, 1969), but his physical strength was rapidly dwindling, and they had to resort to a body double with voice-over for all of his scenes involving walking and movement. In February 1969, complaining of physical unwellness, Raizō was admitted to the hospital once again. After his second surgery Raizō was so weak that he couldn't swallow soup, but he deeply wished to play the role of a naval officer in the film Aa, Kaigun, and began talks with people related to the film. His recovery was not complete by the time filming began, and Daiei cast Nakamura Kichiemon II as a substitute in order to begin filming. After learning of the recast by reading it in the newspaper, Raizō never again spoke about work. He died several months later, on July 17, of liver cancer, at the age of 37. His funeral was held on July 23, at the Ikegami Honmon-ji temple in the Ōta ward of Tokyo.His grave is at the same temple. It has been said that in the time before his death, Raizō deliriously entreated that nobody be allowed to see his face when he died. His wife, Masako Ōta, staunchly denies these claims, stating “Raizō never gave up on recovery, even until the end; he never even wrote a will.” Nevertheless, after his death Raizō's face was wrapped in two layers of white cloth, which remained in place even as he was cremated. According to Masako, Raizō had said only “I don’t want anyone to see how dreadfully thin I've become,” and because of that wish she had not allowed anyone aside from his adopted father, Jukai, and his company president, Nagata, to see his face after his death. Raizō's final film, Bakuto Ichidai: Chimatsuri Fudō, was an example of the then-popular ninkyō eiga – pro-yakuza films – produced by Toei Studios. Raizō was reluctant to participate, saying “Should I just reheat the scraps left by Kōji Tsuruta?” – Tsurata being an actor well known for performing in such films – but Masayoshi Tsuchiya convinced him, saying “I’ll make sure you get the next role you want to play.” The following year Tsuchiya expressed deep regret that this role which Raizō had not wanted to play had become his last. In 1971, two years after <mask>'s death, Daiei Studios filed for bankruptcy.Seiji Hoshikawa reflected on this, saying “<mask>’s death was a precursor to Daiei’s bankruptcy.”

<mask>'s Legacy (July 17, 1969 – Present)
In 1974, five years after <mask>'s death, a fan club called “Raizō-kai” was formed. This fan club is still functioning as of this writing in 2012. According to Masaki Matsubara, once president of Daiei Kyoto Studios, Raizō's fans were drawn in by his acting and his humanity, and thus, unlike many other stars of the time, his fanbase had the rare characteristic of having many intelligent and educated female fans. “You didn’t see the type that only squealed and caused a big fuss,” he said. The “Ichikawa Raizo Film Festival,” in which a selection of his films are shown, became an annual event, held each year on the anniversary of his death, July 17. From December 2009 until May 2011 an especially large event was held and his performances were screened to commemorate the 40th anniversary of his passing. In 2000, Kinema Junpō published an article titled “Film Stars of the 20th Century: Male Actors.” Raizō placed 6th.In the same issue's “Readers’ Choice: Male Film Stars of the 20th Century" he was ranked 7th. In the 2014 list of “All Time Best Japanese Film Stars” he was ranked 3rd in the list of male actors. In a 2014 blog post, Ichikawa Ebizō XI implied that the honorific name <mask> Raizō was under his care, and thus it can be seen as having been returned to the <mask> house and line following Raizō's death. Family
<mask> married Masako Nagata, daughter of Masaichi Nagata, in a private wedding ceremony in 1962. She took his name, becoming Masako Ōta, and they had three children together. According to Yahiro, “Even among the great number of jidaigeki actors, nobody else had his good manners – and I mean that in a good way – not a single other actor felt like a true bushi-like swordsman the way he did.”

Kazuo Ikehiro said that Raizō's childhood cast a “shadow of heartlessness” over him, and because of that a “shadowed part” and a “true background part" of his life were exposed. Moreover, they were not merely exposed, but thrust forward willfully, in Ikehiro's estimation.Kazuo Mori, the director with whom <mask> produced the greatest number of films, said that Raizo carried “a human pain of which he didn’t speak to anyone” which he sublimated into each of his performances. In an interview between Mori and the film critic Sadao Yamane, the two agreed that Raizō had a “refreshing sorrow” about him. Yamane explained this further, saying “while it’s true that he played a great many tragic roles, it wasn’t simply with a dark depression or gloom; he had a very crisp presentation. There wasn’t a single other actor who was equipped with both this sorrow and this cool crispness the way that Raizō was.”

Tadao Satō said of Raizō's acting, that whether in jidaigeki or in modern dramas, “whether the most miserable role or the most comedic, he acted with elegance and lent sophistication and grace to the final product.” Film critic Saburō Kawamoto said of Raizō's acting, “even when he’s here, he’s not here,” and clarified, “even in this filthy world, there was a sense of purity about him, as though he were a

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 glimpse into a faraway place.” “Some people might take my saying ‘sense of purity’ as some sort of posturing phrase, but it's not.”

