Speech Differences And Stutter Series-Disabled Legend Anthony Quinn

Anthony Quinn was born Antonio Rodolfo Oaxaca Quinn in Chihuahua, Mexico, during the Mexican Revolution. Anthony Quinn was born on 21 April, 1915 and died on 3 June, 2001.

Anthony Quinn was a 2-time Academy Award-winning Mexican-American actor, as well as a painter and writer.  Anthony Quinn starred in numerous critically acclaimed and commercially successful films, including Zorba the Greek and Federico Fellini’s La strada. Anthony Quinn also appeared in Lawrence of Arabia, Viva Zapata!, Lust for Life, Barabbas, Requiem for a Heavyweight, Mohammad, Messenger of God, The Shoes of the Fisherman, and The Guns of Navarone.

Anthony Quinn’s mother, Manuela “Nellie” Oaxaca, was of Aztec ancestry. Anthony Quinn’s father, Francisco Quinn, was born in Mexico to an Irish father and a Mexican mother. Frank Quinn rode with Pancho Villa, but later moved to Los Angeles and became an assistant cameraman at a movie studio. In Anthony Quinn’s autobiography The Original Sin: A Self-Portrait by Anthony Quinn he denied being the son of an “Irish adventurer” and attributed that tale to Hollywood publicists.

When he was 6 years old, Anthony Quinn attended a Catholic church (even thinking he wanted to become a priest). At the age of 11, however, he joined the Pentecostals in the International Church of the Foursquare Gospel (the Pentecostal followers of Aimee Semple McPherson).

Anthony Quinn grew up first in El Paso, Texas, and later the Boyle Heights and the Echo Park areas of Los Angeles, California. Anthony Quinn attended Hammel St. Elementary School, Belvedere Junior High School, Polytechnic High School and finally Belmont High School but left before graduating. Tucson High School in Arizona years many later awarded him an honourary high school diploma.

As a young man Anthony Quinn boxed professionally to earn money, then studied art and architecture under Frank Lloyd Wright, both at Frank Lloyd Wright’s Arizona residence and his Wisconsin studio, Taliesin. The 2 very different men became friends. When Anthony Quinn mentioned he was drawn to acting, Frank Lloyd Wright encouraged him. Anthony Quinn said he had been offered $800 a week by a film studio and didn’t know what to do. Frank Lloyd Wright replied, “Take it, you’ll never make that much with me.”

After a short time performing on the stage, Anthony Quinn launched his film career performing character roles in the 1936 films Parole (his debut) and The Milky Way. Anthony Quinn played “ethnic” villains in Paramount films such as Dangerous to Know (1938) and Road to Morocco. By 1947, he had appeared in over 50 films and had played Indians, Mafia dons, Hawaiian chiefs, Filipino freedom-fighters, Chinese guerrillas, and Arab sheiks, but was still not a major star. Anthony Quinn returned to the theater, even playing Stanley Kowalski in A Streetcar Named Desire on Broadway.

In 1947, he became a naturalized citizen of the United States. Anthony Quinn came back to Hollywood in the early 1950s, specialising in tough roles. Anthony Quinn was cast in a series of B-adventures such as Mask of the Avenger (1951). Anthony Quinn’s big break cane from playing opposite Marlon Brando in Elia Kazan’s Viva Zapata! (1952). Anthony Quinn’s supporting role as Zapata’s brother won Anthony Quinn an Oscar. Anthony Quinn was the 1st Mexican-American to win any Academy Award. Anthony Quinn appeared in several Italian films starting in 1953, turning in one of his best performances as a dim-witted, thuggish and volatile strongman in Federico Fellini’s La strada (1954) opposite Giulietta Masina. Anthony Quinn won his 2nd Oscar for Best Supporting Actor by portraying the painter Gauguin in Vincente Minnelli’s Van Gogh biopic, Lust for Life (1956). The award was remarkable as he was onscreen for only 8 minutes. The following year, he received a Oscar nomination for his part in George Cukor’s Wild Is the Wind. In The River’s Edge (1957), he played the husband of the former girlfriend (played by Debra Paget) of a killer (Ray Milland), who turns up with a stolen fortune and forces Anthony Quinn and Paget at gunpoint to guide him safely to Mexico. Anthony Quinn starred in The Savage Innocents 1959 (film) as Inuk, an Eskimo who finds himself caught between 2 clashing cultures.

