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<mask> (born August 16, 1959) is an American tenor saxophonist raised in Baltimore, Maryland and residing in New York City. His parents, Rodd Keith and Bobbie Lee, were both professional musicians. Rodd Keith died in 1974 in Los Angeles, California, and became a cult figure after his death in the little-known field of "song-poem" music. Organist Bobbie Lee performed in local nightclubs in Baltimore in the early 1960s and provided Eskelin an introduction to standards from the Great American Songbook as well as inspiring an early interest in jazz music. <mask> has resided in New York City since 1983 and has led numerous international touring ensembles while participating as a sideman or collaborator with many of today's most forward-thinking composers and improvisers. He has released more than twenty-five recordings as a leader since the late 1980s, primarily for the Swiss hatOLOGY label. His most important work has been with the group he formed in 1994 featuring keyboardist Andrea Parkins and drummer Jim Black as well as a later group called "Trio New York" with organist Gary Versace and drummer Gerald Cleaver.Eskelin has maintained lasting musical associations with Joey Baron, Mark Helias, Gerry Hemingway, Marc Ribot, David Liebman, Han Bennink, Sylvie Courvoisier, Bobby Previte and Daniel Humair among others. Eskelin's style has its roots in the jazz realm yet his unique phrasing (which is compared to Arnold Schoenberg's technique of "klangfarbenmelodie" in The Wire, December 1996) and the unorthodox techniques utilized in his compositions (in which composed and improvised elements often collide unpredictably) make for a music that defies easy categorization. Over the years, Eskelin has garnered significant critical praise in the international jazz press. 'Down Beat magazine has recognized him as "a major player in today's creative music" (September 1995) and described his compositional approach as "a startlingly new concept" (January 1997). Early years
<mask> Eskelin began playing tenor saxophone in 1969 at the age of ten. In interviews he claims his early influences as Gene Ammons, Sonny Stitt, Lee Konitz, Stan Getz and John Coltrane. His mother, organist Bobbie Lee, learned to play music in the Pentecostal church as a teenager, the influence of which carried over into her playing of secular music and also provided a strong and lasting influence on Eskelin.Her playing was characterized by a strong rhythmic feel and a commanding delivery of American songs. <mask>'s grandfather was the musical director of the church and played the pedal steel guitar in services while performing on the electric guitar professionally in Baltimore during the late 1940s and early 1950s. Baltimore had a rich musical legacy sustained by musicians such as saxophonists Mickey Fields and Gary Bartz. Musicians from New York often passed through Baltimore to perform on the weekly Sunday afternoon Left Bank Jazz Society concert series presented at the Famous Ballroom. Eskelin had opportunities to sit in with locals such as Fields as well as internationally renowned artists such as Bartz, Pepper Adams and Woody Shaw. Early performances as a leader took place at various jazz clubs such as "The Bandstand" and "The Closet" run by saxophonist and entrepreneur Henry Baker, who had a long history in the Baltimore music scene having known Lester Young, Cannonball Adderley, Miles Davis, Red Garland, John Coltrane, Clifford Brown and many others. Baker predicted that the young saxophonist would one day become "a great tenor saxophone player".At around this same time Eskelin met drummer Harold White (formerly with Horace Silver) and began performing regularly in White's quintet along with trumpeter Tom Williams. Eskelin attended Towson University where he studied classical saxophone with Joseph Briscuso and performed in composer Hank Levy's Jazz Ensemble which played Levy's "odd-meter" big band compositions exclusively. Bassist Drew Gress was a fellow student with whom Eskelin continues to collaborate and perform with to the present day. In 1979 Eskelin met pianist Marc Copland and joined Copland's band for engagements in Washington D.C. including the Cellar Door, Blues Alley and the One Step Down. Copland was a former New York saxophonist who moved to Washington DC and switched to piano in order to more deeply explore the role of harmony in his own music. Eskelin, along with Drew Gress, would reunite with Copland years later in New York City in one of Eskelin's early groups as a leader. Also in 1979 Eskelin encountered bay area saxophonist Mel Ellison who was performing in Baltimore for an extended engagement with trumpeter Ted Curson's group.Eskelin took an informal lesson with Ellison, whose unique style made a lasting impression. Also in this group was drummer Tom Rainey, who in subsequent years Eskelin would tour and record with as part of bassist Mark Helias' ensemble. 1980s
From late 1981 until early 1983 Eskelin toured with swing-era trombonist Buddy Morrow in a big band setting performing one-nighters across the United States and culminating in a tour of South America in early 1983. In March 1983 he left the road tour and moved to New York City taking any kind of musical work available in order to make a living. In an effort to deepen his understanding of be-bop Eskelin attended nightly informal jam sessions for several years at a local club called the "Star Cafe" on 23rd Street and Seventh Avenue in Manhattan. These sessions were run by saxophonist Junior Cook and drummer Harold White (who Eskelin had first met and performed with in Baltimore). In addition Eskelin pursued private studies with saxophonist George Coleman.During the summer of 1984 Eskelin joined organist Jack McDuff's band (which featured guitarist Dave Stryker and legendary drummer Joe Dukes) on a regular engagement at Dudes Lounge in Harlem. By 1985 Eskelin slowly began to develop his own musical approach, combining his roots in jazz with his interests in other forms of music, particularly free improvisation. Laying the groundwork for these explorations were studies with saxophonist David Liebman which led to informal jam sessions and eventually a working professional relationship. In 1987 Eskelin began developing original music with drummer Phil Haynes leading to the formation of the cooperative group "Joint Venture" (with trumpeter Paul Smoker and bassist Drew Gress) as well as numerous other projects centered around Haynes' Brooklyn loft and rehearsal space. Along with a group of like-minded musicians they presented a number of annual self-produced festivals in Manhattan at the Knitting Factory which ran into the early 1990s. These performances and subsequent recordings by these groups led to Eskelin's initial exposure on the European touring circuit. 1990s
Eskelin began touring Europe regularly with drummer Joey Baron's group "Baron Down", a trio including Baron, Eskelin and trombonist Steve Swell (and later trombonist Josh Roseman).Baron Down released three recordings: Tongue in Groove (1991), Raised Pleasure Dot (1993) and Crack Shot (1996). At this time Eskelin abandoned commercially oriented work in order to concentrate fully on his own projects and the music of like-minded colleagues. During a three-month period in 1991 he developed a solo saxophone concert program in complete musical isolation, opting not to perform or interact with any other musicians during this time. In addition to entirely revamping his approach to the saxophone the process proved to be a catalyst for musical ideas that Eskelin further developed and applied to his compositions for the group he formed in 1994, "Ellery Eskelin with Andrea Parkins and Jim Black". This group, featuring Parkins on accordion and electronics and Black on percussion released "Jazz Trash" in 1995 and followed up with a dozen recordings over the ensuing decade and into the 2000s primarily for the Swiss-based Hat Hut label. In the liner notes to "One Great Day..." (the band's second release) Eskelin explains that the fractured and sometimes incongruent nature of his experiences as a musician coming up in the 1970s and 1980s finally came together in a manner that made sense and could be expressed in a unified musical language with this ensemble. The group toured regularly in Europe, the U.S. and Canada and continues, having performed in Europe as recently as 2010.One of Eskelin's most acclaimed recordings in the 1990s was "The Sun Died" a project based upon music by (and associated with) saxophonist Gene Ammons. The format was unusual, utilizing saxophone, guitar (Marc Ribot) and drums (Kenny Wolleson). The New York Times characterized The Sun Died as "a remarkable record" and chose it as one of the Top 10 Recordings of 1996. 2000s
Throughout the first decade of the 2000s Eskelin focused primarily on his group with Andrea Parkins and Jim Black, touring and recording, occasionally augmenting the band with additional musicians such as vocalist Jessica Constable, keyboardist Philippe Gelda, cellist Erik Friedlander, tubist Joseph Daley, guitarist Marc Ribot and bassist Melvin Gibbs. Additionally, Eskelin continued to maintain long-time musical relationships established in the 1990s, touring and recording with bassist Mark Helias (recordings include Open Loose, Fictionary, Loopin' the Cool), drummer Gerry Hemingway ("Johnny's Corner Song", "Devil's Paradise", "Songs", "The Whimbler", "Riptide"), drummer Han Bennink ("Dissonant Characters"), drummer Bobby Previte ("Set the Alarm for Monday") and drummer Daniel Humair (Liberté Surveilé). Eskelin also forged new ties with musicians from around the globe such as oud player Rabih Abou-Khalil, pianist Satoko Fujii, trumpeter Dennis González, clarinetist Ben Goldberg, bassist Lisle Ellis, pianist Erik Deutsch and drummer John Hollenbeck. Eskelin also made a guest artist appearance on the BBC Electric Proms Festival in London with the Basquiat Strings in 2007.In 2009 Eskelin was the recipient of a Chamber Music America "New Jazz Works" grant which commissioned an extended work for the group "Different But the Same", a quartet with fellow saxophonist David Liebman. During this time Eskelin also continued launching new projects of his own (leaning towards complete improvisation) such as "Vanishing Point", a group-improvised recording from 2000 with Mat Maneri (viola), Erik Friedlander (cello), Mark Dresser (bass) and Matt Moran (vibraphone). An improvising trio of cellist Vincent Courtois, pianist Sylvie Courvoisier and Eskelin was formed in 2002 and recorded "As Soon as Possible" in 2008. 2010–present
In 2011 Eskelin formed "Trio New York" with Hammond B3 organist Gary Versace and drummer Gerald Cleaver. A renewed interest in the early history of the saxophone (sparked by his switch to a vintage instrument in 2009) has invigorated Eskelin's musical aesthetic. Trio New York incorporates standard material from the Great American Songbook (much of the repertoire being inspired by his mother, organist Bobbie Lee) in a freely improvised setting. In comparing the group's eponymous recording to an earlier project by Eskelin devoted to the music of saxophonist Gene Ammons (The Sun Died, 1996), reviewer Ed Hazel wrote: "If anything, Trio New York is both subtler and more adventurous, more at home with the music and less self conscious about taking liberties with it."The group has released three recordings, Trio New York, Trio New York II and Trio Willisau Live, this most recent release being a live recording from the Willisau Festival in 2015 and featuring Gerry Hemingway on the drums. The UK based Wire Magazine wrote of this project, “There’s a whole history of jazz in these richly rewarding performances.”

In 2013 Eskelin released a new recorded project for clean feed records entitled Mirage, improvisations with Susan Alcorn (pedal steel guitar) and Michael Formanek (double bass). Eskelin remarked that he was interested in exploring the "expressive range of the saxophone that is perhaps most associated with its beginnings" and that his objective is to "bring that type of lyricism to the language of contemporary improvised music." Continuing with  this idea, in the liner notes to his 2015 release Solo Live at Snugs on hatOLOGY records, Eskelin discusses a revamped approach to solo saxophone performance, updating his 1992 release Premonition - Solo Tenor Saxophone in which he compares the two projects by saying “As opposed to reimagining my instrument I’m very much interested in the essence of a saxophone as being just what it is, a saxophone.”