Two of <mask>’s contemporaries, Sakata Tōjūrō IV and Nakamura Jakuemon IV, also attempted to change careers from kabuki to film, but failed to find success and returned to the kabuki stage. When asked his thoughts on this, Akinari Suzuki said that he felt that Raizō had found success in film because he was not steeped in kabuki in his young childhood, and thus avoided being totally stained by it. Appearance
Raizō usually looked plain, not eye-catching, but when his makeup was applied for a film shoot he would completely transform. Many people in the film industry spoke about this particular quirk.According to Arashi <mask>, Raizō’s essence was “hardness divided by simplicity,” and in stark contrast to other stars when playing their popular characters, Raizō's unmade-up simplicity “would transform completely with makeup,” he said of this peculiar quirk. According to Akira Inoue, when given makeup Raizō's usual appearance would become completely different and beautiful. “Makeup would change him so suddenly, to the point where you’d say ‘woah! Who’s this?’” he said. Tokuō Tanaka said, “this guy, with his disarming warmth and aura of purity; as soon as work began he’d transform into an actor, he’d stiffen his shoulders and become immediately commanding, steadfast, dignified and strikingly good-looking. For someone like me who knew his usual face, it was so surprising that it made my eyes pop open.”

According to Inoue, at the time of his debut, Raizō, along with Shintarō Katsu and Takeshi Hanayagi, received makeup instruction from the star Kazuo Hasegawa. The other two actors applied their makeup exactly as told, but Raizō alone had a number of points where he made personal alterations to the makeup plan.In particular, Raizō's original designs could be seen in the makeup around his eyes and eyebrows. Furthermore, Raizō carried out the most important points of his makeup application himself, and wouldn't allow anyone to see him while doing it. Inoue theorizes that the application of makeup was a crucial part of his process for immersing himself in a role, and thus he didn't want to be observed while doing so. Yoshio Shirasaki, screenwriter of Kōshoku Ichidai Otoko (First-generation Lecher), said of Raizō's transformation that he normally looked like a company man, but “when he appeared on the screen he’d have undergone a complete change; and in the midst of all the light was this youthful star, fighting against emptiness and loneliness.” Inoue said that the reason that so many of <mask>'s movie posters feature an image of him from behind with his head turned to face the camera was because many directors felt that this view of him best showed off his "intriguing emptiness". Parallels and Comparison to Shintarō Katsu

<mask>, as written above, was the son of <mask> Kudanji III, a supporting actor by trade, and for a time was known as <mask> Enzō II. Shintarō Katsu was the son of Kineya Katsutōji, a nagauta performer and shamisen player, and for a time was known as Kineya Katsumaru II. Both <mask> and Katsu signed on with Daiei in 1954, and joined the company in the same term.Both born in 1931, having made a hurried transition from kabuki to the new world of film, there were many similar circumstances about the pair of young actors. As previously mentioned, Daiei's management intended from the start to position <mask> as a successor to the star Kazuo Hasegawa, and it “proceeded smoothly along the tracks.” Tokuzō Tanaka shared the opinion that Katsu, who was the first of the two to make his debut, was “like a second helping of Hasegawa” when he played an attractive young man in his white-faced film makeup; but as the director and supporting cast could hardly be described as first-rate, it was a long time before Katsu managed to become a real success. It wasn't until the 1960s and the release and success of the Akumyō and Zatoichi series that Katsu became widely discussed and surpassed Raizō in earnings. Akinari Suzuki said of Katsu, “It wasn’t until after shooting 70 or 80 films without a single real hit, that he finally became of use with the release of Akumyō.” According to Tokuzō Tanaka, audience reception to Shiranui Kengyō, released in 1960, was particularly terrible, despite Katsu's highly acclaimed performance, to the point that Tanaka received complaints from movie theater owners about his constant use of Katsu in his films. Reflecting on the state of things in 1959, Katsu said “The banzuke was totally different,” referring to the document listing sumo wrestlers’ ranks before a tournament. “We already knew that Raizō was an ōzeki or a yokozuna. I still hadn’t entered the san’yaku,” meaning that Raizō could be considered to be among the very highest regarded stars, while Katsu was still a relative unknown.Eventually the pair became treated as a unit, with the name “KATSURAISU,” taking Katsu's surname and the first half of Raizō's given name to create a name which happened to sound like the food dish “katsu rice.” When the two appeared on movie posters and in films together under this slogan, they were often made to appear in contrast to one another in their appearance and style, and it was widely believed that there was a strong rivalry between them. However, their usage of friendly nicknames like “Rai-chan” and “Katchan” for each other indicates that their relationship certainly wasn't bad, and in fact might even have been quite friendly. In fact, Raizō had a close friendship with Katsu's wife, Tamao Nakamura, from childhood, as her father, Nakamura Kanjirō II, was a Kansai-based kabuki actor like Raizō's adopted fathers. The author Tomomi Muramatsu indicated that for Raizo, who had “worriedly spent his days in the world of kabuki, which is so dominated by lineage and ceremony, without ever receiving a large role,” and Katsu, whose father had been involved in the backstage world of kabuki, shared “the same complex, this large problem to be solved,” and that they were both equipped with “a similar factor which served as a sort of energy source” for them. Acting Style and Ability
 Raizō was known for constantly offering all manner of suggestions during the pre-production process, and thus acquired the nickname “Goterai,” seemingly a pun on goteru, a Japanese word meaning “to fuss about, to harp on.” However, once he was satisfied in his understanding, he never complained or grumbled, and once filming began he would stop making these sorts of suggestions altogether. On the other hand, Katsu would go through the entire pre-production phase without saying a word, but start making suggestions and impromptu changes as soon as filming began which was a frequent source of trouble for the staff of his films. According to Akira Inoue, Raizō was quite capable of working together with the methodologies of various directors when acting.For example, even within the same Nemuri Kyōjiro series, the films made under different directors are said to have a different flavor to them. On the other hand he said when speaking of Katsu, “When it comes to Zatoichi, it’s Katchan’s Zatoichi, in all of them.” Akinari Suzuki has made similar statements regarding the two actors. Tomomi Muramatsu, said that Katsu was the kind of actor where “no matter what he does, it always ends up in the vein of Shintarō Katsu,” but that <mask>, even though he was established as a mainstream Japanese film star in the ranks of Kazuo Hasegawa and Chiezō Kataoka, would always be very flexible and receptive to direction, which was highly unusual for the stars of that era. Tokuzō Tanaka, who directed films with both actors, compared their fighting scenes speaking largely favorably of Raizō, “his lower body always feels somewhat undetermined, but despite that his movement is quite real enough;” but he had to declare Katsu the superior of the two, saying “Katchan is just unbelievably agile.”
 Personality
 According to Kazuo Ikehiro, even when working with someone he didn’t like, Katsu could “usually manage to get along,” but “when [Raizō] disliked someone, he disliked them completely” to the point where there had been cases when he had said “I don’t even want to see your face” directly to someone. Ikehiro said that Raizō was particularly bothered by people who took their jobs lightly and did sloppy work. Speaking of their interactions with other film staff Yoshinobu Nishioka, who worked as a production designer on many of Daiei’s films, said that Katsu was the sort to go out drinking with other actors, while Raizō would often socialize with the production staff. Tokuzō Tanaka corroborates, saying that Raizō was incredibly friendly and helpful with the staff, often inviting people to his home for dinner and other such activities.According to Seiji Hoshikawa, Raizō didn’t much like “glitzy and neon-decked or famous restaurants,” but instead “would nearly always eat regular restaurants, without any regards to social standing,” where he would “happily argue and discuss life and films.”
 Fujio Morita, who served as cinematographer on Raizō’s Nemuri Kyoshirō: Enjō-ken and Katsu’s Zatoichi: Nitan-kiri at about the same time, said of their personalities that Raizō was very diligent and serious, while describing Katsu as desperate. Filmography
The filmography of <mask> Raizō includes 158 films:

