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<mask> (November 7, 1916 – July 28, 2001) was an American political scientist who wrote about the politics of natural resources, advanced a seminal theory of the "politics of getting", and had a number of significant roles in his public and academic career. He was born in Milwaukee, Wisconsin to Eugene F. and <mask>. He pioneered the revival of the study of political economy in the United States with publication of Natural Resources and the Political Struggle, and later authored more than fifty monographs and studies on the political economy and public administration of environmental resources. His scholarship explored the politics of natural resources and environmental policy formation and administration, with emphases in national energy policy, urban water planning and management, land use planning and controls, national forest management, and citizen participation in administrative processes. Wengert helped establish the doctoral program in Environmental Politics and Policy at Colorado State University; published numerous notable scholarly books, research monographs, journal articles and chapters in anthologies; served as a consultant to government agencies, and received numerous awards and honors. He died at age 84 in Stoughton, Wisconsin. Early life and education
<mask> was born in Milwaukee, Wisconsin on November 7, 1916 to Eugene F. and <mask>.During his education he attained degrees in several different fields. He attended Concordia College in Milwaukee during the period 1930–36, and received a bachelor's degree in political science from the University of Wisconsin in 1938 and a master's degree from the Fletcher School of Law and Diplomacy at Tufts University in 1939. He served as an ensign in the U.S. Navy Reserve during 1944–45. Returning to the University of Wisconsin, he was awarded a degree in law from its University of Wisconsin Law School in 1942, and a doctorate in political science in 1947. He was also a member of the Wisconsin Bar Association. Wengert married Janet Mueller in 1940 and they raised three children: Eugene M., Christine Ann (Davis), and Timothy John. Public service and academic career
Wengert was employed in several positions by the Tennessee Valley Authority (1941–48); was a member of the Program Staff in the Office of the Secretary, U.S. Department of the Interior (1951–52); was a Research Associate for Resources for the Future (1956), and served as Deputy Director of the National Recreation Survey of the Outdoor Recreation Resources Review Commission (1959–60), which provided the basis for Interior Secretary Stewart Udall's successful program for quadrupling the acreage of the National Park System in eight years, and for enactment of the Land and Water Conservation Fund Act of 1965, providing money for recreational land acquisition.He also served as a member of the Policy Analysis Staff in the Office of the Chief, U.S. Forest Service (1978–79). Wengert began his academic career as a member of the faculty of City College of New York (1948–51); was Professor of Political Science and Chair of the Social Science Department at North Dakota State University (1952–56); Professor of Public Administration at the University of Maryland, College Park (1956–59); Professor and Chair of the Department of Political Science at Wayne State University (1960–68); Visiting Professor of Public Administration at Pennsylvania State University (1968–69), and Professor of Political Science at Colorado State University (1969–87), where with Henry P. Caulfield, Jr. and Phillip O. Foss he helped establish its doctoral program in Environmental Politics and Policy. During this period he also served as Visiting Research Professor at the U.S. Army Engineering Institute for Water Resources (1969–70), was a Summer Fellow at Fonds für Umweltstudien, in Bonn, Germany (1973), and lectured at the University of Sarajevo in 1978. Wengert's scholarship explored the politics of natural resources and environmental policy formation and administration, with emphases in national energy policy, urban water planning and management, land use planning and controls, national forest management, and citizen participation in administrative processes. At a time when environmental issues were nascent in the public consciousness, Wengert was one of the few political scientists applying their skills in this area. He achieved some early renown when his book Natural Resources and the Political Struggle which pioneered the revival of political economy in the United States found some popularity among scholars in 1955, but he is probably best known as coeditor and contributor of a timely anthology about the energy crisis that appeared coincidentally during the Arab Oil Embargo of 1973, published by the prestigious American Academy of Political and Social Science. Later in his career he advanced a seminal theory of the "politics of getting" in which he asserted: "American politicians will get as much as they can for their constituents, with only casual attention to the merits of the case and to the extent that they are not likely to be held directly accountable for costs".This theory was accepted by others and extended into the study of international relations and comparative politics. Unafraid of courting controversy, he also published a research monograph that argued that the U.S. Forest Service had substituted its professional values for the legal requirements of their Organic Act of 1897 by allowing timber to be clearcut on the national forests for almost 80 years before they were authorized to do so by the National Forest Management Act of 1976. Overall, he authored more than fifty monographs and studies on the political economy and public administration of environmental resources. Recognition of his scholarship is evident in Wengert's invitation to testify as an expert witness on "Public Participation in Scientific and Technical Decision Making" during hearings before a subcommittee of the U.S. House of Representatives Committee on Science and Technology in 1977, an uncommon honor for a university professor. On that occasion, his 1976 Natural Resources Journal article "Citizen Participation: Practice in Search of a Theory" was reprinted in the hearings record in its entirety, something that is also unusual for an academic. Wengert served for many years on the Board of Directors of the Forest History Society (1979–1987) and as Associate Editor of the Water Resources Bulletin (1971–1987; now Journal of the American Water Resources Association). Consultancies