In 2016 Eskelin was interviewed by the web based music journal “Point of Departure”  in which he conveyed his increasing advocacy of acoustic (non-amplified) performance in humanistic, if not spiritual terms, also expressing concern about the effect of technology on the artistic experience as well as the potential disruption of personal and community engagement. Expanding on his thoughts regarding music and spirituality, <mask> (a formal practitioner of Zen Buddhism) was interviewed in the book “Spirits Rejoice! : Jazz and American Religion” by Jason Bivins. Eskelin’s current working ensemble includes bassist Christian Weber (from Zürich) and Michael Griener on drums (based in Berlin).The group performs acoustically (no microphones on stage and bassist Weber opting not to use an amplifier) performing freely improvised music juxtaposed with early jazz classics by composers such as Scott Joplin, Jelly Roll Morton and Fats Waller. The trio records for the Swiss Intakt label having released “Sensations of Tone” in 2017 followed by "The Pearls" in 2019. The episode was entitled "Blame it on Art" and originally aired August 22, 1997. 1959 births
American jazz saxophonists
American male saxophonists
Cadence Jazz Records artists
Jazz musicians from Maryland
Jazz tenor saxophonists
Living people
American male jazz musicians
Towson University alumni
Musicians from Baltimore
21st-century saxophonists
21st-century American male musicians
Clean Feed Records artists
Intakt Records artists

masks:
Ellery Eskelin
Eskelin
Ellery
Eskelin
Eskelin


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<mask> (born 22 December 1993) is a Brazilian professional surfer who won the 2014, 2018 and 2021 WSL World Championships. <mask> joined the world's elite of the World Surf League Tour in 2011, and in his rookie year he finished within the top 12 of the ASP (now WSL) World Tour at the age of 17. In March 2014 he won the Quiksilver Pro Gold Coast. Media sources credit him as being the second person to have executed a maneuver called the "Backflip". <mask> also became the first person ever to land this move in competition. Life and career
Born in São Sebastião, São Paulo, and raised in the city's district of Maresias, is the son of <mask> and Claudio de Jesus Ferreira. <mask> began surfing at age 9 and at 11 won his first national championship—the Rip Curl Grom Search in the category Sub-12, held in Búzios, Rio de Janeiro.<mask> won many Brazilian amateur championships, becoming champion at the Volcom Sub-14, Quicksilver King of Groms, Rip Curl Grom Search, besides conquering the state championship three times. In California, he was second at the Volcom Internacional Sub-14, and in Ecuador, vice-champion of the Amateur World Sub-16 Championship. At 14 years old, <mask> was already at the finals of the Paulista Championship, became the Paulista Junior Champion, and surfing the World Qualifying Series (WQS) 6-star event Onbongo Pro Surfing 2008 in Ubatuba, where he managed to defeat his idol Adriano de Souza, aka Mineirinho. In July 2009, <mask> Curl, and thereafter endeavored to pursue a professional surfing career. Just 10 days later, <mask> set a new mark as the youngest male winner of an open age pro competition by taking out the Maresias Surf International in Brazil by the age of 15 (That victory broke one of pro surfing's longest-standing records, held by Australian Nick Wood, who won the 1987 Rip Curl Pro at Bells Beach as a 16-year-old). In 2011 came the sequence of championships that took <mask> to share the waves with the top surfers, surfing the WQS 6 Star Prime in Imbituba, and the two WQS 6 Star in France and Spain. He was also victorious in the Pro Junior World Championship, held in French waves.With his prowess and results in such a young age, <mask> signed and extension contract with Rip Curl just in the same week of his debut on the 2011 ASP World Championship Tour, by the age of 17, by the mid-season rotation. <mask> went on to finish his rookie season with two WCT events wins (Hossegor, France and San Francisco, USA), despite competing only half of the season. In 2013, <mask> went on to win the World Junior Tour (ASP) in 2013, at age 19. In the 2014 WCT season, by winning the very first event of the season, the Quiksilver Pro Gold Coast, <mask> became the first Brazilian male surfer ever to win on the Gold Coast, and also the first goofy to win this contest since 2004 and less than two months after recovering from a broken leg injury suffered while surfing in Hawaii. He dropped to 5th on the rankings after finishing 13th on the Billabong Rio Pro, but re-assumed the pole after winning the Volcom Fiji Pro. <mask> also won the Billabong Pro Teahupoo, the seventh WCT event of the season in Tahiti, beating in a highly competitive final Kelly Slater. Later in the year, after finishing in 2nd place in the last event of the season at the Billabong Pipeline Masters in Hawaii, <mask> went on to become the first ever Brazilian ASP World Champion by the age of 20 (the youngest since Kelly Slater did also in age 20 in 1992).In 2015, after a sequence of average results, <mask> won the Quiksilver Pro France, capturing his sixth WCT event win and his second in Hossegor, France. After beating Mick Fanning and reaching the finals at the last WCT event of the season, the Billabong Pipe Masters in Hawaii, for the second straight year, <mask> once again made history, becoming the first Brazilian ever to win the Hawaiian Triple Crown of Surfing title. With Adriano de Souza winning the other semifinal later and capturing the 2015 World Title (due to Fanning's loss to <mask>), the stage was set for a first time ever all Brazilian final at the Pipe Masters. <mask> finished runner-up once again as de Souza became the first Brazilian ever to win the Hawaiian CT event. With this second place, <mask> finished the 2015 WCT season on a high note, reaching the 3rd place. On 14 May 2016, during the Oi Rio Pro, <mask> made history once again, becoming the first surfer ever to land the move "Backflip" in competition. As a result, <mask> got a perfect 10 in all five judges thus beating fellow countryman Alex Ribeiro in a 2nd round elimination heat.<mask> went on to finish the competition in third place. On 17 June 2016, in the Fiji Islands, <mask> won his seventh WCT event, his second in Cloudbreak, in heavy conditions. The win put him as the most victorious Brazilian surfer in the history of the CT only at the age of 22. In the 2017 season, <mask> made history as one of the two (Carissa Moore, on the women's division) first-ever surfers to win a competition in man-made wave pool at Kelly Slater's Surf Ranch in Lemoore, California. <mask> later also managed to secure 2 more event wins (Quiksilver Pro France and MEO Rip Curl Pro Portugal) reaching 9 WCT wins in his career, by the age of 23. Even though reaching the final event with title chances, <mask> finished off the season in second place. With that <mask> extends his streak of finishing the season in at least the Top 3 to an incredible four years, since his 2014 world title.In the 2018 season, <mask>'s better start than the previous 3 seasons and victories at Tahiti, the wave pool in California, and Pipeline  (including a 10-point ride in his quarterfinal heat) lead him onto becoming a two-time world champion, therefore becoming the most accomplished surfer from Brazil, by the age of 24. 2018 also was marked as a historic year for Brazilian surfing, as the country grabbed 9 event wins - <mask> (3x), Ítalo Ferreira (3x), Filipe Toledo (2x) and William Cardoso - out of the 11 events on the 2018 Championship Tour calendar, which culminated in <mask>'s second world title. Also CT surfer Jessé Mendes won the Vans Triple Crown of Surfing, becoming the second Brazilian surfer to accomplish the feat, beside <mask> himself. Mateus Herdy became the WSL World Junior Champion in Taiwan, joining fellow Brazilians <mask>, Adriano de Souza, Caio Ibelli, Lucas Silveira and Pablo Paulino (2x), and also big wave surfers Rodrigo Koxa and Maya Gabeira winning each other the XXL Biggest Wave awards and setting new Guinness world records for largest waves surfed by a male and female surfer respectively. In the 2019 season, after another sleepy start <mask> once again claimed another win, his 13th CT event, this time in Jeffreys Bay, South Africa. <mask> made history being part of the first ever goofy-footers final in J-Bay, against compatriot Ítalo Ferreira and also the first goofy-footer to win this event in 35 years (Mark Occhilupo), and the second ever. On 9–15 September, <mask> along the top surfers from all over the world competed in Miyazaki, Japan in the 2019 ISA World Surfing Games, a mandatory event to be eligible to compete in the 2020 Olympic Games, also to be held in Japan.<mask> competed in the Open Men's division and went on to finish the event with the bronze medal, behind fellow CT surfers Kolohe Andino (2nd) and countryman Ítalo Ferreira (1st). Also, due to these results combined with Filipe Toledo's (9th after withdrawing due to back pain), and in the Open Women's division Silvana Lima's (2nd), Tatiana Weston-Webb's (5th) and Tainá Hinckel's (25th), Brazil went on to win the gold medal, the first since the 2000 ISA games. Less than a week later, <mask> captured his 14th CT event win, the third win at Kelly Slater's Surf Ranch (thus winning all three individual competitions ever had on this site at the time), in the Freshwater Pro, climbing the rankings and reaching the first position. <mask> didn't do well during the European Leg and ended up eliminated in the Round of 16 in Quicksilver Pro France and MEO Rip Curl Pro Portugal. With one event left to go, he is second in the ranking, right behind Ítalo Ferreira. <mask> caused controversy in the 2019 Billabong Pipe Masters by dropping in on his fellow competitor. This led to his actions being labelled unsportsmanlike.The Brazilian surfer was also selected to represent his country in the 2020 Tokyo Olympics, alongside 2019 WCT Champion Italo Ferreira. He finished the Olympics in fourth place, narrowly losing to Australia's Owen Wright in the bronze medal match. In the 2021 season, <mask> managed to clinch his 3rd world title and did so in definitive fashion by winning 3 of the 8 tour events and placing running-up at 3 events as well. The win saw <mask> join Tom Curren, Andy Irons and Mick Fanning with three World Titles. With 16 WSL Championship Tour (CT) event wins and 29 Final appearances under his belt, <mask> is one of the most experienced surfers when it comes to producing the best surfing under pressure. <mask> is 2nd  only to Kelly Slater for the most World Titles among surfers currently on the CT. In January 2022, <mask> announced that he would be taking an indefinite leave from competitive surfing to focus on his mental health..Thus far, he has withdrawn from the first 3 events on 2022 championship tour, including the Billabong Pro Pipeline, Hurley Pro Sunset Beach and MEO Pro Portugal. Surfboards
<mask> has been with his shaper Johnny Cabianca since 2008. Johnny Cabianca, a Brazilian living in the Basque Country, is one of the world's most renowned surfboard shapers. <mask> is using about 100 surfboards a year, with a volume ranging from 28.5 to 29.1 litres. Cabianca who previously shaped under the Spanish label Pukas, started his own brand in 2015. <mask>'s first victory on a Cabianca Surfboard was the Quiksilver Pro France 2015. Results

Victories

WSL World Championship Tour

Filmography
Acting

 Luiza Possi: Lembra (2017)
 Surf Chronicles (2011)