Anthony Quinn as Wogan in the trailer for The Black Swan(1942)as the decade ended, Anthony Quinn allowed his age to show and began his transformation into a major character actor. Anthony Quinn’s physique filled out, his hair grayed, and his once smooth, swarthy face weathered became more rugged. Anthony Quinn’s demeanor made him a convincing Greek resistance fighter in The Guns of Navarone (1961), an ideal ex-boxer in Requiem for a Heavyweight, and a natural for the role of Auda ibu Tayi in Lawrence of Arabia (both 1962). That year he also played the title role in Barabbas, based on a novel by Pär Lagerkvist. The success of Zorba the Greek in 1964 was the high water mark of his career and resulted in another Oscar nomination. Other successes include La Vingt-cinquième heure (1967, The Twenty Fifth Hour), with Virna Lisi; The Magus (1968), with Michael Caine and Candice Bergen, and based on the novel by John Fowles; and The Shoes of the Fisherman, where he played a Russian pope. In 1969, he starred in The Secret of Santa Vittoria with Anna Magnani.

Anthony Quinn appeared on Broadway to great acclaim in Becket, as King Henry II to Laurence Olivier’s Thomas Becket in 1960. An erroneous story arose in later years that during the run, Anthony Quinn and Laurence Olivier switched roles and Anthony Quinn played Becket to Laurence Olivier’s King. In fact, Anthony Quinn left the production for a film, never having played Becket, and director Peter Glenville suggested a road tour with Laurence Olivier as Henry. Laurence Olivier happily acceded and Arthur Kennedy took on the role of Becket for the tour and brief return to Broadway.

In 1971, after the success of a TV movie named The City, where Anthony Quinn played Albuquerque Mayor Thomas Jefferson Alcala, he starred in the short-lived (1-season) television drama spin-off The Man in the City. Anthony Quinn’s subsequent television appearances were sporadic (among them Jesus of Nazareth).

In 1977, Anthony Quinn starred in the movie Mohammad, Messenger of God (aka The Message), about the origin of Islam, as Hamzah, a highly revered warrior instrumental in the early stages of Islam. In 1982, he starred in the Lion of the Desert, together with Irene Papas, Oliver Reed, Rod Steiger, and John Gielgud. Anthony Quinn played the real-life Bedouin leader Omar Mukhtar who fought Mussolini’s Italian troops in the deserts of Libya. The film, produced and directed by Moustapha Akkad, is now critically acclaimed, but performed poorly at the box office because of negative publicity in the West at the time of its release, stemming from its having been partially funded by Libya’s Muammar al-Gaddafi. In 1983, he reprised his most famous role, playing Zorba the Greek for 362 performances in a successful revival of the Kander and Ebb musical Zorba.

Anthony Quinn’s film career slowed during the 1990s, but Anthony Quinn nonetheless continued to work steadily, appearing in Revenge (1990), Jungle Fever (1991), Last Action Hero (1993), and A Walk in the Clouds (1995). In 1994, he played Zeus in the five TV movies that led to the syndicated series Hercules: The Legendary Journeys. (However, he did not continue in the actual series, and the role was eventually filled by several other actors).

Throughout his teenage years he won various art competitions in California and focused his studies at Polytechnic High School in Los Angeles on drafting. Later, Anthony Quinn studied briefly under Frank Lloyd Wright through the Taliesin Fellowship—an opportunity created by winning 1st prize in an architectural design contest. Through Frank Lloyd Wright’s recommendation, Anthony Quinn took acting lessons as a form of post-operative speech therapy, which led to an acting career that spanned over 6 decades.

Apart from art classes taken in Chicago during the 1950s, Anthony Quinn never attended art school; nonetheless, taking advantage of books, museums, and amassing a sizable collection, he managed to give himself an effective education in the language of modern art. Although Anthony Quinn remained mostly self-taught, intuitively seeking out and exploring new ideas, there is observable history in his work because he had assiduously studied the modernist masterpieces on view in the galleries of New York, Mexico City, Paris, and London. When filming on location around the world, Anthony Quinn was exposed to regional contemporary art styles exhibited at local galleries and studied art history in each area.

In an endless search for inspiration, he was influenced by his Mexican ancestry, decades of residency in Europe, and lengthy stays in Africa and the Middle East while filming in the 1970s and 1980s.