Wengert was Special Advisor to the Government of India on food and agriculture (1959); provided advice to the Federal Aviation Administration (1963);  served as research consultant on environmental and natural resources issues for the School of Natural Resources, University of Michigan (1968–69); on environmental impact assessment of water projects for the U.S. Army Corps of Engineers (1968); with Thorne Ecological Institute (1972–75); Atlantic Richfield Oil Corporation (1973–74); the U.S. Department of the Interior's Office of Water Resources and Technology (1973–75); the National Water Quality Commission (1974–81); the Western Interstate Nuclear Board (1975–76) and for the states of Colorado, Maryland, Georgia, and Michigan on numerous occasions.Honors and recognition
<mask> was invited to present the prestigious annual Royer Lecture at the Institute for Governmental Studies, University of California, Berkeley in 1975. The Royer Lecture series in political economy, one of the oldest in the United States, was funded by a bequest in 1879 to the University of California by Herman Royer. Wengert was inducted into the prestigious Order of the Coif legal honor society and was editor of the University of Wisconsin Law Review while in law school, was a member of Sigma Xi, the national Scientific Research Society, and Phi Kappa Phi, the national honor society, and is listed in Who's Who in America. Selected publications
"The Land, TVA, and the Fertilizer Industry." Land Economics. 25 (February 1949): 11–21. "TVA: Symbol and Reality."Journal of Politics. 13 (August 1952): 369–392. Valley of Tomorrow: TVA and Agriculture. Knoxville: Bureau of Public Administration, University of Tennessee, 1952. "Program Planning in the U.S. Department of the Interior" (coauthor). Public Administration Review. 14 (Summer 1954): 193–201.Natural Resources and the Political Struggle. Garden City, New York: Doubleday, 1955. "Public Administration and Policy Formation". Southwestern Social Science Quarterly, 39(September): 158–159, 1958. Perspectives on Government and Science. Philadelphia: American Academy of Political and Social Science, 1960. Administration of Natural Resources: The American Experience.New York: Asia Publishing House, 1961. Political Dynamics of Environmental Control, with Dennis C. McElrath and Daniel R. Grant. Bloomington, Indiana: Institute of Public Administration, Indiana University, 1967. Urban Water Policies and Decision Making, with George M. Walker, Jr. Washington, DC: U.S. Department of the Interior, Office of Water Resources Research, 1970. Urban–Metropolitan Institutions for Water Planning, Development and Management. Fort Collins: Environmental Resources Center, Colorado State University, 1972. Institutions for Urban–Metropolitan Water Management: Essays in Social Theory.Fort Collins: Environmental Resources Center, Colorado State University, 1972. The Energy Crisis: Reality or Myth, with Robert M. Lawrence. Philadelphia: American Academy of Political and Social Science, 1973. Impact on the Human Environment of Proposed Oil Shale Development in Garfield County. Boulder: Thorne Ecological Institute, 1974. Community Development Studies. Denver: Colony Development Corporation, 1974.Property Rights in Land: A Comparative Exploration of German and American Concepts and Problems. Fort Collins: Environmental Resources Center, Colorado State University, 1974. Public Participation in Water Resources Development with a View to the Improvement of the Human Environment. Fort Collins: Environmental Resources Center, Colorado State University, 1974. Patterns, Policies, and Problems in Colorado Land Use and Development: Transferable Development Rights and Land Use Control, with Thomas Graham. Fort Collins: Cooperative Extension Service, Colorado State University, 1975. The Political Allocation of Burdens and Benefits: Externalities and Due Process in Environmental Protection.Berkeley: Institute of Governmental Studies, University of California, 1976. Regional Factors in Siting and Planning Energy Facilities in the Eleven Western States: A Report to the Western Interstate Nuclear Board, with Robert M. Lawrence and Michael S. Hamilton. Lakewood, Colorado: Western Interstate Nuclear Board, 1976. The Physical and Economic Effects on the Local Agricultural Economy of Water Transfer from Irrigation Companies to Cities in the Northern Denver Metropolitan Area, with Raymond Lloyd Anderson and Robert D. Heil. Fort Collins: Environmental Resources Center, Colorado State University, 1976. "The Energy Boom Town: an Analysis of the Politics of Getting." Policy Studies Journal, 7(Autumn): 17–23, 1978."The Energy Boom Town: An Analysis of the Politics of Getting." In Robert M. Lawrence and <mask><mask>, eds. New Dimensions to Energy Policy. Lexington, Massachusetts: Lexington Books, 17–24. The Purposes of the National Forests: A Historical Re-interpretation of Policy Development, with A. A. Dyer. Fort Collins: Colorado State University, 1979."Symposium on Land Use Planning." Natural Resources Journal. vol. 19, #1. 1979. (editor). Environmental, Legal, and Political Constraints on Power Plant Siting in the Southwestern United States: A Report to the Los Alamos Scientific Laboratory, with Michael S. Hamilton.Fort Collins, Colorado: Colorado State University Experiment Station, 1980. Summaries of Selected Federal Statutes Affecting Environmental Quality, with Michael S. Hamilton. Fort Collins: Colorado State University, Cooperative Extension Service, 1980. "Land Use Policy." Encyclopedia of Policy Studies, 2d ed, Stuart Nagel, ed. Boca Raton: CRC Press, 1994. References