Self

 Tempestade Perfeita (2021)
 É Ouro!O Brilho do Brasil em Tóquio (2021)
 World Debut (2021)
 <mask> (2020)
 WSL Men's Championship Tour (2019)
 Mundo <mask> (2019)
 WSL World Surf League (2018)
 No Contest (2018)
 WSL Men's Championship Tour (2018)
 Rip Curl's The Search (2014-2017)
 WSL Men's Championship Tour (2016)
 Vai Fernandinha (2016)
 Samsung: Surf - The Snail (2016)
 WSL Men's Championship Tour (2015)
 Xuxa Meneghel (2015)
 Today (2014)
 ASP Men's Championship Tour (2014)
 ASP World Surf Tour (2014)
 Diário das Ilhas (2012)
 Noronha Prime (2012)

References

External links
 WSL profile WSL Championship Tour
 <mask> Br-Rip Curl

1993 births
Living people
People from São Sebastião, São Paulo
Brazilian surfers
World Surf League surfers
Olympic surfers of Brazil
Surfers at the 2020 Summer Olympics

masks:
Gabriel Medina Pinto Ferreira
Medina
Medina
Simone Pinto Medina
Medina
Medina
Medina
Medinaip
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Medina
Gabriel Medina
Medina
Gabriel Medina


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<mask> (1 May 1906 – 5 May 1983) was an SS-Sturmbannführer (major) and medical doctor who conducted sterilization and castration experiments at Auschwitz and was particularly interested in the mass sterilization of Jews by means of X-rays. Early life
Schumann was born on 1 May 1906 in Halle an der Saale. His father, <mask>, was also a doctor. Schumann entered the Nazi party in 1930 and joined the Sturmabteilung in 1932. In 1933, he received his medical degree after producing a thesis entitled "Frage der Jodresorption und der therapeutischen Wirkung sog. Jodbäder" ("The Question of Iodine Absorption and the Therapeutic Effects of so-called Iodine Baths"). He started his career as an assistant doctor in the Surgical Clinic of the clinic of Halle University.Nazi doctor
From 1934, Schumann was employed in the Public Health Office in Halle. He was recruited to the air force as a physician in 1939. He joined the Aktion T4 Euthanasia program in early October 1939, after a meeting with Dr. Viktor Brack in Hitler's chancellery. In January 1940, Schumann became head of the Grafeneck euthanasia centre in Württemberg, where mentally ill people were gassed with carbon monoxide in the first gas chamber. In the early summer of 1940, he was ordered to the Sonnenstein Euthanasia Centre. Schumann also belonged to a commission of doctors called "Action 14f13", who transferred weak and sick prisoners from Auschwitz, Buchenwald, Dachau, Flossenbürg, Gross-Rosen, Mauthausen, Neuengamme and Niederhangen concentration camps to the euthanasia killing centers. Auschwitz
On 28 July 1941, Schumann arrived in Auschwitz.He worked at Block 30 in the women's hospital, where he set up an X-ray station in 1942. Here men and women were forcibly sterilized by being positioned repeatedly for several minutes between two X-ray machines, the rays aiming at their sexual organs. Most subjects died after great suffering, or were gassed immediately because the radiation burns from which they suffered rendered them unfit for work. Schumann "...chose his test persons himself. They were always young, healthy, good-looking Jewish men, women and girls who looked like old people afterwards. The parts of the body that were treated with the rays experienced severe radiation burns and suppuration (i.e. discharge of pus).Men's testicles and women's ovaries were then surgically removed and sent to Breslau for histopathological examination. Part of Schumann's control tests, to check whether the radiation had worked, was the so-called semen check: a stick covered with a rubber hose was inserted into the rectum of the victim and the glands stimulated until ejaculation occurred so that the ejaculate could be tested for sperm..." Both kinds of samples were sent to the University of Breslau (today Wrocław) for examination. Schumann selected some of the women in Block 10 in the main camp of Auschwitz. In this Block Jewish women had been imprisoned for human experiments. To control the radiation on women, prisoner doctors (Dr. Maximilian Samuel, Dr. Wladislaw Dering) had to remove an ovary. Schumann also performed typhus experiments by injecting people with blood from typhus patients and then attempting to cure the newly infected subjects. Schumann left Auschwitz in September 1944 and was appointed to the Sonnenstein Clinic in Saxony which had earlier been converted into a military hospital.Medical career after the war
While serving as a military doctor on the Western Front, he was captured by the Americans in January 1945. He was released from captivity in October 1945. In April 1946, he began to work as a sports doctor for the city of Gladbeck. An application for a license for a hunting gun led to his identity being exposed in 1951 so the GDR issued an arrest warrant. According to his own statement, Schumann served as a ship's doctor for three years and because he did not have a German passport, he applied for one in Japan in 1954 and received it under his own name. Schumann then fled, first to Egypt and eventually settled in Khartoum in the Sudan as head of a hospital. He was forced to flee from Sudan in 1962 after being recognized by an Auschwitz survivor.Then he went to Ghana, where he received the protection of the head of state, Kwame Nkrumah, until the dictator was overthrown. Imprisonment and death
In 1966, Schumann was extradited from Ghana to West Germany where the trial against him was opened in Frankfurt on 23 September 1970. Charged with killing 30,000 Jews, Schumann admitted to killing as many as 80,000 Jews, saying "I have no numbers". However, Schumann was released from prison on 29 July 1972 due to his heart condition and generally deteriorating health. He died on 5 May 1983, 11 years after he had been released. As Robert Jay Lifton has observed "...Schumann has great importance for us because of what he did – intense involvement in both direct medical killing and unusually brutal Auschwitz experiments – and what he was – an ordinary, but highly Nazified man and doctor..."

Footnotes

See also
The Holocaust
Nazi human experimentation
Josef Mengele
Carl Clauberg
Eduard Wirths

References
Robert Jay Lifton, (1986) The Nazi Doctors: Medical Killing and the Psychology of Genocide. New York: Basic Books.Klee, Ernst. "Turning the tap on was no big deal", (1990) - The gassing doctors during the Nazi period and afterwards, Dachau Review 2, History of Nazi Concentration Camps, Studies, Reports, Documents, Volume 2. edited by Wolfgang Benz and Barbara Distel, published for the Comite International de Dachau, Brussels. Verlag Dachauer Hefte, Alte Roemerstrasse 75, 8060 Dachau. Klodzinski, Stanislaw: "Sterilisation und Kastration durch Röntgenstrahlen im Auschwitz-Lager. Verbrechen Horst Schumann" in Internationales Auschwitz-Komitee (Hrsg.) "Unmenschliche Medizin" Anthologie, Bd. 1, Teil 2, Warschau 1969.Mitscherlich, Alexander/Mielke, Fred: "Medizin ohne Menschlichkeit", Frankfurt a. M. 1978,
Lang, Hans-Joachim: Die Frauen von Block 10. Medizinische Experimente in Auschwitz. Hamburg 2011. . External links
Biography of Dr. <mask> Schumann
"Medical Experiments at Auschwitz"

1906 births
1983 deaths
People from Halle (Saale)
German Völkisch Freedom Party politicians
Nazi Party politicians
20th-century Freikorps personnel
Auschwitz concentration camp personnel
SS-Sturmbannführer
Physicians in the Nazi Party
People from the Province of Saxony
Martin Luther University of Halle-Wittenberg alumni
University of Innsbruck alumni
Nazi human subject research
Dachau concentration camp personnel
Gestapo personnel
People extradited from Ghana
People extradited to Germany

masks:
Horst Schumann
Paul Schumann
Horst


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<mask> (5 February 1953) is a South African artist from Cape Town. She was born in Vryburg in the North West province from Greek parents who had moved after inheriting a bakery from Siopis maternal grandfather. Siopis studied Fine Arts at Rhodes University in Makhanda, completing her master's degree in 1976, after which she pursued postgraduate studies at Portsmouth Polytechnic in the United Kingdom. She taught Fine Arts at the Technikon Natal in Durban from 1980 to 1983. In 1984 she took up a lectureship at the University of the Witwatersrand in Johannesburg. During this time she was also visiting research fellow at the University of Leeds (1992–93) and visiting Professor in Fine Arts at Umeå University in Sweden (2000) as part of an interinstitutional exchange. With an Honorary Doctorate from Rhodes University, Makhanda - <mask> is currently Honorary Professor at Michaelis School of Fine Art, University of Cape Town.Early years

She came to prominence in the early 1980s with her 'cake' paintings, which materially encode feminist aesthetics in thick impasto oil paint surfaces. These works were followed by her 'history paintings', interpreted as a form of resistance against apartheid. Her interdisciplinary practice since the national liberation of her country has explored the persistence and fragility of memory, notions of truth and the complex entanglements of personal and collective histories. Experimenting with a wide range of materials and processes, she reflects on the politics of the body, grief and shame, estrangement, migration and more recently the relationship between the human and the not-human within the context of climate change. All her explorations assert materiality and process as inseparable from concept, with her characteristic use of contingent and chance-driven methods becoming emblematic of her interest in 'the poetics of vulnerability'. Griselda Pollock states, "<mask>is is one of the few artists in the world today who can weave a material web of marks, gestures, voices, words, found things and painted surfaces to entangle the brute forces of history with the delicate threads of human vulnerability". Work
Siopis established herself as one of the most talented and challenging artists in South Africa and beyond, by working across painting, installation and film, bringing together diverse references and materials in ways that disturb disciplinary boundaries and binaries.Concepts of time run through all her work often manifesting in the actual physical changes of her materials; in her early cake paintings oil paint is made to be unnaturally affected by gravity, age and decay; in her films using archival footage time is marked as much by the effects of age on the celluloid as by the historical period caught in the sweep of the camera; in her accumulations of found objects in her installations, ideas of the heirloom come to the fore with her ongoing conceptual work Will (1997 - ) - in which she bequeaths objects to beneficiaries - being the ultimate time piece only becoming complete on her death; her glue and ink paintings index flux as they record the material transformation that happens when viscous glue matter reacts with pigment, gravity, the artist's bodily gestures, and the drying effects of the air. Siopis sees her art practice as 'open form', operating as an intimate model in which the physical changes of her materials can be extrapolated into a larger ethics of personal and political transformation. According to Achille Mbembe this quality marks her interest in process as a perpetual state of becoming and entails "the crafting of an unstable relation between form and formlessness, in the understanding that the process of becoming proceeds in ways that are almost always unpredictable and at times accidental"

Paintings

"From the outset, her attitude to painting has been simultaneously modernist and counter-modernist in its complex irreverence to the purity of both creative act and the physical medium." Cake paintings

Between 1980 and 1984 Siopis developed her 'cake' paintings. Using unconventional implements such as piping nozzles and other cake decorating tools to make her high relief impasto paintings Siopis explored the materiality of oil paint, its potential as object and its association with traditional representations of the female body. The excessive impasto surface changes over time with the outside layer of drying long before the interior, leading the surface to wrinkle and crack. This becomes a metaphor for the all too real effects of time and circumstance on the body.Siopis challenges western conventions of the idealisation of female flesh and beauty. While the female body is the main focus of these works, their association with food and decay comments on larger social narratives of decay which are developed in the paintings that follow. Working with lived experiences alongside feminist theories Siopis expresses how she "was interested in working within the space of complexity and as I worked the materiality became the critical thing"