By the early 1980s, his work had caught the eyes of various gallery owners and was exhibited internationally, in New York, Los Angeles, Paris, and Mexico City. Anthony Quinn’s work is now represented in both public and private collections throughout the world.

Anthony Quinn wrote 2 memoirs, The Original Sin (1972) and One Man Tango (1997), a number of scripts, and a series of unpublished stories currently in the collection of his archive.

Anthony Quinn’s personal life was as volatile and passionate as the characters he played in films. anthony Quinn’s 1st wife was the adopted daughter of Cecil B. DeMille, the actress Katherine DeMille, whom he married in 1937. The couple had 5 children, they are Christopher (born 1939), Christina (born 1 December, 1941), Catalina (born 21 November, 1942), Duncan (born 4 August, 1945), and Valentina (born 26 December, 1952). One of their sons, Christopher, age 2, drowned in the swimming pool of next-door neighbor W.C. Fields. Anthony Quinn and DeMille were divorced in 1965.

The next year, he married costume designer Iolanda Quinn (Jolanda Addolori). They had 3 children they are Francesco (born 22 March, 1962), Danny (born 16 April, 1964), and Lorenzo (born 7 May, 1966). The union ended in 1997, after Anthony Quinn fathered a child with his secretary, Kathy Benvin. Anthony Quinn then married Benvin, with whom he had 2 children, Antonia (born 23 July, 1993) and Ryan Nicholas (born 5 July, 1996). Anthony Quinn and Kathy Benvin remained together until his death.

Anthony Quinn also fathered 3 other children out of wedlock: Alexander Anthony (born 30 December, 1976), Valentina, and Sean Quinn, a New Jersey real estate agent.

Anthony Quinn spent his last years in Bristol, Rhode Island. Anthony Quinn died aged 86 in Boston, Massachusetts from pneumonia and respiratory failure while suffering from throat cancer shortly after completing his role in his last film, Avenging Angelo (2002).

Anthony Quinn’s funeral was held in a Baptist church; late in life, he had joined the Foursquare evangelical Christian community. Anthony Quinn is buried in a family plot near Bristol.

On 5 January, 1982, the Belvedere County Public Library in East Los Angeles was renamed in honour of Anthony Quinn. The present library sits on the site of his family’s former home.

There is an Anthony Quinn Bay and Beach in Rhodes, Dodecanese, Greece, just 2.7 miles (4.3 km) south of the village of Faliraki (aka Falirakion or Falirákion).

The National Council of La Raza gives the Anthony Quinn Award for excellence in motion pictures as an ALMA Award.

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Hearing Impairment Series-Disabled Legend Dr Robert Davila

Dr Robert Davila was born in southern California to Mexican parents who worked in fields and orchards. At the age of 8, he contracted spinal meningitis and became deaf. When his mother learned about a school for the deaf in northern California, she sent Roberto (his childhood name) alone on a journey to the California School for the Deaf in Berkeley (which later moved to California School for the Deaf, Fremont).

Dr Robert Davila graduated from Gallaudet University, with a Bachelor’s in Education. Dr Robert Davila then went to Hunter College with a Master’s in Special Education. To complete his education, he attended and graduated from Syracuse University with a Ph.D. in Educational Technology. Dr Robert Davila also has received honorary degrees from Gallaudet, RIT, Stonehill College, and Hunter College.

Dr Robert Davila served as Assistant Secretary for the Office of Special Education and Rehabilitative Services of the United States from 1989 to 1993 during the administration of George H.W. Bush. Educationally, Dr Robert Davila has experience teaching high school math, being an assistant principal, serving as a K-12 superintendent. Dr Robert Davila worked as professor, a college administrator and Vice President of Gallaudet University in the 1970s and ’80s. Dr Robert Davila was headmaster of the New York School for the Deaf at White Plains 1993 to 1996 as well as CEO of the National Technical Institute for the Deaf 1996 from 2006. On 10 December, 2006 Robert Davila was named Interim President of Gallaudet, enacted at the start of 2007.

Dr Robert Davila is the 9th president of Gallaudet University, the world’s only university in which all programs and services are specifically designed to accommodate deaf and hard of hearing students. Dr Robert Davila’s appointment came after the wake of the Unity for Gallaudet Movement protests of 2006, when many students, staff, and alumni objected to the installation of president-designate Jane Fernandes. Although he is officially the university’s 9th president, the Board of Trustees has limited his term to 18-24 months.