External links
 Colorado State University, Department of Political Science, Graduate Program—Environmental Politics and Policy.Accessed January 28, 2009. Journal of the American Water Resources Association Accessed January 29, 2009. 1916 births
2001 deaths
Scientists from Milwaukee
American political scientists
Public administration scholars
American conservationists
Colorado State University faculty
University of Wisconsin–Madison College of Letters and Science alumni
University of Wisconsin Law School alumni
The Fletcher School at Tufts University alumni
United States Navy sailors
City College of New York faculty
Wisconsin lawyers
20th-century American educators
University of Michigan staff
20th-century American lawyers

masks:
Norman Irving Wengert
Lydia Semmann Wengert
Norman Irving Wengert
Lydia Semmann Wengert
Wengert
Norman I
. Wengert


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<mask>v (; 8 November 1924 – 25 February 2020) was a Marshal of the Soviet Union. A veteran of the Great Patriotic War, Yazov served as Minister of Defence from 1987 until he was arrested for his part in the 1991 August Coup, four months before the fall of the Soviet Union. <mask> was the last person to be appointed to the rank of Marshal of the Soviet Union on 28 April 1990, the only Marshal born in Siberia, and at the time of his death on 25 February 2020 the last living Marshal of the Soviet Union. Biography

Early life
He was born in the village of Yazovo, Krestinsky volost, Kalachinsky district, Omsk province. He was the son of <mask> (died in 1933) and Maria Fedoseevna Yazova, who were both peasants. The family had four children. World War II
Yazov joined the Red Army voluntarily in November 1941, a seventeen-year-old young man, not having time to finish high school.When he joined the army, he said he was a year older than he was, saying that he was born in 1923. He was enrolled in training at the Moscow Higher Military Command School (Evacuated due to the Battle of Moscow to Novosibirsk from November 2, 1941 to January 28, 1942) and graduated from it in June 1942. He received a school graduation certificate only in 1953, already being a major. From August 1942 he fought on the Volkhov and Leningrad fronts as commander of a rifle platoon, a commander of a rifle company, and a platoon commander of front-line courses of junior lieutenants of the 483rd Rifle Regiment of the 177th Rifle Division of the Leningrad Front. He participated in the battles of the Siege of Leningrad, in the offensive operations of Soviet troops in the Baltic states, and in the blockade of the Courland Pocket. In 1944 he joined the Communist Party of the Soviet Union. Post–war military career
In 1962, Yazov commanded Soviet ground forces in Oriente Province, Cuba, during the Cuban Missile Crisis, where he personally worked with Cuban Defense Minister Raúl Castro.The unit, which was headquartered at Holguín Air Base, was ordered to attack Guantanamo Bay Naval Base with KS-1 Komet nuclear cruise missiles if war with the United States started. In 1971–1973, he commanded the 32nd Army Corps in the Crimean region of the Odessa Military District. In 1979–1980, <mask> was commander of the Central Group of Forces in Czechoslovakia. He was commanding the Far East Military District in the northern summer of 1986, when, according to Time magazine, he made a favourable impression on General Secretary Mikhail Gorbachev, which led to later promotions. He was appointed Soviet Defence Minister on 30 May 1987, after Marshal Sergei Sokolov was sacked as a result of the Mathias Rust incident two days earlier. From June 1987 to July 1990, <mask> was a candidate member of the Politburo. He was a key part of Black January.<mask> was responsible for deployment of Russian OMON commando units to Latvia and Lithuania in early 1991. During the August Coup of 1991, <mask> was a member of the State Emergency Committee. For supporting the GKChP, the government of Valentin Pavlov was dismissed and, accordingly, <mask> lost the post of Minister of Defense. During the Yeltsin period, <mask> was prosecuted and acquitted in 1994. On the morning of August 22, before the first interrogation, <mask> turned to Gorbachev with a video recorded message in which he read a letter and called himself an "old fool", regretted participating in this "adventure" and asked for forgiveness from the President of the USSR. 20 years after these events, the former defense minister will say that he did not remember what he said, because he did not sleep for a day. And he named the journalist Vladimir Molchanov the initiator of this letter and video.In his memoirs, Yazov clarified that he was persuaded to turn to Gorbachev with a penitential speech to protect him from the criminal article "Treason to the Motherland", and under the influence of fatigue he succumbed to the persuasion of television reporters. Released on recognizance not to leave in January 1993. Amnestied by the State Duma in 1994. He did accept the amnesty offered by Boris Yeltsin, stating that he was not guilty. He was dismissed from the military service by Presidential Order and awarded a ceremonial weapon. He was awarded an order of Honor by the President of Russian Federation. Yazov later worked as a military adviser at the General Staff Academy.Despite his selection by Gorbachev for the Defence Minister's position, William Odom, in his book The Collapse of the Soviet Military, repeats Alexander Yakovlev's description of <mask> as a "mediocre officer", "fit to command a division but nothing higher". Odom suggests Gorbachev was only looking for "careerists who would follow orders, any orders". In March 2019, <mask> was tried in absentia and convicted of war crimes by a Lithuanian court for his role in the military crackdown in Lithuania in January 1991, and sentenced to 10 years in prison. Russia denounced the trial as politically motivated and refused to extradite Yazov. Death
Yazov died in Moscow on 25 February 2020 following what the Defence Ministry of Russia called "a serious and prolonged illness". He is buried at the Federal Military Memorial Cemetery outside Moscow.

masks:
Dmitry Timofeyevich Yazo
Yazov
Timofey Yakovlevich Yazov
Yazov
Yazov
Yazov
Yazov
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Yazov
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<mask> (born ) is a British-American singer, dancer, and actor. He was named the "2017 Rising Artist of the Year" in a contest sponsored by Pepsi and Hard Rock Cafe. Early life
<mask> was born in London, England, on 16 August 1970 to Nigerian parents. While pregnant, <mask>'s mother went to London while his father remained in Nigeria. By his own account, <mask> never knew his father. His mother remarried and worked for the London Underground, cleaning tracks at night. One day his mother said she was going to Nigeria for a couple of weeks for a visit and did not come back for eight years.<mask> was raised in the Tottenham neighborhood that has been described as "tough". He spent much of his youth in foster homes with Caucasian parents. As a teenager, he listened to and was influenced by Motown artists, including Stevie Wonder, Kool and the Gang, James Brown, Marvin Gaye, Nat King Cole, Jackie Wilson and Otis Redding. At the age of 16, <mask> was working in a McDonald's in London when he was introduced to The Church of Jesus Christ of Latter-day Saints by a manager. He was baptized soon afterward. Boyé first performed in public while serving as a missionary for the Church in Bristol, England. Career