History paintings

Between 1985 and 1995 <mask> produced a body of work often referred to as her 'history paintings'. Although her interest in the materiality of paint and her experimentation with this medium never ceased, the works from this period differed in many important ways from the 'cake' paintings. The transition was already marked in her Still Life with Watermelon and Other Things (1985); it was even more clearly evident in Melancholia (1986). Presenting a vision of colonialism in decline, the scene in Melancholia is both a vanitas and a history painting. It combines symbols of European high culture and references to Africa, all of them piling up as the debris of history within a claustrophobic space that signifies excess, ruin and psychological malaise.In the past the genre of history painting was seen as the highest achievement of the European art historical tradition. <mask>' ironic interrogation of its form and ideology is evident in such works as Patience on a Monument: 'A History Painting''' (1988). In the history works she introduced the techniques of collage and assemblage as a means to disrupt direct depiction and to bring in references to the representations of colonial history that South Africans were brought up on through history books. These techniques also allowed her to mark the significance of objects as traces of history in their own right. Through the introduction of objects and found images her works challenged the invisible but powerful structures within the ideological systems of apartheid at a time when political tensions in the country were running high. Pinky Pinky

The 2001-2004 series is the visualization of a South African urban legend Pinky Pinky. A hybrid creature of amalgamated forms.Half-human, half-animal, bi-gendered creature of indeterminate race, Pinky Pinky preys on school children in toilets and threatens girls in pink underwear. Siopis embarked on a personal exploration of Pinky Pinky, and according to verbal accounts by schoolchildren she interviewed on the topic, produced visual embodiments of this processual hybrid figure of no stable identity. Furthering a practice in manipulating paint and form to simulate skin and flesh, Siopis allows the paint to stand in as object of unspeakability. Located within Freudian theory and Lacan's 'real' , Siopis explores humans' ability to work-through personal feelings that exceed language by projecting things you cannot do in real life, onto and within fiction, myth and fantasy. In her visualisation of Pinky Pinky, Siopis inserted various human prosthetics into the pink, fleshy paint - plastic body parts like eyes and fake eye lashes; teeth and finger nails. In these 'fake horrors', Siopis allows viewers to feel both connected to and distanced from their own fears. In a 2004 interview with Sipho Mdanda, Siopis writes how "Many of these prosthetics are "traditionally" flesh colour, a kind of dirty pink.There is irony here, as flesh colour is not just a category of colour, but nothing less than a western conceit in which whiteness (pink) becomes the universal colour for flesh". The series investigates personal and public narratives around fear and trauma in South Africa. It is an allegory of the nation's deepest fears around issues of poverty, xenophobia, race, and crime at a time of radical social transition and uncertainty post-1994. Siopis states : "As much as Pinky Pinky is a perpetrator of violence, it also seems a victim of, and scapegoat for, violent, uncivil actions – a constructed 'something' to blame for social problems." Shame paintings

Siopis produced the Shame paintings between 2002 - 2005 in the wake of South Africa's Truth and Reconciliation Commission  whilst exploring the public and psychological state of shame. The series of mixed-media paintings, show the artist's manipulation of thick, lacquer gel paint, used in home-craft to create stained glass and coloured mirror effects on surfaces. The ready-made rubber stamped messages within the paintings show the role of a language and the 'unspeakable' nature of the feeling imbued within the painting process.Works from the series were first shown in 2003 at solo exhibitions in Johannesburg and Athens. In 2005 the Shame paintings became a key feature of <mask>' multi-media installation titled Three Essays on Shame at the museum of Sigmund Freud, once his house, in London[8.33]. Responding to Freud's publication Three Essays on the Theory of Sexuality, of which the 2005 project marked the centenary, Siopis' Shame installation "linked the issues of sexuality and shame to the traumatic history of her country". By inserting references (voice recordings and objects) into the space, the work evoked a dialogue between Freud's ideas and various individual experiences during the proceedings of the South African Truth and Reconciliation Commission, binding the traces of human vulnerability and the dramatic effects of sweeping historical narratives. Consisting of three parts located in Freud's study, dining room and bedroom, the rooms were transformed to exhibit Siopis' installations titled Voice, Gesture and Memory - a frieze of the small paintings installed around Freud's deathbed. As part of Red: Iconography of Colour in the Work of <mask>is in 2009, 90 paintings from the series were exhibited at the KZNSA Gallery in Durban. The Shame paintings were later included in Siopis' 2014 retrospective exhibition Time and Again, installing the paintings as a grid at the South African National Gallery in Cape Town, and Wits Art Museum in Johannesburg.During a recent online exhibition for Art Basel: Pioneers, an installation of the Shame paintings was exhibited at Stevenson,Cape Town in 2021  alongside her most recent film titled Shadow Shame Again, showing a relation to gendered violence in South Africa and around the globe alongside here years of work on the subject of shame. Of this most recent exhibition, Pumla Dineo-Gqola writes how "The footage, music and clapping in the film, like the careful paintings arranged as a frieze, create meaning together, about violence's production of shame, and about its raced, gendered and historically contingent meanings". Ink and glue paintings

For the last 15 years <mask> has been extending her interests in materiality, chance and contingency; form and formlessness into experiments with the unorthodox medium of wood glue and ink. She shows matter to be alive, creating a fluid process in which the medium is an active agent in the making of the work. This process involves the mix of ink and glue and sometimes water through pouring the glue onto the

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 canvas which is then moved to direct the flow. Allowing the materials to "mix, swirl and settle into patterns and shapes; the artist responds to the unpredictable image that starts to take shape "encouraging" their development, and sometimes choosing not to intervene at all." Siopis writes of wood glue's 'manifest agency' - a substance of change - white, viscous and liquid, transforming into hard, transparent surface.A medium of the non-human with the ability to alter its state and colour according the forces around it, Siopis explores the 'life' of an inert medium. "I believe that encounters with lively matter can chasten my fantasies of human mastery, highlight the common materiality of all that is, expose a wider distribution of agency and reshape the self and its interests"The formless matter that the surface presents offers humans a broader scope for imaginative association. Viewers are invited to exercise their own agency in inventing an image from the material residues on the surface. In this process a personal transformation might be enabled, and the glue and ink process becomes a material way of thinking about larger social transformation [material acts]. Mbembe writes, "Matter enables life. It also complicates life. It opens up to the deep sense of the human as one among many species"'.After her 2009 solo show 'Paintings' at Stevenson Gallery, Siopis developed the medium further in conjunction with found objects - seen in her 2017 solo show titled Restless Republic. In the same year the artist worked in residence at the Maitland Institute on a project titled Open Form/Open Studio where she continued her exploration with glue and ink on large-scale canvases and invited members of the public into the space to engage with her process. For her solo show Warm Water Imaginaries in 2019, Siopis incorporated the medium with oil paint in an installation of 90 small paintings on paper alongside a room of object-assemblages titled Tentacular Time and the makings of her film She Breathes Water. Siopis used various modes of making to respond to the vast history of climate change and the complex geological and social present. The complete film was more recently exhibited alongside her Atlas series of glue, ink and oil paintings on paper in Siopis' 2021 solo show In the Air at Stevenson, Amsterdam which further explored themes of the climate and the Covid-19 pandemic. Installation
Penny <mask>'s installation works comprise of accumulations of objects drawn from the artists personal collection installed in various iterations. "I was always interested in objects as carriers of meanings beyond themselves", Siopis writes, "they are physical traces of time, of people's lives and social histories".The objects migrate from one installation to another, "like an archive, which I use similarly to how I use film...its an ephemeral art really.The objects get taken down and become like paint tubes again".Charmed Lives, an installation project created for the Liberated Voices exhibition at New York's Museum for African Art in 1999 is notable amongst Siopis's works in this genre, becoming a prototype for further installations. The vast number of objects in this installation are imbued with emotions that the artist and the viewers bestow on them revealing different layers in the palimpsest of memories from personal, social and art historical, asking probing questions about the nature of the archive and the relative truth of a historical record. The constant evolution of the installations and the meanings made from them functions as a generative force in Siopis's work. "One thing nestled next to another or dropped over another, creating countless relationships. They're endless these bits of relationships between things and objects and spaces" writes Siopis.Will (1997 - ) is an installation that encompasses the objects that the artist has singled out from her vast collection and bequeathed to individuals all around the world. An autobiographical project, this particular collection also functions as an archive and inventory of both personal and collective history. "The corpus will dissolve and the fragments disperse.They will be shot into a new world...The giving itself reflects a dynamic of human relating that in my mind becomes part of the installation". Jennifer Law writes on this installation and how it seeks to "establish and maintain relationships across generational time and space". As both art and heirloom, Law writes "Sopis's Will is the ultimate time piece...We are able to glance back on a life-in-formation and recognize the subject as discursively produced, 'as project, something to be built''. Video/Film

Siopis began working with film in 1994 with her film Per Kind Permission: Fieldwork. However, in 1997 Siopis found her niche in film making through the work My Lovely Day. She has continued to work with film throughout her career and describes the videos as montages, cut-and-paste images that move and unfold over time. Combined with text and music, film offers a wonderful opportunity for narrative.In My Lovely Day Siopis cuts sequences from her mom's 8mm home movies that she took of their family life in the 50s and 60s, and the more public events that were caught in the sweep of her camera. She combined these with music and the remembered words of her grandmother, presented as subtitles. She wove the story of three generations of women, as a kind of transgenerational haunting. The story compresses historical time into one day. The historical moment of her telling is apartheid South Africa, but her references to social turmoil and catastrophe are to earlier times: the 'exchange of populations' following the Greco-Turkish conflict of 1919–1922, the massive migrations sparked by the two World Wars and the beginnings of the decolonisation of Africa. Her mother's home movies led Siopis to the home movies of strangers, which she finds in flea markets and thrift shops in South Africa and on her travels abroad. She now has a huge archive of found film that she mines continually.Siopis sees the film as a ready-made in that it brings its own history and context into the scene. She cuts sequences from the film which she connects to the text in mostly allusive ways. So, whoever views it will shape their narrative too. All the videos take a very particular story from South African history that has an elemental quality and speaks beyond its historical circumstances; two of them, Obscure White Messenger (2010) and The Master is Drowning (2012), look at the actual and attempted assassinations of apartheid Prime Minister H.F. Verwoerd. Siopis draws on various archival sources to construct the narrative, and use different modes of address, but she prefers the first person. In Obscure White Messenger she uses a question and answer format, which she drew from the psychiatrist's report of the interview he had with Dimitrio Tsafendas, immediately after the murder. In the beginning of the film it is not easy to work out who is talking: who's the 'you' and who's the 'I'?.Solo Exhibitions

 Selected Group Exhibitions

 Collections
The artist's work is represented in major public collections in South Africa; international collections include the Centre Pompidou, Paris; the Smithsonian Institution, Washington; Moderna Museet, Stockholm; and Tate, London. Awards