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 1957: Floating Vessel (Ukifune) a.k.a. Preface Yukio Mishima, foreword by Ōta Kōki (son), afterword by Hiroaki Fujii. (Raizō no Iro) Tomomi Muramatsu, Kawade Shobo Shinsha Publishers inc, 2009.(<mask> Konomi) Tomomi Muramatsu, Shueisha Inc, 2002; Shueisha Bunko, 2006. (Ichikawa Raizō) Yoshiko Ishikawa (ed), San-ichi Publishing Co., Ltd, 1995. (Watashi no Raizō) Yoshiko Ishikawa (ed), Kokushokankokai Inc, 2008. (Ichikawa Raizō Shutsuen Eaiga Sakuhin Posutaa-shū)  Munenaga Awata (ed), Wides Publishing, 1999. (Shashin-shū Ichikawa Raizō) Wides Publishing, 1999. Annotations: Tadanori Yokoo  (Ichikawa Raizō no Reiki), Mieko Kanai  (Ichikawa Raizō no Toshi). (Samurai... Ichikawa Raizō Sono Hito to Gei – Nōberu Shobo), Nōberu Shobo, 1991.(Ichikawa Raizō to Sono Jidai) Masaru Muro'oka (interviewer, layout), Tokuma Shoten Publishing Co., Ltd., 1993. (Kanpon Ichikawa Raizō) Sadao Yamane (ed), AsahiGraph, 1994; Wides Publishin 1999. (Koshū Ichikawa Raizō Shashin-shū) MAGAZINE HOUSE,Ltd., 1991. (Yomigaeru! Ichikawa Raizō Gentei Hizō-ban) Kindaieigasha Co.,Ltd, 1992. (Ichikawa Raizō no Eiga to Jidai) Sunday Mainichi, The Mainichi Newspapers Co., Ltd., 1990. (Ichikawa Raizō RAIZO Hizō Kessaku Suchiiru Sunappu) Victor Books, JVCKENWOOD Victor Entertainment Corp., 1992 , 1992
  (Ichikawa Raizō Ginmaku no Kikōshi yo Eien ni) RoRaiKai (Raizō Fan Club), Hagashoten, 1983.(RAIZO "Nemuri Kyoshirō" no Sekai) <Rekishi Dokuhon spechial printing, 1994>, Shinjin Butsuō Raisha. Commemorative publishing 25 years after <mask> Raizō's death. External links