The 1990s
After completing his mission for the Church of Jesus Christ of Latter-day Saints, Boyé became a backup dancer, including for George Michael.In 1995, he formed and became the lead singer of Awesome, a European boy band. Awesome performed at local dances and other small venues until 1996 when they won a vocal competition on Capital Radio, London's largest radio station. Subsequently, Universal Records of Europe signed Awesome to a five-album recording contract. Awesome released three singles off their first album, Rumors, which made top-10 charts all across Europe. The band sold 500,000 albums and performed alongside artists that included Bryan Adams, George Michael, Simon and Garfunkel, MC Hammer, and many others. But Boyé disliked the lifestyle of a touring musician. "I had this dream of being a musician, but it was taking me down a road that led somewhere I didn't want to go," he said.<mask> decided to leave the band in 1999 to pursue a solo career. He lost all of the material possessions he had gained as a member of Awesome when the record company took the apartment, the clothes, the phone and the money. In 1999, <mask> joined two other artists in London to discuss recording a demo tape of church hymns with a pop/R&B spin. One of the artists sat at the piano and hit upon a jazz sound for the hymn "Count Your Many Blessings" which became the signature song for the group. That evening they began to improvise church hymns and eventually created 'Soul Saints'. Within a couple of weeks, the group had started recording the songs and gave performances at Hyde Park, London before going on to tour in Utah. Wayne Scholes was the group's manager and Excel Records acted as a consultant while Soul Saints were in the United States.The 2000s
In 2000, <mask> moved to Salt Lake City, Utah, to pursue a career in Mormon music. He released his first religious album The Love Goes On in 2001. When the lead actor portraying Frederick Douglass in the Rodgers Memorial Theatre's production of Frank Wildhorn's Civil War dropped out three weeks before the play opened, <mask> was recruited as a replacement. With no prior acting experience and no knowledge of the Civil War, he learned his lines and united the cast. Glenn McKay, the theatre's board president, had recruited black performers for the show from the Calvary Baptist choir and other area churches, but was having trouble melding them with his Davis County regulars. McKay said Boyé "saved the production." <mask> followed that success with the role of Abinadab in the Lightstone Films production of David and Goliath.In 2005, <mask> received an award from the LDS Booksellers Association for his album Testimony. <mask> also appeared in a 2008 episode of the BYU produced TV show The Writers' Block. <mask> was seeking a way to build an LDS audience when he met Craig Jessop, then conductor of the Mormon Tabernacle Choir, at an LDS music festival and he encouraged <mask> to audition for the choir. <mask> joined the 360-voice Mormon Tabernacle Choir in 2006 and, when accepted, became one of three black choir members. He also continued to pursue a solo career. He had two solo parts in the choir's album Come Thou Fount of Every Blessing. The 2010s
In 2010, <mask> performed the single, "Born to Be a Scout", at the National Scout Jamboree at Fort A.P.Hill, Virginia. <mask> was signed to Deseret Book's Shadow Mountain label. In August 2010, he was a featured soloist in a concert connected at the re-dedication of a Catholic church in St. George, Utah. Songs by Boyé have appeared in movie soundtracks including Charly (2002), The Dance, Baptists at Our Barbecue and Church Ball. Boyé was featured in a video by The Piano Guys, released in January 2012 as "Peponi", a cover of Coldplay's "Paradise" on YouTube. In early 2013 he did a cover of the Lumineers' "Ho Hey" that also generated a large number of YouTube hits. In early 2013, <mask> signed with Wenrick-Birtcher Entertainment (Eddie Wenrick & Baron R. Birtcher) as his managers.In March 2013, <mask> opened for a performance by Olivia Newton John at the Royal Albert Hall. A documentary DVD entitled Front Man telling Boyé's story has also been produced. In 2013, Boye released a song entitled "I Am Gold". In early 2014, he, along with the One Voice Children's Choir, created an Africanized tribal version of the popular song "Let It Go" from the movie Frozen. The video went viral, propelling <mask>'s combined YouTube views to over 100 million. It was selected as YouTube's best pop cover of 2014. He also released his Lemonade video on YouTube with more than 1.7 million views

<mask> had a role in the 2014 film Saints and Soldiers: The Void.He also released a YouTube music video to promote the film. He attained some acclaim for his cover of Taylor Swift's song "Shake It Off", with over 600,000 views, as of 1 January 2015. In December 2014, <mask> released an original Christmas song and YouTube video entitled "Newborn – Wise Men Still Seek Him". In January 2015, <mask> released an Africanised version of "Circle of Life", with proceeds from the sale going to the koinsforkenya mission. In 2015, <mask> was awarded the Governor's Mansion Artist Award. In June 2015, <mask> and his band, Changing Lanes Experience, performed their version of Taylor Swift's "Shake It Off" on the 10th season of America's Got Talent. After receiving great comments from the judges, they advanced into the next round to perform on Judge Cuts Week.In August 2015, he and the band were eliminated on Judge Cuts Week 4 after performing their version of Mark Ronson and Bruno Mars' "Uptown Funk". In September 2015, Boye was announced to be cast as The Heavenly Guide in the remake of the film Saturday's Warrior. It was released in Utah theaters on 1 April 2016 before expanding it to various other states in the following weeks and months. In early 2016 Boye and the BYU Men's Chorus released a version of Christopher Tin's "Baba Yetu", the theme music to the video game Civilization IV with lyrics adapted from the Biblical Lord's Prayer in Swahili. <mask> appeared in a duet with Marie Osmond on her album Music Is Medicine that was released on 15 April 2016. The video for the song "Then There's You" was released on the video streaming site Vevo on 27 March 2016 and features the duo performing in a Las Vegas backdrop at Caesars Palace Hotel and the Paris Hotel. <mask> was cast as Pastor Aiken in Drop Off, which was a family film.<mask> was selected as the "Grand Prize Winner" of the Hard Rock Rising 2017 Battle of the Bands. That same year, Boyé performed as the guest artist for the 2017 Mormon Tabernacle Choir Pioneer Concert, performing a mix of originals and covers. In September 2018, Boyé released single "Bend Not Break", produced by Randy Jackson (American Idol). Personal life
<mask> met his wife, Julie, in an LDS singles ward and they were married in the Salt Lake Temple on 6 January 2007. As of September 2019, they are the parents of seven children with another one due in January 2021. A video showing <mask> is part of the "I'm A Mormon" campaign launched by the LDS Church in Britain in the spring of 2013. In 2009, Boyé began raising money to buy a house for a local refugee family with sales of his single, "Crazy for You."On 22 February 2012, <mask> became a United States citizen in a ceremony at the Rose Wagner Theater in Salt Lake City. He was surprised when he was invited by the judge conducting the ceremony to sing "The Star-Spangled Banner". Discography

Albums
Testimony (2004)
Spirit (2007)
Be Still, My Soul: Classic Hymns & Folk Songs (2009)
Africanized (2014)
African Gospel Inspirations (2016)

EPs
Hope for Israel (2011)
We All Bleed the Same (2016)
Africanized Christmas (2016)

Singles

Filmography

Notes

References

Boye entry at Discogs

External links

Peponi, an African-stylized cover of Coldplay's Paradise with <mask>, Jon Schmidt, and Steven Sharp Nelson, on YouTube
<mask>e performs the national anthem after becoming a U.S. Citizen on YouTube

Interviews

English male singers
American male singers
English male musical theatre actors
American male musical theatre actors
English male dancers
American male dancers
Tabernacle Choir members
Swahili-language singers
English Mormon missionaries
Mormon missionaries in England
1970 births
Singers from London
People from Tottenham
African-American Latter Day Saints
Converts to Mormonism
English emigrants to the United States
English people of Nigerian descent
American people of Nigerian descent
People with acquired American citizenship
20th-century Mormon missionaries
20th-century English singers
21st-century English singers
Living people

masks:
Alex Boyé
Boyé
Boyé
Boyé
Boyé
Boyé
Boyé
Boyé
Boyé
Boyé
Boyé
Boyé
Boyé
Boyé
Boyé
Boyé
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Alex Boy