 2016 	Arts & Culture Trust Lifetime Achievement Award, South Africa
 2015 	Helgaard Steyn Prize, South Africa
 2002 	Klein Karoo Nationale Kunsfees: Best Visual Artist Award, South Africa
 1995 	Vita Art Now, Quarterly Award Winner, South Africa
 1991 	Vita Art Now, Special Merit Award, South Africa
 1988 	Vita Art Now, Quarterly Award Winner, South Africa
 	Vita Art Now, Merit Award, South Africa
 1986 	Volkskas Atelier Award, South Africa
 1985 	Cape Town Triennial, Merit Award, South Africa

 Bibliography
 Sue Williamson, Resistance Art in South Africa. Cape Town: David Philip, 1989. Colin Richards, 'For want of (An)Other World', in Penny Siopis, Johannesburg: The Artists Press, 1994. Clive van den Berg (ed) Panoramas of Passage: Changing Landscapes of South Africa, Washington and Johannesburg: Meridian Center and Wits Art Galleries, 1995. Okwui Enwezor (ed) Trade Routes: History and Geography, Greater Johannesburg Metropolitan Council, 1997. Frank Herremen & Mark D'Amato, Liberated Voices: Contemporary Art from South Africa, London and New York: Museum for African Art: Prestel, 1999.Jennifer A Law, 'The Story Teller: <mask>is', in Liberated Voices: Contemporary Art from South Africa Frank Herreman (ed), New York: Museum of African Art, New York and Prestel, 1999. Brenda Atkinson and Candice Breitz (eds) Grey Areas: Representation, Identity and Politics in Contemporary South African Art, Johannesburg: Chalkham Hill Press, 1999. Olu Oguibe and Okwui Enwezor, (eds) Reading the Contemporary: African Art from Theory to the Marketplace, London: Iniva and MIT Press, 2000. Jennifer Law, <mask>is: Sympathetic Magic. Johannesburg: University of Witswaterstrand, 2002. Kathryn Smith (ed) Penny Siopis, Johannesburg: Goodman Gallery, 2005. Colin Richards, 'Prima Facie: Surface as Depth in the Work of <mask>is' in Kathryn Smith (ed) <mask>is, Johannesburg: Goodman Gallery, 2005.Griselda Pollock, 'Painting, Difference and Desire in History: The Work of <mask>is 1985 - 1994' in Kathryn Smith (ed) <mask>, Johannesburg: Goodman Gallery, 2005
 Jennifer Law, Three Essays on Shame, London: Freud Museum, 2005. <mask>, 'Shame in Three Parts at the Freud Museum' in Claire Pajaczkowska and Ivan Ward (eds), Shame and Sexuality: Psychoanalysis and Visual Culture, London: Routledge, 2008
 Sarah Nuttall, Entanglement: Literary and Cultural Reflections on Post- Apartheid, Johannesburg: Wits University Press, 2009. Brenton Maart (ed), Red, The Iconography of Colour in the work of <mask>, Durban: KZNSA Gallery, 2009. Sarah Nuttall & <mask>is, An Unrecoverable Strangeness: some reflections on selfhood and otherness in South African Art, Critical Arts 24:3, 2010. Colin Richards, 'In Human History: Pasts and Prospects in South African Art today' in Thembinkosi Goniwe, Mario Pisarra (eds), Visual Century: South African Art in Context 1907-2007, Vo 4, Johannesburg: Wits University Press, 2011. Sue Williamson, South African Art Now. New York: HarperCollins, 2011.<mask> and Kim Miller, Whose Afraid of the Crowd, Catalogue 57. Cape Town: Stevenson, 2011. Corinne Diserens, Appropriated Landscapes: Contemporary African Photography from The Walther Collection, Göttingen: Steidl, 2011. <mask>, 'The Hooks of History - Three Films' in Marie-Hélène Gutberelet, Cara Snyman (eds) Shoe Shop, Johannesburg: Jacana Media, 2012. Brenton Maart (ed), Contemporary South African Art and the Archive, Makhanda: National Arts Festival, 2013. Gerrit Oliver (ed), <mask>is: Time and Again, Wits University Press: Johannesburg, 2014. Griselda Pollock, 'Remembering Three Essays on Shame, <mask>is, Freud Museum, London 2005' in Gerrit Oliver (ed), <mask>is: Time and Again, Wits University Press: Johannesburg, 2014.<mask>, Grief, Stevenson: Cape Town, 2016. <mask>, Shame, Stevenson: Cape Town, 2016. <mask>, Material Acts , Stevenson: Cape Town, 2019. Karen Milbourne, I Am...Contemporary Women Artists of Africa'', Washington DC: Smithsonian National Museum of African Art, 2019. References

External links

1953 births
Living people
20th-century South African painters
20th-century South African women artists
21st-century South African painters
21st-century South African women artists
University of Cape Town academics
Rhodes University alumni
South African people of Greek descent
South African women painters
People from

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<mask> (born 10 October 1978) is a Scottish former footballer who played as a striker. Although born in England, Dobie played six times for Scotland at full international level in 2002. During a 16-year career he played for Carlisle United, Clydebank, West Bromwich Albion, Millwall, Nottingham Forest, St Johnstone, Bradford City and York City. Club career

Carlisle United
Born in Workington, Cumbria, Dobie joined Carlisle United as an apprentice in June 1995, turning professional on 10 May 1997. While at Carlisle, it was <mask>'s goalbound header that was parried into the path of Carlisle goalkeeper Jimmy Glass, who scored with the last kick of the final game of the 1998–99 season, preserving Carlisle's Football League status and relegating Scarborough. During 2000–01, Dobie attracted interest from other clubs, with Carlisle manager Ian Atkins claiming that the player could be worth as much as £2 million in the transfer market. West Bromwich Albion
Dobie was transferred to West Bromwich Albion on 6 July 2001 for an initial £150,000 fee, with another £50,000 being paid once he reached 25 appearances for his new club.He made his Albion début against Walsall on 11 August 2001. His first goal for the club came on 22 August 2001 in a League Cup tie at Cambridge United, when he lobbed the opposition goalkeeper from 30 yards out. He enjoyed an impressive September, scoring his first league goal for Albion in a 4–0 win over Manchester City, and thus commencing a scoring streak of eight goals in seven games. However he struggled to find the net after that, not scoring again until February. Nonetheless, he finished the season as the club's top scorer with 11 league goals, 13 in total. His performances helped Albion get promoted to the Premier League in 2001–02. Two of his goals came on 16 March 2002 in a 3–0 win at Sheffield United; the game was dubbed the "Battle of Bramall Lane" as it was the only game in English professional football to be abandoned due to a team having insufficient players left on the pitch.In the summer he handed in a transfer request, reportedly because he wanted a wage increase after breaking into the Scotland national side. Albion refused to sell the player however, and eventually <mask> was rewarded with an improved four-year contract. <mask> was Albion's first Premier League substitute when he replaced Danny Dichio in the opening game against Manchester United at Old Trafford. He scored just five times in Albion's first Premiership season, although his strike against Tottenham Hotspur on 8 December 2002 was named 'Goal of the Week' by the BBC Sport website. Albion were relegated, but Dobie again won promotion with them in 2003–04, helping the club bounce back to the top-flight at the first attempt. Millwall
With the likes of Kanu and Robert Earnshaw ahead of him in the West Brom pecking order, Dobie struggled to gain first team action at the start of 2004–05, and on 8 November 2004 moved to Millwall in a deal worth "up to" £750,000. Owing to a sell-on clause, his former club Carlisle received at least £37,500 from the deal.Nottingham Forest
On 25 February 2005 he joined Nottingham Forest in a £525,000 move from Millwall, signing a three-and-a-half-year deal. His Forest career got off to a slow start, as he scored only one goal in 12 appearances. He then started to find his form, but a series of injuries, including a hip injury that required ground-breaking surgery in America, checked his progress, meaning he scored just two goals in the 2005–06 season. At the start of the 2006–07 season new manager Colin Calderwood expressed his faith in Dobie and said his career was safe at Forest. But injury again slowed his progress, after suffering a thigh injury on his comeback game, forcing him down the pecking order behind Grant Holt, Junior Agogo and Nathan Tyson. Most of Dobie's appearances in 2006–07 were from the substitutes bench. His only goal that season came in the 2006–07 League One play off semi-final against Yeovil.His header from a corner, put Forest 3–1 up in the tie, but they ended up losing 5–4 on aggregate after extra time. <mask> began the 2007–08 campaign as a lone striker against AFC Bournemouth but was quickly dropped to the bench, and then cut from the matchday squad altogether, although he returned as a substitute in Forest's 2–0 win at Port Vale. Return to Carlisle
On 23 January 2008, <mask> returned to Carlisle United, now in League One, where he signed a two-and-a-half-year contract after moving for a nominal fee. He was on the losing side in a play-off semi-final for the second year running when Carlisle were defeated 3–2 on aggregate by Leeds United, whose team included Dobie's half-cousin Paul Huntington. Dobie received the first red card of his career in a 0–0 draw against Leyton Orient in August 2008. St Johnstone
Dobie signed for Scottish Premier League club St Johnstone on a one-year contract in May 2010. <mask> had previously played alongside Saints manager Derek McInnes at West Brom.He played just four games for the Scottish outfit. <mask> signed for League Two side Bradford City in February 2011 on a loan deal until the end of the season. York City
After more than a year without a club, <mask> signed for newly promoted League Two club York City on a three-month contract on 30 August 2012. However, he was released a month later on 28 September 2012 after failing to break into the team. International career
<mask> represented Scotland at international level. He made his debut in a 4–1 defeat away to South Korea on 16 May 2002, in which he scored Scotland's only goal. He was capped six times by Scotland, all of these coming during 2002.Career statistics

Club

International

International goals
Scores and results list Scotland's goal tally first. After football
After retiring from football, <mask> became a police officer. He is now an Authorised Firearms Officer and National Firearms Instructor, and has provided armed protection at Merry Hill Shopping Centre in Birmingham. See also
 List of Scotland international footballers born outside Scotland

References

External links

1978 births
Living people
People from Workington
English footballers
Scottish footballers
Scotland international footballers
Association football forwards
Carlisle United F.C. players
Clydebank F.C. (1965) players
West Bromwich Albion F.C. players
Millwall F.C.players
Nottingham Forest F.C. players
St Johnstone F.C. players
Bradford City A.F.C. players
York City F.C. players
Premier League players
English Football League players
Scottish Premier League players
Scottish Football League players
English people of Scottish descent
Anglo-Scots
British police officers

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Missa <mask> (城之内 ミサ; <mask> was named UNESCO Artist for Peace in August 2006. Personality