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Hearing Impairment Series-Disabled Legend Luis Bunuel

Luis Bunuel Portolés was born on 22 February, 1900 in Calanda, province of Teruel in the autonomous community of Aragón, Spain and died on 29 July, 1983 In Mexico City, Mexico. Luis was a Spanish-born filmmaker and naturalized Mexican who worked mainly in Mexico and France, but also in his native Spain and in the United States. Luis is considered one of Mexico’s finest directors, and one of the most important directors in the history of cinema.

Luis was born to Leonardo Buñuel and María Portolés; he had 2 brothers, Alfonso and Leonardo, and 4 sisters, Alicia, Concepción, Margarita and María. Luis had a strict Jesuit education at the Colegio del Salvador in Zaragoza from which he was expelled. Later he went to university in Madrid. While studying at the University of Madrid (current-day Universidad Complutense de Madrid) he became a very close friend of painter Salvador Dalí and poet Federico García Lorca, among other important Spanish artists living in the Residencia de Estudiantes. Luis first studied the natural sciences and agronomy, then engineering, but later switched to philosophy. In 1925, he moved to Paris where he began work as a secretary in an organisation called the International Society of Intellectual Cooperation. Luis later found work in France as a director’s assistant to Jean Epstein on Mauprat and Mario Nalpas on La Sirène des Tropiques and he co-wrote and then filmed a 16 minute short film Un chien andalou (1929) with Dalí. This film, featuring a series of startling and sometimes horrifying images of Freudian nature (such as what appears to be the slow slicing of a woman’s eyeball with a razor blade) was enthusiastically received by French surrealists of the time, and continues to be shown regularly in film societies to this day.

Luis followed this with L’Âge d’or (1930), partly based on the Marquis de Sade’s 120 Days of Sodom. The film was begun as a 2nd collaboration with Dalí but became Luis’ solo project after a falling-out they had before filming began. During this film he worked around his technical ignorance by filming mostly in sequence and using nearly every foot of film that he shot. L’Âge d’or was read to be an attack on Catholicism, and thus, precipitated an even larger scandal than Un chien andalou. The right-wing press criticized the film and the police placed a ban on it that lasted 50 years.

Following L’Âge d’or, Luis returned to Spain and directed Las Hurdes: Tierra Sin Pan (Land Without Bread, 1933), a documentary on peasant life. This was a convulse period which led, in 1936, to the Spanish Civil War. The times were changing quickly and Luis could see that someone with his political and artistic sensibilities would have no place in a fascist Spain. Luis co-wrote and produced a documentary short about the changing political climes in Spain entitled España 1936.

After the Spanish Civil War, Luis was exiled and moved to the United States. Luis moved to Hollywood to capitalise on the short-lived fad of producing completely new foreign-language versions of hit films for sales abroad. After Luis worked on a few Spanish-language remakes, the industry eventually turned instead to re-dubbing of dialogue. Luis then left Hollywood for New York, getting a job at the Museum of Modern Art (where he re-edited a shorter version of Leni Riefenstahl’s documentary on Hitler, Triumph of the Will).

In his autobiography, The Secret Life of Salvador Dalí (1942), Dalí suggested that he had split with Luis because the latter was a Communist and an atheist. Luis was fired (or resigned) from MOMA, supposedly after Cardinal Spellman of New York went to see Iris Barry, head of the film department at MOMA. Luis then went back to Hollywood where he worked in the dubbing department of Warner Brothers from 1942 to 1946. In his 1982 autobiography [My Last Breath], Luis wrote that he submitted a treatment to Warners about a disembodied hand which was later adapted into The Beast with Five Fingers (1946) with Peter Lorre. Luis also wrote that, over the years, he rejected Dalí’s attempts at reconciliation.

In 1972, Luis, along with his screenwriter Jean-Claude Carrière and producer Serge Silberman, was invited by George Cukor to his house. This gathering was particularly memorable and other invitees included Alfred Hitchcock, Rouben Mamoulian, Robert Mulligan, George Stevens, Billy Wilder, Robert Wise and William Wyler.