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<mask> (born <mask>, September 14, 1914 – December 28, 1999) was an American actor best known for playing the fictional western character the Lone Ranger from 1949 to 1952 and 1953 to 1957 on the television series of the same name and two related movies from the same producers. Early life
Born in Chicago, Illinois, in 1914, <mask> was the youngest of three sons of Theresa Violet (née Fisher) and <mask>. <mask>'s father, according to the federal census of 1930, was a native of New York and supported his family in Chicago by working as a real estate broker. That same census also documents that a full-time maid, Amelia Hirsch, lived with the <mask> family, an indication of the household's relative prosperity at the time. Highly athletic as a boy, "Jack" became a circus acrobat by age eight, and later, in 1934, he appeared at the Century of Progress Exposition in Chicago with a trapeze act. He graduated from Stephen K. Hayt Elementary School, Sullivan Junior High School, and Senn High School on the far North Side of Chicago. Career

Modeling and acting
<mask> as a young man worked successfully as a John Robert Powers model.Moving to Hollywood in the late 1930s, he worked as a stuntman and bit player between modeling jobs. <mask> in his 1996 autobiography I Was That Masked Man noted that Hollywood producer Edward Small persuaded him around 1940 to adopt the stage name "<mask>". Subsequently, he was cast as an occasional player in B Westerns and the lead in four Republic Studio cliffhangers and in two films for Columbia Pictures. Military service
During World War II, <mask> enlisted in the U.S. Army Air Forces and served with that branch's First Motion Picture Unit making training films, such as Target-Invisible, in which <mask> co-starred with fellow actor Arthur Kennedy. The Lone Ranger
In 1949, <mask>'s work in the Ghost of Zorro serial drew the attention of George W. Trendle, co-creator and producer of a popular radio series titled The Lone Ranger. The series' running plot involved the exploits of a mysterious former Texas Ranger, the sole survivor of a Ranger posse ambushed by a gang of outlaws, who roamed the West with his Indian companion Tonto to battle evil and help the downtrodden. When Trendle brought the radio program to television, <mask> landed the title role.With the "March of the Swiss Soldiers" finale from Rossini's William Tell overture as their theme music, <mask> and co-star Jay Silverheels made history as the stars of the first Western written specifically for television. The Lone Ranger soon became the highest-rated program to that point on the fledgling ABC network and its first true hit. It earned an Emmy Award nomination in 1950. <mask> was replaced in the third season by John Hart, reportedly due to a contract dispute, but he returned for the final two seasons. <mask> later said he received no explanation from the producers as to why he was replaced or why he was rehired. The fourth season of The Lone Ranger was again filmed in black and white; however, the fifth and final season of the series was the only one to be shot in color. In all, <mask> starred in 169 of the 221 episodes produced.<mask> appeared in other television series during his Lone Ranger run, including a 1952 episode of Bill Williams' syndicated Western The Adventures of Kit Carson. He guest-starred in two episodes of Jock Mahoney's series The Range Rider in 1952 and 1953. Silverheels and he also starred in two feature-length Lone Ranger motion pictures. After completion of the second feature, The Lone Ranger and the Lost City of Gold, in 1958, <mask> began 40 years of personal appearances (including for the short-lived Lone Ranger Restaurants in Southern California), TV guest spots, and classic commercials as the legendary masked man. Silverheels joined him for occasional reunions during the early 1960s. Throughout his career, <mask> expressed respect and love for Silverheels. One of <mask>’s personal appearances in character became the basis of a story that actor Jay Thomas told every year around Christmas beginning in 2000 on The Late Show with David Letterman.Thomas was a radio disc jockey at the time in North Carolina and happened to be doing a show at a car dealership where <mask> was appearing in character as The Lone Ranger. <mask> had been stranded at the dealership, and Thomas offered him a ride back to his hotel. On the way, a passing motorist struck Thomas’ Volvo with enough force to break a headlight. Thomas gave chase and eventually cornered the man in a parking lot where he threatened to press charges. The driver of the other car taunted Thomas by saying nobody would believe his story, but <mask> emerged from the back seat of the car — still wearing his costume — and said “they’ll believe me, citizen” to the stunned driver. With one exception, Thomas returned to Letterman’s show to tell the story every December until Letterman’s retirement. Lawsuit
In 1979, Jack Wrather, who owned the Lone Ranger character, obtained a court order prohibiting <mask> from making future appearances as The Lone Ranger.Wrather was in the process of making a new film version of the story and believed that <mask>'s public appearances in character would undercut the value of the character and the film, and also advance any rumors that the 65-year-old <mask> would be playing the title role in the new picture (which he did not). Wrather's move was disastrous. <mask> responded by filing a countersuit and then slightly changed his costume, replacing the domino mask with a pair of Foster Grant wraparound sunglasses and participating in the company's "Who's that behind those Foster Grants?" ad campaign. The public was strongly in favor of <mask>, as evidenced when moviegoers stayed away from Wrather's film. The Legend of the Lone Ranger was released in 1981, was panned by critics, and earned only $12 million at the box office, two-thirds of the film's budget. The legal proceedings between <mask> and Wrather dragged on until 1984, when Wrather suddenly dropped the lawsuit permitting <mask> to again make public appearances as the Lone Ranger; Wrather died of cancer two months after dropping the suit.<mask> & the Lone Ranger
<mask> often was quoted as saying he had "fallen in love with the Lone Ranger character" and strove in his personal life to take The Lone Ranger Creed to heart. This, coupled with his public fight to retain the right to wear the mask, made <mask> and his character inseparable. In this regard, he was much like another cowboy star, William Boyd, who portrayed the Hopalong Cassidy character. <mask> was so identified with the masked man that he is the only person on the Hollywood Walk of Fame, , to have his character's name along with his on the star, which reads, "<mask> — The Lone Ranger". He was inducted into the Stuntman's Hall of Fame in 1982 and in 1990 was inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma. <mask> also was awarded a place on the Western Walk of Fame in Old Town Newhall, California. Death
<mask> died on December 28, 1999, in a West Hills, California, hospital after suffering a heart attack at his home in nearby Calabasas.He was survived by his fourth wife, Clarita <mask> (née Petrone), and an adopted daughter, Dawn Angela <mask>. <mask> is buried at Forest Lawn Memorial Park in Glendale. In Popular Culture
 An episode of Night Court concerns an aging cowboy actor (a Lone Ranger analog) who always appears publicly in his old costume, but he is being prohibited to do so by the TV producers who own the rights to it. The movie Bubba Ho-Tep centers on a retirement home that is being terrorized by a life-sucking mummy. The lead characters are Elvis Presley and a man claiming to be a race-swapped John F. Kennedy, but another inhabitant of the rest home is an actor who still wears his cowboy gear, including his mask and his guns. He is referred to as "Kemosabe", the affectionate term for the Lone Ranger used by Tonto. Filmography