Profile
Musician, UNESCO Artist for Peace, Ambassadress of the musical relations for the events commemorative of the 1300th anniversary of the Capital of Nara Heijo-Kyo. While being registered at the Academic institute of music of Toho,  the theory of musical composition section, she began to compose in the  audio-visual area for successful television series, commercials s and the cinema. She studied in France under the direction of the composer Jean-Claude Petit. Since 1988, <mask> is accompanied by the Orchestre National de l’Opéra de Paris and the Orchestre National de Paris for the making of her albums. In 1993, she participated t in the international conductors contest of Besançon. Her album of Asian original compositions, “Healing music”, was one of the best selling  albums in the occidental countries.Among her several  performances  and the first time ever, she gave a concert based on her  own compositions, as a pianist and as a conductor, in the department of Nara, in front of Kofukuji and Higashikondo (indicated like national treasures). Missa <mask> wrote composed and played the music in the opening ceremony of  the Flower Festival of Hamanakako, entitled “New elegances of the flowers”, whose production was ensured by a great Master of Japanese poetry, Mannnojo Nomura. At the “World Heritage Torch-Run Concert – Missa <mask> Johnouchi played her own music, and e directed  the Orchestre National de l’Opéra de Paris that accompanied her. Moreover, she composed the music that accompanied  the images of the exhibition  at the Petit Palais of Paris, entitled “Shôkokuji, Gold Pavilion, Silver Pavilion, Zen and Art with Kyoto within the celebration of the 150th birthday of the Japanese and French  relations and the 50th birthday of the Paris and Kyoto twin cities”. In October 2009, the album « Spiritual Discovery » is released, for the first time in cooperation with UNESCO. Still today, she continues,  in her own country and  abroad, her function as a  UNESCO messenger, as could be seen during  the exceptional concert that took place at  UNESCO’s Headquarters on 12 November 2009 in Paris or in Tokyo in  November 2010 where she gave a charity concert for the children of Afghanistan. She was the first Japanese female  “UNESCO Artist for Peace (in charge of the world heritage)” in the section musical composition and conduction, to continue to transmit the message on “ Peace of the heart”, “ conservation of the world heritage”, “ environmental protection”, “ education”. Discography

Asian Blossoms (13 Jun 2000)
 1. Asian Wind
 2.Seasons
 3. Marco Polo
 4. Song Of Silk Road
 5. Blossom
 6. Springtime
 7. Night Bird
 8. Butterfly
 9.Twilight
 10. Once Upon A Time
 11. Asian Wind – (Piano Version)

Friends (19 August 2000)
 1. Pastoral
 2. Espoir
 3. In Paradisum
 4. Tristesse
 5.Tomorrow
 6. Solitude
 7. Forest
 8. Walking On Air
 9. Mirage
 10. Aprés Midi
 11. Glowing Sky
 12.Spoons Dance
 13. Tristesse (Reprise)

Yamatoji Symphony : The Eternal Yamato (2002)
 1. Birth [Tanjou]
 2. Prayers
 3. Vicissitudes [Eikoseisui]
 4. The Wings Of Spacetime [Jikuu no Tsubasa]

road to OASIS (12 February 2002)
 1. The Last Caravan
 2.Shangri-La
 3. road to OASIS
 4. Desert Mirage
 5. Moon Over The Border
 6. Snow Bird
 7. Stardust Tapestry
 8. Nomads
 9. Holy Sunset
 10.Prayer
 11. Horizon

Dimanche (21 September 2002)
 1. Hoshi no Kioku [Memories Of Stars]
 2. Maioriru Tenshi [Flying Down Angel]
 3. Akanegumo [Rosy Clouds]
 4. Mayonaka no Mail [Midnight Mail]
 5. Chikyuugi [Globe]
 6.My Friend (to Vivian)
 7. Screen Music ni Koishi te [Loving Screen Music]
 8. Koi no Atokataduke [After Love]
 9. Ieji [The Way Home]
 10. Umibe no Gogo [Afternoon At Seaside]
 11. Je n'aime pas moi

Kurenai (28 September 2002)
 1. Legend Of The Mountain
 2.Dream Land
 3. Kurenai
 4. Pilgrimage
 5. Sea Wind
 6. Déjà Vu ~Light in the Void
 7. Full Moon Bay
 8. Shanghai Twilight
 9.Desert Walk
 10. Lawrence
 11. Silky Sky
 12. End Of The Silk Road

Kataribe ~Piano Collection (26 Jun 2003)
 1. Kataribe (Story Teller)
 2. Miyako (Ancient City)
 3. Streets Of Kyoto
 4.Asian Wind – (piano version)
 5. Funauta (A Boatman's Song)
 6. Shigure (A Scattered Shower)
 7. Shuufu (Antumn Breeze)
 8. Springtime
 9. Snow Forest
 10. Hatsuyuki (First Snow)
 11.Déjà Vu ~Light in the Void
 12. Sekka (Snow Blossoms)
 13. Horizon
 14. Snow Dance

Kuge (29 October 2003)
DISC 1
 1. Skyward
 2. Stardust Island
 3. Lake
 4.Kazamatsuri
 5. Kataribe
 6. Exotica
 7. Prayer (Suite "Yamatoji Symphony : The Eternal Yamato" #2)
 8. Kotohime
 9. Sunset Moon
DISC 2 (Symphony)
 1. Kuge II
 2.Eurasia

Canon ~Missa <mask> Best (29 September 2004)
 1. Asian Wind
 2. Stardust Tapestry
 3. Kataribe
 4. Seasons
 5. Moon Beach
 6. Marco Polo
 7.Desert Mirage
 8. Pilgrimage
 9. Shangri-La
 10. Shanghai Twilight
 11. Night Bird
 12. Kirisamekodo (Ancient Roads in the Mist)

3 Nen B Gumi Kinpachi Sensei (OST) (19 January 2005)

Evening (22 Jun 2005)
 1. Evening
 2.Marco Polo (Remix)
 3. Lake (Remix)
 4. A Song Of The Lilies (Piano & Strings)
 5. Asian Wind (Remix)
 6. road to OASIS (Remix)
 7. Il Pleure dans mon cœur (Piano & Strings)
 8. Evening (Piano Version)

Snow ~Piano Collection (18 July 2006)
 3. Snow Forest
 6.Shigure (A Scattered Shower)
 9. Sekka (Snow Blossoms)
 10. Hatsuyuki (First Snow)

Fufudo (OST) 30 May 2007

Le Chant de La Terre (11 October 2007)
 1. Le Chant de La Terre
 2. Kaze no Hohoemi [Wind's Smile]
 3. Ilumine
 4. Harukana Tabi no Naka de [In Distant Travels]
 5.Snow Bird (Violin & Piano Version)
 6. Taiyou no Michi [The Road of the Sun]
 7. Le Muguet
 8. Tsumetai Tsuki no Hikari wo Abite [A Cold Moonlight Shower]
 9. Souseki [Genesis]
 10. Genka
 11. Kono Te wo Kazashite [Put Up Your Hands]
 12.Avec Toi Toujours

Green Earth (24 September 2008)
 1. Green Earth
 2. Life
 3. Sea Green
 4. Desert Moon
 5. Sad Forest
 6. For Maori
 7.Ripples
 8. Ondines
 9. Border
 10. Sakura Kaoru
 11. The end of the Journey

Spiritual Discovery (21 October 2009)
 1. Original Scenery
 2. Glowing Horizon
 3.Fluttering
 4. Journey to the next World
 5. Rising Sun
 6. Live in Quiet
 7. Japonisme
 8. Peace of Mind
 9. Purplish Tone
 10.Beauty in the Seasons
 11. Journey of the Soul
 12. Il pleure dans mon cœur
 2. Pure
 3. Seinaru Toki 2 [Holy Moment 2]

Avec Toi Toujours
 1. Avec Toi Toujours
 2. Avec Toi Toujours (Instrumental)
 3.Kono Te wo Kazashite [Put Up Your Hands]
 4. Kono Te wo Kazashite (Instrumental)

Watashi no Sonzai no Imi
 1. The Meaning of My Being [Watashi no Sonzai no Imi]
 2. The Meaning of My Being (La La La Version)
 3. The Meaning of My Being (Instrumental)
 4. Indigo Sunset [Aiiro no Yuuhi]

Link
 Missa Johnouchi Official Website
 Pacific Moon
 NPO WORLD HERITAGE TORCH-RUN CONCERT

1960 births
20th-century conductors (music)
20th-century Japanese pianists
20th-century women composers
21st-century conductors (music)
21st-century Japanese pianists
21st-century women composers
Japanese composers
Japanese conductors (music)
Japanese women composers
Japanese women singers
Japanese pianists
Japanese women pianists
Living people
New-age composers
New-age musicians
New-age pianists
Women conductors (music)
21st-century Japanese women musicians

masks:
Johnouchi
Jōnouchi Mia Johnouchi
Missa Johnouchi
Johnouchi
Johnouchia
Johnouchi


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<mask> (/ˈwɒtkɪnz/; March 13, 1933 – March 20, 2013) was an American linguist and philologist, known for his book How to Kill a Dragon. He was a professor of linguistics and the classics at Harvard University and after retirement went to serve as professor-in-residence at UCLA. Early life

Family
<mask> was born in Pittsburgh, Pennsylvania on March 13, 1933 to <mask>, an economist and government advisor, and Willye Ward, a Spanish teacher who translated the personal memoirs of former Mexican president Gen. Antonio Lopez de Santa Anna. Much of <mask>'s childhood was spent in New York City, and he graduated from Friends Seminary in Manhattan before beginning his career at Harvard University. <mask>'s early exposure to Latin and Greek inspired him at the age of fifteen to decide to become an Indo-Europeanist. Education
<mask> received his initial undergraduate degree from Harvard University in 1954, graduating summa cum laude, and his Ph.D in Linguistics in 1959. During his time at Harvard, <mask> also studied abroad at the École Pratique des Hautes Études in Paris, France, from 1954 to 1955 as well as the Dublin Institute for Advanced Studies, School of Celtic Studies from 1957 to 1958.Career