Luis arrived in Mexico in 1946 and got the Mexican citizenship in 1949. The first film he directed there was the Gran Casino (1946), produced by Oscar Dancigers. Luis found the plot boring and it was not hugely successful. Luis later again collaborated with Dancigers in creating El Gran Calavera (1949), a successful film starring Fernando Soler. As Luis himself has stated, he learned the techniques of directing and editing while shooting El Gran Calavera. Its success at the box office encouraged Oscar Dancigers to accept the production of a more ambitious film for which Luis, apart from writing the script, had complete freedom to direct. The result was his critically acclaimed Los Olvidados (1950), which was recently considered by UNESCO as part of the world’s cultural heritage. Los Olvidados (and its triumph at Cannes) made Luis an instant world celebrity and the most important Spanish-speaking film director in the world.

Luis spent most of his later life in Mexico, where he directed 21 films. Those films included:

Él (1953)

Ensayo de un crimen (The Criminal Life of Archibaldo de la Cruz) (1955)

Nazarín (1959) (based on a novel by Spain’s Benito Pérez Galdós, and adapted by Luis to a Mexican context)

Viridiana (1961) (coproduction Mexico-Spain and winner at Cannes)

El Ángel Exterminador (The Exterminating Angel) (1962)

Simón del desierto (Simon of the Desert) (1965).

After the golden age of the Mexican film industry ended, Luis started to work in France along with Silberman and Carrière. During this “French Period”, Luis directed some of his best-known works: Le Journal d’une femme de chambre (Diary of a Chambermaid), free adaptation of the famous Octave Mirbeau’s novel Le journal d’une femme de chambre ; Belle de Jour ; Cet obscur objet du désir (That Obscure Object of Desire) ; and Le Charme discret de la bourgeoisie (The Discreet Charm of the Bourgeoisie) – as well as some lesser-known films such as The Phantom of Liberty and La Voie lactée (The Milky Way).

After the release of Cet obscur objet du désir (1977) he retired from film making, and wrote (with Carrière) an autobiography, Mon Dernier Soupir (My Last Sigh), published in 1982, which provides an account of Luis’s life, friends, and family as well as a representation of his eccentric personality. In it he recounts dreams, encounters with many well known writers, actors, and artists such as Pablo Picasso and Charlie Chaplin, and antics such as dressing up as a nun and walking around town. As one might deduce from these antics, Luis was famous for his atheism. In a 1960 interview with Michele Manceaux in L’Express, Luis famously declared: “I am still, thank God, an atheist.”

Luis almost seemed to repudiate this statement in a 1977 article in The New Yorker. “I’m not a Christian, but I’m not an atheist, either”, he said. “I’m weary of hearing that accidental old aphorism of mine, ‘I’m an atheist, thank God.’ It’s outworn. Dead leaves. In 1951, I made a small film called Mexican Bus Ride, about a village too poor to support a church and a priest. The place was serene, because no one suffered from guilt. It’s guilt we must escape from, not God.”

Luis married Jeanne Rucar in a town hall in Paris in 1934 and they remained married throughout his life. Luis’s sons are Rafael and Juan Luis Buñuel. Diego Buñuel, filmmaker and host of the National Geographic Channel’s Don’t Tell my Mother I am in… series, is his grandson.

Luis Buñuel’s films were famous for their surreal imagery; they include scenes in which chickens populate nightmares, women grow beards, and aspiring saints are desired by luscious women. Even in the many movies he made for hire (rather than for his own creative reasons), such as Susana, Robinson Crusoe, and The Great Madcap, he always added his trademark of disturbing and surreal images. Running through his own films is a backbone of surrealism; Luis’s world is one in which an entire dinner party suddenly finds themselves inexplicably unable to leave the room and go home, a bad dream hands a man a letter which he brings to the doctor the next day, and where the devil, if unable to tempt a saint with a pretty girl, will fly him to a disco. An example of a more Dada influence can be found in Cet obscur objet du désir, when Mathieu closes his eyes and has his valet spin him around and direct him to a map on the wall.

Luis never explained or promoted his work. On one occasion, when his son was interviewed about The Exterminating Angel, Luis instructed him to give facetious answers; for example, when asked about the presence of a bear in the socialites’ house, Luis fils claimed it was because his father liked bears. Similarly, the several repeated scenes in the film were explained as having been put there to increase the running time.

Many of his films were openly critical of middle class morals and organised religion, mocking the Roman Catholic Church for hypocrisy. Many of his most famous films demonstrate this:

Un chien andalou (An Andalusian Dog, 1929) — A man drags pianos, upon which are piled 2 dead donkeys, 2 priests, and the tablets of The Ten Commandments.