 JMDb profile (in Japanese)

1931 births
1969 deaths
Kabuki actors
Male actors from Kyoto
Japanese racehorse owners and breeders
Japanese male dancers
Japanese male film actors
20th-century Japanese male

masks: Raizō Ichikawa Raizō Raizō Ichikawa Ichikawa Raizō Raizō Raizō Ichikawa Raizō Ichikawa


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<mask> (née Sun; born August 21, 1956) is a Chinese-American businesswoman and lawyer who is the CEO of China and Co-CEO of Asia Pacific for Morgan Stanley, and a member of the firm's management committee. In addition to her regional role, Christianson is responsible for all aspects of the firm's operations in China, and frequently speaks on Asia business issues at major conferences around the world. Early life and education

<mask> was born on 21 August 1956 to an army officer father and doctor mother as part of the Frontier Generation from China's Cultural Revolution. She grew up in Beijing as the youngest of four daughters. Growing up, her mother would often sew clothes that were "just a bit more stylish than what was generally available", stimulating Christianson's early interests in fashion. Her parents believed strongly in a Western education, going as far as to spend a month's salary buying her a tape recorder so she could play English tapes. She took the Gao Kao in 1978 and was accepted by the prestigious Beijing Language and Culture University, with the intention of learning English and working as a translator for the Ministry of Foreign Affairs.During college, she met visiting Columbia University professor Randle Edwards and was urged to set her goals higher, aiming to become a lawyer as it would be a more respected profession and highly atypical of women at the time. As she wanted to ultimately attend Columbia Law School, Edwards advised that she first attain a degree from a top liberal arts college in the U.S. in order to better her chances of acceptance. Christianson applied to a dozen liberal arts colleges in the United States and was accepted to all of them. In 1983 she transferred to Amherst College and became its first student from mainland China following China's opening to the Western world in the early 1980s. She graduated cum laude with a B.A. in political science in 1985. She immediately continued on to Columbia Law School, where she met her future husband <mask> and received her J.D.degree in international law in 1989. Career

Following Columbia Law School, <mask> worked as an attorney in the New York offices of Orrick, Herrington & Sutcliffe. In 1992, Christianson and her husband moved to Hong Kong for his job. In order to raise a child (as continuing her law profession in Hong Kong would require her to travel), she attained a position as Associate Director in the Corporate Finance Department at the Hong Kong Securities and Futures Commission (SFC) drafting the regulatory structure that would enable the first batch of People's Republic of China companies to be listed outside China — a unique job that helped pave the way for her investment banking career. However, Christianson's husband felt that a career as a regulator did not fully meet Christianson's potential, and suggested pursuing a job in finance instead. Christianson soon joined Morgan Stanley in 1998, where she was an executive director, Beijing chief representative, and a senior team member of Morgan Stanley's Resources, Power and Transportation Group, where she met her mentor John Mack. When Mack was ousted from Morgan Stanley in 2002, Christianson followed him to Credit Suisse First Boston, where he held positions as a managing director, chairman, and country manager.After that, <mask> joined Citigroup as a managing director and chairman of China, Citigroup Global Markets (Asia) Ltd., where she was responsible for the securities and investment banking businesses in China. <mask> returned to Morgan Stanley once again, under Mack's request, in 2006 as the Chief Executive Officer for China, and retains her position there to the present day. Since her return, <mask> has built out the Morgan Stanley team by 300% and played a critical role in many significant deals for the firm, such as the 2007 $5 billion sale of Morgan Stanley's stakes to China's state-owned China Investment Corporation. As a banker, <mask> has masterminded major initial public offerings including Sinopec, China Life, and SMIC, and oversaw the $4.2 billion acquisition of Gas Kazakhstan by CNPC, which was the largest cross-border M&A deal ever undertaken in China at that time. In addition, <mask> is a member of the Advisory Committee to Hong Kong Securities and Futures Commission (SFC), a member of the Advisory Board of China Shenzhen Stock Exchange, a Board member of the Estée Lauder Companies, a Member of the Columbia University International Advisory Board of Law School, a member of Yale Asia Development Council, on the Amherst College Board of Trustees and a member of Hong Kong’s Financial Services Development Council (HKFSDC). Christianson regularly speaks at the largest business conferences like the World Economic Forum, Fortune Global Forum, Milken Institute Global Conference, in addition to other public speaking roles. Canadian Prime Minister Justin Trudeau held a public meeting with <mask> in Toronto to discuss Asia-Canada business relations at the height of global trade tensions in 2018.Philanthropic and Sustainability Initiatives

<mask> has been engaged in many philanthropic and sustainability initiatives including being a keynote speaker at the 2017 UN Women/CKGSB Women in leadership forum, supporting the Morgan Stanley Women Business Alliance (WBA) in Asia Pacific and Morgan Stanley’s Global Sustainability Bond Leadership Council in Asia Pacific. Over the years, she has supported a number of Morgan Stanley’s core charities namely Heart to Heart, Little Flower and Jiutian school and has volunteered at the Beijing Children’s Hospital (BCH) since 2009. Awards