Harvard
In 1959, <mask> was initially appointed the position of instructor at Harvard University. He later became assistant professor in 1960, associate professor with tenure in 1962, and full professor in 1966. In 1989 <mask> was appointed to the position of Victor. S Thomas Professor of Linguistics and Classics. Linguists influenced by <mask> during his tenure at Harvard include Goddard, Jasanoff, D. Gary Miller, Michael Silverstein, Alice Harris, H. Craig Melchert, Alan Nussbaum, Brent Vine, Mark Hale, Andrew Garrett, Joshua Katz and Benjamin Fortson. <mask> remained dedicated to the research and development of historical linguistics throughout his entire academic and professional career. In 1982 he was a founding member of the "East Coast Indo-European Conference" in which he participated in a large majority of its annual meetings.University of California, Los Angeles
Upon his retirement from Harvard in 2003, <mask> moved to Los Angeles, California and began teaching at the University of California, Los Angeles alongside his wife, Stephanie Jamison. <mask> continued to promote the importance of historical linguistics at UCLA by remaining active in the annual UCLA Indo-European Conference. In 2013, the 25th annual conference was dedicated to the memory of <mask>. Early published works
His doctoral dissertation at Harvard University, Indo-European Origins of the Celtic Verb I. The Sigmatic Aorist (Dublin Institute for Advanced Studies, 1962), which deeply reflected the structuralist approach of Jerzy Kuryłowicz, opened a fresh era of creative work in Celtic comparative linguistics and the study of the verbal system of Indo-European languages. <mask>, in a sense, completed his contribution to this area with his Indogermanische Grammatik, vol. 3, part 1: Geschichte der indogermanischen Verbalflexion (1969).Meanwhile, his work on Indo-European vocabulary and poetics yielded a large number of articles on (among others) Celtic, Anatolian, Greek, Italic and Indo-Iranian material, presented directly in his Selected Writings and indirectly in his book, How to Kill a Dragon: Aspects of Indo-European Poetics (Oxford University Press, 1995). He contributed his expertise on Indo-European languages to the first edition of The American Heritage Dictionary of the English Language and edited The American Heritage Dictionary of Indo-European Roots (). He also pointed out that of all the Celtic languages, Old Irish is the closest match to the theorized Proto-Indo European mother tongue and that Old Irish represents an extraordinary ancient language whose structure can only be compared with that of Vedic Sanskrit. How to Kill a Dragon: Aspects of Indo-European Poetics
How to Kill a Dragon: Aspects of Indo-European Poetics was published on November 16, 1995 through Oxford University Press and attempted to establish a formulaic method of comparative linguistics which exemplified the importance of the poetic formula in order to better trace the development of Indo-European languages by working backwards and identifying patterns from their mother language, Proto-Indo-European. The book is divided into two main halves, the first of which acts as a definition and introduction the study of Indo-European poetics which is expanded upon by implementing <mask>' idea of the "dragon-slaying myth" and defending this concept through a number of case studies involving languages connected by a common theme. <mask> expands upon the "dragon-slaying myth" in part two of the text by offering new research into his proposed formula of "HERO SLAY SERPENT", he also attempts to reconstruct an example of Proto-Indo-European through the comparative method of historical linguistics. Lingua Franca reviewer Marc L'Heureux commented that <mask> also implements historical evidence to favor the development of language such as the relationship between the patron and the poet.He further opined that through the ceremonious delivery from the poet, the word choices became preserved as historical evidence of the language in question. Thus the poet was not only a wielder of great power, according to <mask> as the patron's prestige was inherently tied to the poet's prowess, but a recorder of language that has allowed for research to be conducted in order to better understand the development of ancient languages. How to Kill a Dragon received favorable acclaim and is now considered to be a definitive text which transformed the study of Indo-European poetics. How to Kill a Dragon earned <mask> the 1998 Goodwin Award for Classical Studies. Legacy and awards
 Honorary Member of the Royal Irish Academy (1968)
 Fellow of the American Academy of Arts and Sciences (1973)
 Member of the American Philosophical Society (1975)
 Senior Fellowship for Independent Study and Research from the National Endowment for the Humanities (1984–85)
 Corresponding Fellow of the British Academy (1987)
 Académie des Inscriptions et Belles-Lettres, Correspondant Etranger (1990)
 Guggenheim Fellowships for demonstration of exceptional capacity for productive scholarship and exceptional creative ability in the arts in the field of linguistics (1991)
 Goodwin Award for Classical Studies for How to Kill a Dragon (1998)
 President of the Linguistic Society of America in 1988
 Associé Etranger, Membre de l'Institut (1999)

Death
<mask> died in his sleep at the age of 80 in Los Angeles, California on March 20, 2013. He was the Distinguished Professor in Residence of the Department of Classics and the Program in Indo-European Studies at the University of California, Los Angeles, where he had moved in 2003 after retiring from Harvard University as Victor S. Thomas Professor of Linguistics and the Classics. Published works
 "Review of Kenneth Jackson, Language and History in Early Britain: A Chronological Survey of the Britannic Languages, First to Twelfth Century A.D.," Language 30 (1954) 513–18;  P. Guiraud, Bibliographie critique de la statistique linguistique rev.& completed by D. Houchin, J. Puhvel & Watkins under the direction of J. Whatmough (Utrecht, 1954). REVS: BSL L 1954,2 44–46 Cohen; Emerita XXIV 1956 187 Tovar
 "The Phonemics of Gaulish: The Dialect of Narbonensis," Language 31 (1955) 9–19
 "Preliminaries to a Historical and Comparative Analysis of the Syntax of the Old Irish Verb," Celtica 6 (1963) 1–49
 "Indo-European Metrics and Archaic Irish Verse," Celtica 6 (1963) 194–249; "Lat. nox, by night. A Problem in Syntactic Reconstruction," Symbolae linguisticae in honorem J. Kuryłowicz, ed. A. Heinz (Wrocław, 1965) 351–358
 "An Indo-European Construction in Greek and Latin," HSCP 71 (1966) 115–119; J. Kuryłowicz, Indogermanische Grammatik, III, 1. Teil : Formenlehre : Geschichte der indogermanischen Verbalflexion by <mask> (Heidelberg: Carl Winter Universitätsverlag, 1969) REV. Paideia XXX 1975 382–386 Pisani; WZHalle XXI 1972, 1 99–102 Barschel | DLZ XCII 1971 849–851 Sternemann | Language XLVIII 1972 687–695 Wyatt
 "The Indo-European Origin of English," The American Heritage Dictionary of the English Language New York: American Heritage and Houghton Mifflin, 1969) xix-xx
 "Indo-European and the Indo Europeans," ibid., 1496–502; "Indo-European Roots," ibid., 1505–50
 "A Latin-Hittite Etymology," Language 45 (1969) 235–242
 "A Further Remark of Lachmann's Law," HSCP 74 (1970) 55–65
 "On the Family of arceō, ἀρκέω, and Hittite h⌣ark-," HSCP 74 (1970) 67–74
 "An Indo-European Agricultural Term, Latin ador, Hittite h⌣at-," HSCP 77 (1973) 187–194
 "Etyma Enniana," HSCP 77 (1973) 195–206
 "Latin suppus," JIES 1 (1973) 394–399
 "I.-E. Star," Sprache 20 (1974) 10–14
 "God," Antiquitates Indogermanicae.Studien zur indogermanischen Altertumskunde und zur Sprach- und Kulturgeschichte der indogermanischen Völker. Gedenkschrift für Hermann Guentert zur 25. Wiederkehr seines Todestages am 23. April 1973, ed. M. Mayrhofer, W. Meid, B. Schlerath & R. Schmitt (Innsbruck, 1974) 101–110
 "La famille indo-européenne de grec ὄρχις. Linguistique, poétique et mythologie," BSL 70 (1975) 11–26
 "Latin ador, Hittite hat- Again. Addenda to HSCP LXXVII 187–193," HSCP 79 (1975) 181–187; "Latin iouiste et le vocabulaire religieux indo-européen," Mélanges offerts à E. Benveniste (Paris, 1975) 527–534; "La désignation indo-européenne du tabou," Langue, discours, société.Pour Émile Benveniste ed. J. Kristeva, J.C. Milner, & N. Ruwet (Paris, 1975) 208–214
 "Towards Proto-Indo-European Syntax: Problems and Pseudo-Problems," Chicago Linguistic Society (Parasession on diachronic syntax) 12.2 (1976) 305–26
 "Observations on the Nestor's Cup Inscription," HSCP 80 (1976) 25–40
 "Syntax and Metrics in the Dipylon Vase Inscription," Studies in Greek, Italic, and Indo-European Linguistics Offered to Leonard R. Palmer on the Occasion of his Seventieth Birthday June 5, 1976, ed. Davies A. Morpurgo & W. Meid (Innsbruck, 1976) 431–441
 "À propos de μῆνις," BSL 72, 1 (1977) 187–209; "ἀνόστεος ὁν πόδα τένδει," Étrennes de septantaine. Travaux de linguistique et de grammaire comparée offerts à Michel Lejeune (Paris, 1978) 231–235
 "La désignation indo-européenne du tabou," Langue, discours, société. Pour Émile Benveniste ed. J. Kristeva, J.C. Milner, & N. Ruwet (Paris, 1975) 208–214
 "Let Us Now Praise Famous Grains," PAPS 122 (1978) 9–17; "A Greco-Hittite Etymology," Serta Indogermanica. Festschrift für Günter Neumann zum 60.Geburtstag, ed. J. Tischler (Innsbruck, 1982) 455–457
 "The Language of the Trojans," Troy and the Trojan War. A Symposium Held at Bryn Mawr College, October, 1984, ed. M.T. Mellink (Bryn Mawr, PA, 1986) 45–62
 "The Name of Meleager," O-o-pe-ro-si. Festschrift für Ernst Risch zum 75. Geburtstag, ed.A. Etter (Berlin, 1986) 320–328
 "Questions linguistiques de poétique, de mythologie et de pré-droit en indo-européen," LALIES 5 (1987) 3–29
 "'In the Interstices of Procedure.' Indo-European Legal Language and Comparative Law," Studien zum indogermanischen Wortschatz, ed. Wolfgang Meid (Innsbruck, 1987) 305–314; Studies in Memory of Warren Cowgill (1929–1985). Papers from the Fourth East Coast Indo-European Conference, Cornell University, June 6–9, 1986 (ed.) (Berlin & New York, 1987) REVS. Peter E. Knox and Clive Foss (Stuttgart, 1998) 201–211
 The American Heritage Dictionary of Indo-European Roots (revised and ed. ), 2nd ed.(Boston, 2000)
 "A Distant Anatolian Echo in Pindar: the Origin of the Aegis Again," HSCP 100 (2000) 1–14; "L'Anatolie et la Grèce : résonances culturelles, linguistiques et poétiques," CRAI (2000) 1143–1158
 "À la suite des perspectives tracées par Michel Lejeune: aspects du grec et du celtique," CRAI (2001) 213–223
 "An Indo-European Linguistic Area and Its Characteristics: Ancient Anatolia. Areal Diffusion as a Challenge to the Comparative Method? in Areal Diffusion and Genetic Inheritance: Problems in Comparative Linguistics ed. Alexandra Y. Aikhenvald & R.M.W. Dixon (Oxford: Oxford University Press, 2001) 44–63
 "The Golden Bowl: Thoughts on the New Sappho and its Asianic Background," ClAnt 26,2 (2007) 305–325
 "The Erbessos Blues and Other Tales of the Semantics of Case and the Semantics of Love among the Western Greeks," La langue poétique indo-européenne : actes du colloque de travail de la Société des études indo-européennes (Indogermanische Gesellschaft, Society for Indo-European studies), Paris, 22–24 octobre 2003, ed. Georges-Jean Pinault and Daniel Petit (Leuven, 2006) 517–521
 "Hipponactea quaedam," Hesperos: Studies in Ancient Greek Poetry Presented to M. L. West on His Seventieth Birthday, ed. Patrick J. Finglass, Christopher Collard, and Nicholas J. Richardson (Oxford, 2007) 118–125.References

External links

 Essay by <mask> on Indo-European, from The American Heritage Dictionary of the English Language
 How to Kill a Dragon: Aspects of Indo-European Poetics, limited preview