References and notes

Autobiography
I Was That Masked Man, by <mask> with Frank Thompson, Taylor Publishing Company, 1996 –

External links

 <mask> Memorial
 <mask> at The Old Corral (b-westerns.com)
 "<mask>, Television's Lone Ranger And a Persistent Masked Man, Dies at 85", by Richard Goldstein, The New York Times, December 29, 1999

 Sept 2014 interview with daughter, <mask>

1914 births
1999 deaths
20th-century American male actors
American male film actors
American male television actors
Burials at Forest Lawn Memorial Park (Glendale)
First Motion Picture Unit personnel
Lone Ranger
Male Western (genre) film actors
Male actors from Chicago
Male film serial actors
Masked actors
People from Calabasas, California
Western (genre) television actors

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<mask> (April 3, 1882 – June 16, 1971) was an American classical pianist known primarily for his relationship with the French composer Claude Debussy in the early 20th century and his interpretations of modern Spanish piano works. Career
A native of Massachusetts, <mask><mask>. began piano studies as a child with Calixa Lavallée, the composer of "O Canada" and an important early member of the Music Teachers National Association (MTNA). <mask> later worked at the New England Conservatory with Liszt pupil Carl Baermann, then traveled to Europe for studies with Giuseppe Buonamici in Florence and Teresa Carreño in Berlin. Copeland was also coached in Paris by the British pianist Harold Bauer, concentrating on works of Schumann. Early in the 20th century, Copeland fell in love with the works of then-unfamiliar French composer Claude Debussy. On January 15, 1904, <mask> gave one of the earliest-known performance of Debussy's piano works in the United States, playing the Deux Arabesques at Steinert Hall in Boston. <mask> was not the first to perform Debussy in the United States; that honor went to Helen Hopekirk, a Scottish pianist who programmed the Deux Arabesques in Boston in 1902.From 1904 until his final recital in 1964, <mask> played at least one work of Debussy on each of his recitals. In the early 1900s, John Singer Sargent, a fellow Bostonian, introduced Copeland to Spanish music. <mask> became an Iberian specialist, performing works of Isaac Albéniz, Enrique Granados, Manuel de Falla, and others throughout the United States and Europe. In 1909, he introduced three of Albéniz's Iberia suite to the United States, playing "Triana," "Malaga", and "El Albaicin" in Boston. In 1911, he met Debussy in Paris and spent four months studying with the composer, discussing and playing all of Debussy's piano works. This was a turning point in <mask>'s life; until his death 60 years later, <mask> would recall his time with Debussy with the greatest affection and reverence, both in print and in conversation with friends. In 1913, <mask> gave the following account of their discussions:
"I have never heard anyone play the piano in my life who understood the tone of every note as you do," remarked Debussy."Come again tomorrow." This seemed praise indeed and I did go tomorrow. I found him much more genial than on my first visit, and then I went time after time, until finally I was with him about twice a week for three months. I bought new copies of his works, which he marked for me; I played his works and he criticised my work and showed me what to do and how to do it. In the end, he admitted that I played him just as he wanted to be played and represented to the people. By 1955, <mask> had modified his account to have Debussy say: "I never dreamed that I would hear my music played like that in my lifetime. In this later version, Copeland claimed that their meetings were daily, for four months, including periods of playing as well as long walks in the countryside.<mask> gave many U.S. premieres of Debussy's works, as well as several world premieres. The most important was the world premiere of numbers X and XI of the Etudes on November 21, 1916, at Aeolian Hall in New York City. The anonymous critic for Musical Courier was not particularly impressed with the Études, writing "These [études], in themselves, are not so absorbing as some of the composer's more familiar pieces, but as played by Mr. Copeland they acquired a delicate tone and glowing imagery that were surpassingly beautiful." Other U.S. premieres of Debussy included the Berceuse héroïque and La Boîte à joujoux. The latter, played on March 24, 1914 at the Copley-Plaza Hotel in Boston, may have been the world premiere of the work. From 1918 through 1920, Copeland toured the United States with the Isadora Duncan Dancers, the "Isadorables"), a sextet of dancers who were the students and adopted children of dancer Isadora Duncan. Sponsored by the Chickering Piano Company and managed by Loudon Charlton, Copeland and the dancers performed a shared program of dance and piano solos including works of Schubert, Chopin, MacDowell, Debussy, Grovlez, Albéniz, and others.The reviews of Copeland were overwhelmingly positive, though many reviewers were less enthusiastic about the dancers. Annoyed at <mask>'s success, the girls ordered Loudon Charlton to put <mask> in his place. The program covers were accordingly changed to read in large font "THE ISADORA DUNCAN DANCERS," with <mask>'s name appearing in a smaller font beneath. <mask> saw this and refused to go onstage until all of the offending program covers in the audience had been removed. In the spring of 1920, <mask> abruptly broke his contract for unknown reasons and went to Europe. Years later, <mask> told his student Ramon Sender that breaking his contract had fatal consequences for his career and that when he returned to the United States in the 1930s, no reputable manager would touch him. After a time in Italy, he then moved to the island of Mallorca.There he lived in the village of Genova and had a good relationship with the neighbours, becoming the godfather of Juana Maria Navarro, the daughter of one of his better friends. <mask> returned to the United States only periodically, giving Carnegie Hall recitals in 1925, 1928–1931, and 1933. In 1930, he performed in Philadelphia and New York City with the Philadelphia Orchestra led by Leopold Stokowski, offering works of Debussy and de Falla. While living in Europe, he played at the Chopin Festival of Majorca, in Vienna with the Wiener Philharmoniker, at the Salzburg Festival, and in London. At the outbreak of the Spanish Civil War in 1936, <mask> returned to the United States. Settling in New York City, he performed there annually at venues including Carnegie Hall, Town Hall, and Hunter College, and made regular trips to Washington D.C. and Boston. In 1945, he toured with the soprano Maggie Teyte in an all-Debussy duo recital that included his arrangement of Prélude à l'après-midi d'un faune.<mask> played a Golden Jubilee Recital at Carnegie Hall on October 27, 1957, celebrating the 50th anniversary of his New York recital debut. The New York Times reviewer described his performance as "magical," calling <mask>'s work "playing that stays in the memory." In the spring of 1958, he suffered a fall at his vacation home in Stonington, Connecticut and broke his shoulder. He was unable to play for several years and believed his career to be over. In 1963, he made a comeback, recording with famed engineer Peter Bartok and concertizing at schools and smaller halls on the East Coast. On May 11, 1964, <mask> performed his final recital at Sprague Memorial Hall, Yale University. Although he spoke in 1966 of a return to the concert stage, he never again performed in public.<mask> died of bone cancer in the Merwick Unit of Princeton Hospital in Princeton, New Jersey, on June 16, 1971. His cremated remains are held at the Ewing Cemetery in Ewing, New Jersey. Personal life