Ms. <mask> has been named in Fortune Magazine’s Most Powerful Women (MPW) “International list” for 11th consecutive years since 2008. She was one of the Financial Times’ twelve “Women of 2013” and FinanceAsia magazine’s Top 25 Women in Asian Finance in 2015. She has also regularly appeared on Fortune Magazine’s “China Powerful Women” and Forbes’ “Businesswomen in China” lists. She was listed in the Financial Times’ 2010 and 2011 "Power Women to Watch" lists, as well as being on the Wall Street Journal’s 2006, 2007 and 2008 “50 Women to Watch” list. She has also been rated as one of the Top 25 Non-bank Women in Finance by the American Banker and US Banker Association in 2007 and 2008.<mask> has received many awards recognizing her achievements as a Chinese native. She received the 2009 Pinnacle Award from the Asian American Business Development Center for being one of the Outstanding 50 Asian Americans in Business. She also received the 2008 Legacy Award from the Museum of Chinese in America, and the 2008 China Women's Achievement Award from the Women's Federation of P.R. China and Sun Media Group. <mask> has been awarded the Medal for Excellence by Columbia University School of Law Association. Personal life
Christianson is famously tight-lipped during interviews, declining to give information on on-going company projects. She is also known to be well-dressed at all times and has dabbled in design, participating in the 2015 Women Fashion Power exhibit at the Design Museum in London.She gave an interview with the museum detailing her fashion and beauty habits in which she states that she does not have a personal shopper, and does most of her shopping herself spontaneously while traveling around the world for work. She is very interested in skincare and her favorite designers are: Escada for suits, jeans; Chanel for suits; St. John for suits; Dolce & Gabbana for pantsuits; MaxMara for pantsuits; Christian Dior, Fendi for cocktail wear; and Roberto Cavalli for casual wear. She describes her style as "professional" and believes that fashion should be an extension of the self - not blindly following trends but rather individualistic and making "a strong statement about one's self-esteem, confidence, and presence". Christianson has stated in multiple interviews that her mother was a major influence growing up. She states that her late mother was the one to support her staying in such a male-dominated field even when Christianson felt like giving up. Her mother also spurred on her interests in fashion by tailoring her daughters' clothing and "modestly challenging the Chinese system". She is married to American <mask>, a former partner of Skadden, Arps, Slate, Meagher & Flom LLP, and Affiliates.She has stated that she and her husband split equal responsibilities and support each other in their work and in raising their children, compensating at home for each other's busy work hours. She is also the mother of three boys: Erik, Neil, and Nicholas. She currently lives with her family in Beijing. References

1956 births
Living people
Amherst College alumni
Columbia Law School alumni
American people of Chinese descent
Members of Committee of 100
Morgan Stanley people
Women corporate executives
Women in finance
Businesspeople from Beijing
Chinese women chief executives
20th-century Chinese businesswomen
20th-century Chinese businesspeople
21st-century Chinese businesswomen
21st-century Chinese businesspeople
Orrick, Herrington & Sutcliffe people

masks:
Wei Christianson
Wei Sun Christianson
Jon Christianson
Wei Christianson
Christianson
Christianson
Christianson
Christianson
Christianson
Christianson
Christianson
Christianson
Christianson
Christianson
Jon Christianson


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Popé or Po'pay  (; c. 1630 – c. 1692) was a Tewa religious leader from Ohkay Owingeh (renamed San Juan Pueblo by the Spanish during the colonial period), who led the Pueblo Revolt in 1680 against Spanish colonial rule. In the first successful revolt against the Spanish, the Pueblo expelled the colonists and kept them out of the territory for twelve years. Background
Spanish rule of the Pueblo Indians of the Rio Grande valley of New Mexico began in 1598. Although they numbered 40,000 to 80,000 people at that time, the many independent towns, often speaking different languages and hostile to each other, were unable to unite in opposition to the Spanish. Revolts against Spanish rule were frequent, but the Spanish ruthlessly repressed dissent. The Pueblo suffered abuses from Spanish overlords, soldiers, priests, and their Mexican Indian allies, many from Tlaxcala. In particular, the Spanish suppressed the religious ceremonies of the Pueblo.The effects of violence, forced labor, and European diseases (against which they had no immunity) reduced the Pueblo population to about 15,000 by the latter years of the 17th century. Po'pay appears in history in 1675 as one of 47 religious leaders of the northern Pueblo arrested by Juan Francisco Trevino's government for "witchcraft." Three were executed and one committed suicide. The others were whipped, imprisoned in Santa Fe, and sentenced to be sold into slavery. Seventy Pueblo warriors showed up at the governor's office and demanded, politely but persistently, that Po'pay and the others be released. The governor complied, probably in part because the colony was being seriously targeted by Apaches and Navajo warring parties and he could not afford to risk a Pueblo revolt. Po'pay was described as a "fierce and dynamic individual…who inspired respect bordering on fear in those who dealt with him.After his release, Po'pay retired to the remote Taos Pueblo and began planning a rebellion. Po'pay's message was simple: destroy the Spanish and their influence and go back to the old ways of life that had given the Pueblos relative peace, prosperity, and independence. The Pueblo revolt displayed "all the classic characteristics of a revitalization movement...the emergence of a charismatic leader, the development of a core group of followers who spread the prophet's message to the wider public; and, ultimately the successful transformation of Pueblo cultures and communities." Po'pay began secret negotiations with leaders from all other pueblos. They agreed to begin the revolt on August 13, 1680, and runners were sent out to each Pueblo with knotted cords, the number of knots corresponding to the days left before the revolt was to begin. The revolt actually began before that. The measure of the Pueblo's hatred of the Spanish is indicated by the fact that he was able to keep the plans secret, even though they involved many different leaders and towns.Po'pay murdered his own son-in-law, Nicolás Búa, because he feared he might betray the plot to the Spanish. Only the Tiguex area, close to the seat of Spanish power in Santa Fe and perhaps the most acculturated of the Pueblos, declined to join in the revolt. The Southern Piros were apparently not invited to join the revolt. The Revolt