1933 births
2013 deaths
Linguists from the United States
Celtic studies scholars
Historical linguists
Harvard University faculty
Indo-Europeanists
Linguists of Indo-European languages
University of California, Los Angeles faculty
Fellows of the British Academy
Harvard Graduate School of Arts and Sciences alumni
Linguistic Society of America presidents
Fellows of the American Academy of Arts and Sciences
Friends Seminary alumni

masks:
Calvert Watkins
Calvert Watkins
Ralph James Watkins
Watkins
Watkins
Watkins
Watkins
Watkins
Watkins
Watkins
Watkins
Watkins
Watkins
Watkins
Watkins
Watkins
Watkins
Watkins
Watkins
Watkins
Calvert Watkins
Watkins
Calvert Watkins


text_chunks:
<mask> or  <mask> (1796–1860) () was a rabbi and author, born in Amsterdam, the son of <mask>. Family history and education
<mask> was descended from a distinguished family of Sephardim, who emigrated from Spain in 1492 on the expulsion of the Jews from that country by Ferdinand and Isabella. The family seems to have settled mainly in Holland and includes, among  others, the preacher <mask> (1675-1735) and Dr. <mask> (1735-1816), who served as court physician to William, Prince of Orange. At just eleven years of age, <mask> entered as a student to the bet ha-midrash in Amsterdam, studying diligently, and after a course of nine years received his rabbinical diploma from Haham d'Azevdo of Amsterdam who stated that <mask> was "to the fullest extent competent to discharge rabbinical functions...and assume the ministerial office in every city." He also engaged in secular studies. In addition to the Spanish and Portuguese languages, which were spoken at home, he read both German and French literature. Moreover, he studied mathematics and astronomy, and his great-uncle, Dr. <mask>, introduced him to medicine.He became proficient in drawing, sketching, and music as well. Rabbinic career
In 1818, D.A<mask> <mask> was called to London to become one of the ministers of the Bevis Marks Congregation under Haham Raphael Meldola (who would also later become his father-in-law). <mask>'s addresses before the Society for the Cultivation of Hebrew Literature led the mahamad (board of directors of the congregation) to appoint him to deliver discourses in the vernacular, and on March 26, 1831, he preached the first sermon in English ever heard within the walls of Bevis Marks Synagogue (all previous ones being spoken in Spanish or Portuguese). His discourses were subsequently published by the mahamad. Of his style, one observer wrote: "Though a scholar and a thinker, yet he...used the most unpedantic terms and assumed a quiet, colloquial manner." Publications
D.A.<mask>'s most significant work was the publication in 1836 and again in 1852 of the prayer book, Translation of the Forms of Prayer According to the Custom of the Spanish and Portuguese Jews. This undertaking, which received the encouragement and financial support of Sir Moses Montefiore, "was a remarkable feat of scholarship" and formed the basis for several subsequent editions. Other writings by D.A<mask> <mask> include:

In 1829, he issued his first work, The Blessings, with an introductory essay on the nature and duty of thanksgiving. In 1837, <mask> published The Proper Names in Scripture; about the same time he wrote Moses the Prophet, <mask>, and <mask>, and in 1838 Notes on Basnage and Milman's History of the Jews. In 1839, collaborating with M. J. Raphall, he translated eighteen treatises of the Mishnah. The work had a strange fate, for, the manuscript having reached the hands of a member of the Burton Street Synagogue, it was published in 1842, without the permission of the authors, before it had been revised or corrected for the press, and with an anonymous preface expressing views entirely opposed to those of <mask> and Raphall.In 1840 <mask>, conjointly with Raphall, began the publication of an English translation of the Scriptures, together with a commentary. Only the first volume, Genesis, was published, in 1844. In 1860, he translated into English, in four volumes, the festival prayers according to the custom of the German and Polish Jews. Besides his works in English, <mask> wrote in Hebrew, German, and Dutch. He contributed frequently between 1836 and 1845 to the Allgemeine Zeitung des Judenthums and to Der Orient, and published in German A Biography of Ephraim Luzzato and a Biography of Distinguished Israelites in England. His chief work in Dutch was his Biography of Isaac Samuel Reggio, published in 1855 and afterward translated into English. Organizational activities
<mask> was instrumental in organizing the Association for the Promotion of Jewish Literature and other societies of a similar character.Musical contributions
D.A<mask> <mask> had a lifelong passion for music. As his son Abraham relates, "nature had gifted him with a fine ear and a most melodious voice." In 1857, he published The Ancient Melodies of the Spanish and Portuguese Jews, including a historical account of the poets, poetry, and melodies of the Sephardic liturgy. In the notation of the melodies he was assisted by Emanuel Aguilar, the composer. Additionally, <mask> composed a melody for Adon Olam that is still used in both Sephardi and Ashkenazi synagogues in the United Kingdom and elsewhere. Family life
<mask> was married in 1819 to Rica/Rebecca <mask> Meldola (born Amsterdam 1796 died London 1866, eldest daughter of Haham Raphael Meldola, who was born in Florence and was also accomplished in her study of religion and languages.They had a fruitful marriage, producing six sons and nine daughters. Among the sons was Rabbi Abraham <mask>, who served as minister at the Spanish and Portuguese Synagogue of Montreal and <mask> <mask>, who in 1863 was elected to succeed his father as minister of the Bevis Marks. One daughter, Jael, married Solomon Belais, son of Rabbi Abraham Belais, at one time treasurer to the Bey of Tunis. Another daughter, Eliza, married Rev. Abraham Pereira <mask> and was the mother of Rabbi Dr. <mask> <mask> <mask> and Rabbi Dr. Henry Pereira <mask>. Of the other daughters, five married in London, one being Annette Hannah <mask> born 1827, London and who married in London in 1863 Maurice Moses Cohen Rogers born 1831 in Leewarden. Their grandson Dr Keith Bernard <mask> Rogers, born London 1910, died London 2005.Dr Rogers "Until 1941 he was a research assistant under Sir Almoth Wright and Sir <mask>, part of the illustrious team in the inoculation department at St Mary’s, concerned with immunology, early blood transfusions, and the development of sulphonamides, and, above all, penicillin. Indeed, Keith Rogers was probably the first patient to be treated clinically with penicillin ointment. He was to captain the London University rifle team in an important match when he developed severe conjunctivitis. The penicillin worked and the match was won." <mask> <mask> died at Shadwell, near London, in 1860. References

External links

1796 births
1860 deaths
Rabbis from Amsterdam
Dutch Orthodox rabbis
Dutch people of Spanish-Jewish descent
Dutch Sephardi Jews
Sephardi rabbis
19th-century rabbis

masks:
David de Aaron de Sola
David Aaron de Sola
Aaron de Sola
David Aaron De Sola
Isaac de Sola
Benjamin de Sola
David Aaron de Sola
de Sola
Benjamin de Sola
. de
Sola
De Sola
de Sola
. de
Sola
de Sola
Moses Maimonides
Moses Mendelssohn
de Sola
de Sola
de Sola
De Sola
. de
Sola
de Sola
De Sola
de Hezekiah
de Sola
Samuel de
Sola
Mendes
Frederick de
Sola
Mendes
Mendes
de Sola
de Sola
Alexander Fleming
David de
Sola


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<mask> (born August 2, 1991) is a Canadian mixed martial arts (MMA) fighter who is currently signed to the UFC Ultimate Fighting Championship Heavyweight division. He had previously won the Unified MMA Heavyweight Championship twice. He has previously competed in M-1 Global and King of the Cage. Background
<mask> was born and raised in Bonnyville, Alberta, Canada, by a gym owner mother and oil field worker father. <mask> was homeschooled until high school. He has a brother, Landon, who is also a professional mixed martial artist. He trained karate for almost a decade while growing up, reaching a black belt in the discipline.After graduating from the high school, Boser drove trucks to local oil fields. Mixed martial arts career

Early career
Without any real training besides his karate background, Boser made his professional mixed martial arts debut in 2012. After the victory in his debut, Boser started training Brazilian jiu-jitsu for his sophomore bout which he won via recently learned submission skills. In 2013 he moved to Edmonton, Alberta to pursue his mixed martial arts career while working as a bouncer for six years. After scraping by financially for a while in 2016, Boser decided to focus on other options and took an Emergency Medical Technician course with hopes of becoming a paramedic. However the hunger to compete would bring him back to training MMA full time, leading to Boser traveling around the world competing in 9 different countries. Over the next seven years, he earned a respectable record of 16–5–1.During this time he became a two-time Unified MMA Heavyweight Champion and defending the belt three times. and has also fought around the world. Promotions such as fighting for Absolute Championship Akhmat and M-1 Global has taken him to Kazakhstan, Russia, United Arab Emirates, England and Australia. Having previously defended his Heavyweight Championship for the third time, when Boser was offered to sign with the Ultimate Fighting Championship in 2019. Ultimate Fighting Championship
In his debut, <mask> was set to face Brazilian competitor Giacomo Lemos on July 27, 2019 at UFC 240 in Edmonton, Alberta. However his debut would be delayed as his opponent tested positive for a banned substance and the fight was called off due to a ruling from the United States Anti-Doping Agency. Boser's debut eventually took place on October 18, 2019 at UFC on ESPN 6 against Daniel Spitz.He won the bout via unanimous decision earning him his first victory in the promotion. <mask> next faced Ciryl Gane on December 21, 2019 at UFC Fight Night 165. He lost the fight via unanimous decision. <mask> was scheduled to face Jeff Hughes on March 28, 2020 at UFC on ESPN: Ngannou vs. Rozenstruik. However, the event was cancelled due to the COVID-19 pandemic. Returning to action amidst the COVID-19 pandemic, <mask> faced Philipe Lins at UFC on ESPN: Poirier vs. Hooker on June 27, 2020. He won the fight via knockout in the first round.This win earned him the Performance of the Night award. As the first fight of his new four-fight contract, <mask> next faced Raphael Pessoa at UFC on ESPN: Whittaker vs. Till on July 26, 2020. Boser won the fight via technical knockout in round two. This win earned him the Performance of the Night award. <mask> was expected to face Andrei Arlovski on October 4, 2020 at UFC on ESPN: Holm vs. Aldana. However a sickness with Arlovski pushed the bout to UFC on ESPN: Santos vs. Teixeira. Boser lost the fight via unanimous decision.<mask> faced Ilir Latifi on June 5, 2021 at UFC Fight Night: Rozenstruik vs. Sakai. He lost the fight via split decision. As the first fight of his new, four-fight contract <mask> faced Ovince Saint Preux on June 26, 2021 at UFC Fight Night 190. He won the fight via knockout in the second round. <mask> was scheduled to face Sergei Pavlovich on December 4, 2021 at UFC on ESPN 31. However due to travel issues, the bout was scrapped. <mask> is scheduled to face  Rodrigo Nascimento on April 23, 2022, at UFC Fight Night 207.87
Sportspeople from Alberta
Ultimate Fighting Championship male fighters

masks:
Tanner Vilbon Nicholas Boser
Boser
Tanner
Boser
Boser
Boser
Boser
Boser
Boser
Boser
Boser
Boser
Boser