<mask> was open about being gay throughout his life. In 1913, he gave an interview to the Cleveland Leader in which he stated "I don’t care what people think of my morals. I never think anything about other people’s morals. Morals have nothing to do with me." He indicated that Oscar Wilde was a favorite author.Throughout his life, the pianist delighted in exotic jewelry and scents, both considered effeminate in the early 20th century. He wrote in his unpublished memoirs:
I have always had a passion for wearing jewelry, and whilst I know it is considered bad form, forbidding men to wear anything but a tiresome signet ring, I have taken the liberty of defying that convention all my life. Probably it grew out of my father's attitude. He was going to give me a watch on my birthday, and he asked me what kind I wanted. I wanted a wristwatch – they were still a rare novelty in those days. He said I could certainly have the wristwatch if I wanted it, but that I need never darken his door again. Men who wore jewels or wristwatches, or who used perfume, or anything that smelt agreeable, were considered effeminate.I felt if my masculinity or effeminacy were to be judged and decided by the bottle of scent, or the kind of jewel I wore, I had best give up! Jewels are another manifestation of beauty, and certainly perfume smells better than perspiration! I wear jewels because I love to look at them myself, and because I hope they give pleasure to others. They are not unrelated to music, for all music has color – the deep greens of forests, the limpidness of water, the passionate flash of rubies and diamonds. <mask>'s openness about his sexuality allegedly led to problems for composer Aaron Copland. In the 1930s, the pianist preceded the composer on a concert tour in South America. In one country <mask> was apprehended on a "morals charge" and told never to return.When Aaron Copland arrived for his concerts, the authorities treated him frostily before he explained that he was Copland the composer, not <mask> the pianist. Around 1936, <mask> met a young German, Horst Frolich, at a restaurant in Barcelona, and they began a relationship that lasted for over thirty years. Frolich returned to the United States with <mask> that year, listing his occupation on the ship manifest as "secretary." According to friends of the pianist, <mask> was adamant about Frolich's position as his partner; if you wanted the socially-desirable pianist to attend your party, Frolich had to be invited. A December, 1942 New York Times social item reporting the guest list of a high-society gathering at the St. Regis in New York included <mask>, the violinist Fritz Kreisler, and Frolich. Frolich committed suicide in 1972 after a dispute involving a property he was to inherit from a different lover. Programming
Although his repertoire contained several larger Romantic works, <mask> was alternately acclaimed and reviled as a miniaturist.He devised his programs according to his personal tastes. He said in a 1929 interview, "I don't want to convey any message. I play what I like the way I like it, and the audience generally likes it too. And I don't give a whoop about leaving the world a better place when I die." In the early part of his career, he was viewed as an avant-gardist. By the time of his final recitals, he was patronized as a relic of times past. A typical Copeland program included short works of a Baroque composer (Bach, Scarlatti, Grazioli, etc.), works of Chopin (generally a selection of mazurkas, waltzes and etudes), occasionally a larger work of Schumann or Beethoven, Debussy, and modern Spanish works by composers like Albéniz, Granados, Turina, de Falla, Lecuona, and others. He rarely deviated from this formula. He occasionally presented all-Debussy recitals, though more often such recitals included one or two non-Debussy works, such as Rameau or Couperin suites. At the height of his career, Copeland often presented new works by contemporary composers, few of which stood the test of time. Some of the more esoteric composers featured in his programs: Nicolas Slonimsky, Victor de Sabata, Carl Engel, Gian Francesco Malipiero, Federico Longas, Ramon Zuera, etc. New works generally appeared for a season or two, before he dropped them from his repertoire. Copeland became less adventurous over time, programming with only a handful of less-familiar works, generally in the Spanish group.His Jordan Hall recital of December 1916, for example, included the Boston premières of several Debussy works, the Beethoven "Appassionata" Sonata, Op. 57, and a work by the Belgian composer Joseph Jongen. Critical reception
Critics respected <mask> as a gifted artist, though some criticized his formulaic programming and pointed out his willingness to ignore the composer's printed directions. They invariably noted the enthusiasm of the large audiences who attended his concerts in the first half of the century. Many pointed out his luminous tone – large and full-bodied – possibly his greatest asset as a pianist. When they first met, his teacher Teresa Carreño demanded to know the source of his sound:
"Wonderful tone, wonderful tone – how do you get it?" I hesitated."Well, I don't know exactly how I get it, but I know what I want to hear." "That's utter nonsense!" she exclaimed. "it doesn't make any difference what you want to hear. I want to know how you put your finger on a given key and produce a given quality of sound." "That is exactly what I do not ever wish to know." And we glared at each other.Philip Hale in the Boston Herald (February 14, 1908)
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 marked style of his own. This was shown within due bounds in the ensemble, as in the performance of solo pieces. He has an unusually musical touch, clear, sensitive, varied in color. He has a fleetness that he should not abuse; he has strength that is not aggressive or jarring. More than all this, he has true poetic feeling and with it an instinct for differentiation in sentiment. Each one of the solo pieces as he played it was delightful, and his performance of Debussy's Prelude was masterly in all respects. Philip Hale in the Boston Herald (January 8, 1915):