The last few years had been relatively quiet and free from internal dissent, and the Spanish in the capital city of Santa Fe were astonished as a report came to the governor early in the morning of August 10 that a Spanish priest had been killed at a Pueblo only nine miles from Santa Fe. By August 15, 1,000 Spaniards had taken refuge in the Governor's palace in Santa Fe, and they were besieged by an Indian army led by Popé they estimated (or overestimated) to number 2,500. Other Spanish survivors had taken refuge in the friendly Pueblo of Isleta, from where they fled south toward Mexico. On August 21 the Spanish broke out of the Palace and began a long trek south, leaving New Mexico behind and not stopping until they reached El Paso, Texas.The Pueblos did not molest the departing colonists. The survivors numbered nearly 2,000 persons. The revolt cost 400 Spanish lives, including 21 of the 33 priests in New Mexico. After the Revolt
Po'pay had succeeded in expelling the Spanish from New Mexico and according to later accounts, possibly prejudiced, set himself up as the sole ruler of all the Pueblos. He attempted to destroy every trace of the Spanish presence in New Mexico. "The God of the Christians is dead," he proclaimed. "He was made of rotten wood."A Spanish force of 300 men attempted to regain a foothold in New Mexico in 1681, but was repelled by Po'pay's army. Another Spanish effort in 1687 also failed. But the expulsion of the Spanish had not brought peace and prosperity to the Pueblos. A return to the traditional religion did not bring rain to ease a drought that destroyed crops. The Apaches and Navajo stepped up their raids on the Pueblos and the Indians recalled that the Spaniards had provided some protection from the raiders. Traditional rivalries divided the Pueblo villages. Po'pay's efforts to rule over all the Pueblos were resented and he was considered a tyrant by many Pueblos.Moreover, among the Pueblos were sincere Christians with ties of family and friendship with the Spanish. Opposition to Spanish rule had given the Pueblos the incentive to unite, but not the means to remain united once their common enemy was vanquished. Po'pay died, probably in 1688, with the united Pueblo state he envisioned divided and weak. In 1692, Governor Diego de Vargas, with an army of 150 Spanish soldiers and pro-Spanish Pueblo warriors, attempted reconquest. Vargas wisely promised pardon rather than punishment and most of the Pueblos gradually acceded to Spanish rule although violent opposition to Spanish rule continued for several years. Only the distant Hopi, living in what is today Arizona, retained their independence although many Pueblos also took up residence among the Navajo and Apaches. Aftermath and assessment of Po'pay

As stated by Matthew Martinez of Po'pay's home Pueblo, Ohkay Owingeh, "it took a unique individual to orchestrate the revolt across two dozen communities who spoke six different languages and were sprawled over a distance of nearly 400 miles."What little we know of Po'pay the man is distorted through the lenses of the Spanish chroniclers and their Indian informants, most of whom were opposed to Po'Pay. Both the Spanish and the Pueblos were decimated by the revolt and its aftermath. However, what can be said with certainty is that the relations between Spanish and the Pueblos was far different after the revolt than before. The dreaded encomienda system (forced labor) was prohibited in New Mexico. Franciscan priests did not interfere with Pueblo religious ceremonies provided that the Pueblos observed the outward forms of Catholicism. Pueblo warrior and Spanish soldier became allies in the fight against their common enemies, the Apaches, Navajo, Utes, and a new and even greater threat to the survival of New Mexico, the Comanche. Thus, New Mexico became a blend of Spanish and Pueblo culture.Recognition
On September 22, 2005, the Po'pay statue for the National Statuary Hall in the rotunda of the U.S. Congress building was unveiled. The artist, Cliff Fragua, was the first American Indian artist to have a statue placed in the Statuary Hall. The statue, slightly larger than life size, shows Po'Pay holding a knotted cord in his left hand, the signal for the initiation of the revolt. In his right hand is a bear fetish and behind him a pot, both symbolizing the Pueblo world and religion. On his back are the scars from the whipping he received as a consequence of his observing Pueblo religious ceremonies. Herman Agoyo of Ohkay Owingeh said: "To the Pueblo people here, Po'pay is our hero. Tribes were on the verge of losing their cultural identity when the Pueblo revolt brought everything back on track for our people."It is one of two statues presented by New Mexico to the National Statuary Hall Collection. It is currently displayed in the Capitol Visitors' Center. Po'pay is mentioned by the controversial Taos priest Father Martinez in Willa Cather's  Death Comes for the Archbishop, as leader of the Indian revolt which "so added to Spanish martyrology." <mask> is also the name of the New Mexico 'savage' in Huxley's dystopian novel Brave New World in which he is known to hold on to traditional beliefs. References