L’Âge d’or (The Golden Age, 1930) — A bishop is thrown out a window, and in the final scene one of the culprits of the 120 days of Sodom is portrayed by an actor dressed in a way that he would be recognised as Jesus.

Ensayo de un crimen (The Criminal Life of Archibald de la Cruz, 1955) — A man dreams of murdering his wife while she’s praying in bed dressed all in white.

Simón del desierto (Simon of the Desert , 1965) — The devil tempts a saint by taking the form of a bare-breasted girl singing and showing off her legs. At the end of the film, the saint abandons his ascetic life to hang out in a jazz club.

Nazarin (1959) — The pious lead character wreaks ruin through his attempts at charity.

Viridiana (1961) — A well-meaning young nun tries unsuccessfully to help the poor. Also there is is a scene in the film as The Last Supper (of Leonardo Da Vinci).

La Voie Lactée (1969) — Two men travel the ancient pilgrimage road to Santiago de Compostela and meet embodiments of various heresies along the way. One dreams of anarchists shooting the Pope.
The story of the making of Viridiana is illustrative. Luis’s earlier Spanish and French films from the 1930s were regarded as cinema landmarks — Un Chien Andalou, L’Âge d’or, and Las Hurdes (also known as Tierra sin Pan or Land Without Bread) (1933). The advent of the Spanish Civil War in 1936, however, caused the expatriation of many artists and intellectuals from the fascist dictatorship of Franco, whose military revolt and rise to power had had the strong backing of the Spanish Catholic hierarchy.

Had Luis stayed in Spain, his fate might have been the same as that of his friend, poet Federico García Lorca, who was assassinated at the outset of Franco’s military revolt. After some years of artistic silence forced by the difficult circumstances of his expatriation, Luis, then residing in Mexico, returned in full force to writing and directing with some of his best films, which once more won him international acclaim.

In 1960, for political propaganda reasons, Franco instructed his minister of culture to invite the country’s most famous filmmaker to return to Spain to direct a film of his choice. Luis accepted and proceeded to make Viridiana, promptly departing from the country after finishing the film, but leaving a few official copies. After viewing them, the copies were burned by the dictator’s authorities. The minister of culture was reprimanded for having passed the screenplay in the first place. A copy of Viridiana, however, had been smuggled to France, where it proceeded to win the Palme D’Or of the Cannes International Film Festival. The film was banned in Spain, but got international attention and praise (with some exceptions). The Vatican’s official press organ, l’Osservatore Romano, published an article calling Viridiana an insult not only to Catholicism, but to Christianity itself.

Luis’s style of directing was extremely economical. Luis shot films in a few weeks, never deviating from his script and shooting in order as much as possible to minimize editing time. Luis told actors as little as possible, and limited his directions mostly to physical movements (“move to the right”, “walk down the hall and go through that door”, etc.). Luis often refused to answer actors’ questions and was known to simply turn off his hearing aid on the set; though they found it difficult at the time, many actors who worked with him acknowledged later that his approach made for fresh and excellent performances.

Luis preferred scenes which could simply be pieced together end-to-end in the editing room, resulting in long, mobile, wide shots which followed the action of the scene. Examples are especially present in his French films. For example, at the restaurant / ski resort in Belle de jour, Séverin, Pierre, and Henri are conversing at a table. Luis cuts away from their conversation to 2 young women who walk down a few steps and proceed through the restaurant, passing behind Séverin, Pierre, and Henri, at which point the camera stops and the young women walk out of frame. Henri then comments on the women and the conversation at the table progresses from there.

Luis disliked non-diegetic music, and avoided it in his films, though traditional drums from Calanda sound in most of his films. The films of his French era were not scored and some (Belle de jour, Diary of a Chambermaid) contain absolutely no music whatsoever. Belle de Jour does, however, feature (potentially) non-diegetic sound effects, believed by some to be clues as to whether or not the current scene is a dream.

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Spina Bifida Series-Disabled Legend Frida Kahlo

Frida Kahlo was born on 6 July, 1907 and died on 13 July 1954. Frida was a Mexican painter, who has achieved great international popularity. She painted using vibrant colors in a style that was influenced by indigenous cultures of Mexico as well as European influences that include Realism, Symbolism, and Surrealism. Kahlo contracted polio at age six, which left her right leg looking thinner sometimes than the other (a deformity Kahlo hid by wearing long skirts). It has also been conjectured that she also suffered from spina bifida, a congenital disease that would have affected both spinal and leg development.

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