External links

1630 births
1688 deaths
Native American history of New Mexico
Native American people of the Indian Wars
People from Ohkay Owingeh, New Mexico
Colonial New Mexico
Religious figures of the indigenous peoples of North America
Tewa
People of Santa Fe de Nuevo Mexico
Native American leaders
17th-century Native Americans


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<mask>, O.F.M., (also known as the Blessed <mask> of Ghyvelde or <mask> of Saint-Yves) (19 November 1838, Ghyvelde, France — 4 August 1916, Montreal, Canada) was a French-born Franciscan friar and Catholic priest who worked in France, Egypt, Palestine and Quebec, where he died. He was a popular preacher who re-established the Order of Friars Minor in Canada. He has been beatified by the Catholic Church. Early life

<mask> was born in the town of Ghyvelde, in the French Department of Nord, the country's most northwestern corner, on 19 November 1838. It is a part of French Flanders where the local language is a dialect of Flemish. He was the eighth and youngest of the thirteen children of <mask> and Marie-Isabelle Bollengier, and was christened <mask>-Cornil. He was born into a prosperous farming family who prized culture, education and their faith.Janssone was just nine years old in January 1848 when his father died. Four years later, in response, to a religious calling, the young <mask> enrolled in a college and then graduated to the Institut Notre-Dame des Dunes in nearby Dunkirk to prepare for the priesthood. In 1855, however, the family fell on hard times, so the boy left school to help support his mother and siblings. He went to work for some textile merchants, for whom he became a traveling salesman. He soon realized that he had a talent for selling. He liked meeting new people and he knew how to explain his products. His mother died in 1861, at which point Janssoone decided to resume his studies.After their completion, on 24 June 1864, he entered the novitiate of the Friars Minor, where he added the patronage of St. Yves to his name, making his profession the following year. He was ordained in Bourges on 17 August 1870. His ordination was done earlier than in the normal scheme, due to the outbreak of the Franco-Prussian War at the time. Military chaplains were in great need, and he was quickly assigned to serve at a military hospital. After the war Jannsoone helped to establish a friary in Bordeaux, where he was appointed as guardian in 1873. Since he found the role unbearable, he was relieved of this responsibility a year later. His release gave him the freedom to take a course in homiletics, at which he would excel all his life.The Holy Land

Vicar of the Custody
In 1876 <mask> applied to serve in the Order's international Custody of the Holy Land, which has been responsible for the Christian sites there and the pilgrims who visited them since the days of their founder, St. Francis of Assisi. His superiors accepted his request. He was initially assigned to serve as chaplain for a school in Cairo, Egypt, run by the Brothers of the Christian Schools. Two years later he was sent to Jerusalem to serve as Vicar of the Custody, immediately under the Custos. This position was primarily one of handling the administrative duties of the Custody, most especially the maintenance of the Christian shrines scattered throughout Palestine. Additionally, to provide a center for their work, <mask> ordered the building of a new parish church, St. Catherine of Bethlehem, adjacent to the Church of the Nativity in Bethlehem. To accomplish the demands of his duties, <mask> had to sort through dozens of documents and manuscripts detailing the rules of procedure for the sharing of these sites with Christians of other Churches which had been worked out over the centuries of rule of the Holy Land under the Ottoman Empire.He compiled a guide to help the friars in their relations with the other Churches, which remains of use to the Custody today. He served in that post for ten years. In addition to his many administrative duties during that period, <mask> also served as a guide for the many Christian pilgrims who visited the Holy Lands from around the world. His knowledge and skill in presentation made him a popular guide. It was in this way that he met a priest from Canada, the Abbé Léon Provancher, pastor of Cap-Rouge in Quebec, who invited him to come to Canada. <mask> accepted the offer in order to make a fundraising tour to help the various construction projects of the Custody. A mission to Canada
<mask> arrived in Lévis, Quebec, on 24 August 1881.He immediately began to preach and give talks around the region. Shortly after the start of his visit, however, he stumbled slightly, through giving a talk on liberalism, unaware that this topic was causing a major division between the politicians and the ultramontane Catholic clergy of the province. Otherwise, his many sermons were greeted enthusiastically by the people. He preached throughout Quebec to large crowds. He was even invited to French-speaking parishes in New England. Nevertheless, to quiet continuing complaints resulting from the infamous speech by the foreign visitor, that following March, the Archbishop of Quebec, Elzéar-Alexandre Taschereau, ordered <mask> to leave the Archdiocese. Taschereau tempered his action, though, with a command that collections for the Custody of the Holy Land were to be taken up in all churches of the ecclesiastical province on every Good Friday.This practice later spread throughout the Catholic Church. <mask> returned to Palestine in May 1882, exhausted and sick. He resumed his administrative duties and stayed there another six years. He would later write Provancher that, after reflection, were he ever to return to Canada, he would completely avoid the political aspect which had caused such an uproar and focus on the program established by St. Francis, one of preaching charity, penance and peace, focusing on bringing people back to God. He was to have a chance to carry this out this intention. A new home in Canada
The impact of <mask>'s tour upon the Catholics of Quebec was enormous. They saw him as reviving a tradition of the Franciscan missions to that nation which had started at the foundation of New France and had ended with the death of the last Recollect friar (a reform branch of the Order) there in 1813.This was due to the fact that, after its conquest by Great Britain in 1759, further candidates to the Order had been forbidden. Repeated requests to the authorities of the Minorite Order finally resulted in his assignment to serve the Custody in Canada on a permanent basis. <mask> arrived back in Canada at the end of June 1888 on a permanent basis, and by August had begun to build a residence, called St. Joseph Friary, at Trois-Rivières, which was the first community of Friars Minor in Canada in a generation. The friary was considered a Commissariat of the Franciscan Order, a small center of recruitment and fundraising. A new and more permanent structure was built in 1903. Shortly after his arrival, <mask> was drawn into the promotion of the local Marian shrine of Notre-Dame-du-Cap by Louis-François Richer Laflèche, the Bishop of Trois-Rivières, who wanted revive the sanctuary built there by the pastor of that town. He agreed to this reluctantly.He then set about touring the entire province to promote visits to the shrine. Janssoone would organize travel by train and boat for the many people he started to draw to the site. He would preach there himself and dedicated the people to Our Lady of the Rosary, its patron saint. Amazing miracles started to occur, which draw ever larger crowds. By the time the work was given to the Oblate Fathers in 1902, visits to the shrine numbered about 30,000-40,000 per year. While occupied with this, at the request of his superiors Janssoone also started to undertake massive fundraising drives which required travel throughout the province, a task he performed for fifteen years. He would preach in churches and go house-to-house for this, braving the harshness of the Canadian winter and farm dogs, selling some of the many books he wrote at night instead of sleeping.He had only one coat and would frequently sleep on the ground during these trips. Additionally, he also organized pilgrimages to the other great shrine of Quebec, the Basilica of Sainte-Anne-de-Beaupré. In further service to the Franciscan movement, from his first arrival in Canada <mask> worked to revive the Third Order of St. Francis, which had been established by the Recollect friars in 1681 for the spiritual growth of the laity, but had dwindled since the incorporation of the colony into Great Britain. He acted as spiritual director to the surviving fraternities scattered around the Province of Quebec. In addition, he was also working within his own Order to plan for its re-establishment in Canada. This was accomplished in 1890 by the establishment of a friary in Montreal. This led to the foundation of the Province of St. Joseph in Canada, which has been closely tied with the mission in the Holy Land since its foundation, due to <mask>'s role in its foundation.Death and veneration
<mask> took to his bed in June 1916 physically worn out by his many exertions in his ministries and in great pain. He was admitted to the Franciscan Infirmary in Montreal, where he was diagnosed as suffering from stomach cancer. After almost two months of intense pain, he died there on the following 4 August. His body was returned to Trois-Rivières, where he was buried in the small chapel he had built attached to the friary. The cause for his canonization was begun in 1927. Inquiries into his life were made in Canada, France and Egypt, and his many writings were examined. On 25 October 1988, <mask> was beatified in Vatican City by Pope John Paul II.His tomb is in the Chapel of St. Anthony in Trois-Rivières and has become a place of pilgrimage. References

External links
 Blessed Father Frederic Janssoone, run by the Franciscans of Eastern Canada

1838 births
1916 deaths
People from Ghyvelde
French people of Flemish descent
French Friars Minor
19th-century French Roman Catholic priests
20th-century Canadian Roman Catholic priests
French military chaplains
Franco-Prussian War chaplains
Franciscan missionaries
French Roman Catholic missionaries
Custody of the Holy Land
French emigrants to Quebec
Canadian Friars Minor
Deaths from stomach cancer
Deaths from cancer in Quebec
19th-century venerated Christians
20th-century venerated Christians
French beatified people
Franciscan beatified people
Canadian beatified people
Venerated Catholics by Pope John Paul II
Beatifications by Pope John Paul II

masks:
Frédéric Janssoone
Frédéric
Frédéric
Janssoone
Pierre Antoine Janssoone
Frédéric
Frédéric
Janssoone
Janssoone
Janssoone
Janssoone
Janssoone
Janssoone
Janssoone
Janssoone
Janssoone
Janssoone
Janssoone
Janssoone
Janssoone
Janssoone
Janssoone