...Mr. Copeland among pianists is as Swinburne said of Coleridge among poets, lonely and incomparable.He belongs to no school; he is no one's disciple. Playing Debussy's music more poetically and fantastically than any pianist we have heard, he yet cannot be called a specialist, for he played last night the music of MacDowell in the epic manner; his performance of Scarlatti's Pastorale, beautiful in every way, had the right touch of archaism; his Schumann was Schumannesque, and his interpretation of Chopin's pieces would surely have won the approval of Vladimir de Pachmann. No Author, Toledo Times (October 18, 1919):
So great was the throng that crowded to the Woman's Building last night to hear the Copeland piano recital that a conductor on the Cherry street car line was heard to remark: "Thought the McCormack concert was Thursday night." And worthy to be ranked with the two previous musical events of the week, the brilliant opening concerts of the Civic Music League and the Teacher's Course, was the playing of <mask>, pianist extraordinare. The auditorium seating 1200 persons was crowded to capacity before the hour for opening and latecomers willingly stood leaning against the wall during more than an hour's program by this wizard of the keyboard. Copeland's playing was new to Toledo and it took the audience, in which was represented practically every musician and music fan in the city, by storm. Invited to a complimentary concert by the J.W.Greene Co., although the fame of the artist had been heralded, few were prepared for the masterful interpretations of Copeland. He seems in a class by himself in his mastery over the instrument. Totally unlike physically the traditional pianist of the long locks and temperamental make-up and producing a first impression of a prosperous business or professional man of the day, the moment the player struck the opening chords, with which he elects to begin each of his numbers by way of preliminary, the cognoscenti knew that an artist had come among them. And not only musicians but everybody in the audience passed immediately under his spell. A piano recital, the most deadly form of entertainment in the hands of mediocrity, had become for the time a thing of life and joy and personal satisfaction to every listener. It will be long before Toledo will hear a more perfect rendition of Beethoven's Moonlight Sonata than that with which <mask> opened his program. There followed a Gavotte and Musette by Gluck, two sprightly French dances and then Chopin.It was the Chopin Waltz, Op. 70 no. 3 which was the first number to be repeated by the Ampico, a roll made from <mask>'s playing being substituted for the fingers of the pianist. As an interpreter of the impressionistic Debussy, <mask> betrayed his real greatness. Such limpid, liquid tones, in the Reflections in the Water; such sprightliness in Danse de Puck (Dance of Puck)! At the conclusion of the Debussy group, one number of which was repeated by the Ampico, after responding with bows four times to the insistent applause, the artist, taking the compliment for the composer rather than to himself, played as the single encore of the evening, Debussy's A Night in Granada. The three Spanish compositions with which the program closed showed the versatility of the pianist and were delightful."R.R.G" in the Boston Herald (January 4, 1929):
In Spanish music, to go on, Mr. Copeland strikes a new note which other performers, both high and low, should heed. With the lethargic movement too many of them affect, he shows no patience. Slowly, indeed, his Spaniards may move, and sometimes languorously. But move they do, every minute they hold the stage, and sometimes passionately, All thanks to Mr. Copeland! More thanks to him, too, for showing the world how to plan a long-rising climax. Elizabeth Y. Gilbert in Musical America (January 16, 1929):
It was not until the Spanish group that well-known Boston critics, who consider it bad form to stay beyond a given point in the program, put back their hats and coats, compelled to stay by the phenomenon of <mask>. Two Danses Espagnole, of de Falla and Granados, two pieces by Infante, made Mr. Copeland's large audience all but stamp their feet in rhythmic accompaniment.To a deaf onlooker, it would seem that Mr. <mask> was banging at his piano unmercifully, and so he was, but with such powerful and vibrating tones, with such subtly hesitated syncopation, as in de Falla's Danse, that not only did the audience applaud wildly, not only did the above-mentioned critics remain, but Mr. <mask> was forced to give five or six encores, and even then could not satisfy the clamor for more. Mr. <mask> is wise to specialize in rarities; in these he is unique. "C." in Musical America (March 10, 1938):
Mr. <mask> can always be relied upon to fashion a program with many features of piquant interest and he did not fail his large public with the list he offered on his return to the local concert stage after an absence of several seasons....The pianist's playing of the Griffes and Debussy group did not maintain so consistently high a level, but with his unforgettable projection of 'Et la lune descend sur le temple qui fut' he reached the climax of his evening's achievements. In its subtle and suggestive evocation of an enthralling mood this was truly creative playing of an order rarely experienced. He also brought imaginative atmosphere and much beauty and variety of tonal color to 'L'apres-midi d'un faune', but his interpretation of the added 'Clair de lune' was disappointing in its lack of poetic mood. Too rapid a tempo was adopted for a full realization of the grace and beauty of Griffes' 'The White Peacock.'.... The audience's enthusiasm was aroused to a high pitch at many points.Olin Downes in the New York Times (November 1, 1938):
<mask>, a pianist of unique accomplishments, who is completely unique in his style, and lonely in certain interpretive qualities, had a remarkable success when he appeared in recital last night at Carnegie Hall. A large audience, attentive and appreciative from the beginning, became so enthusiastic as the program proceeded that at last it was cheering the pianist, who played encores for half an hour before the lights were lowered in the hall....He has a tone of the most exceptional roundness and beauty. He has an instinct for color and nuance which cannot be taught or communicated. He understands the music that he plays much more by intuition than by reasoning it out – and perhaps this is the only way in which music can be thoroughly understood. J.D.B. in the New York Herald-Tribune (December 12, 1942):
There was an informal charm about Mr. <mask>'s performances of the Geminiani and Haydn Sonatas and the Chopin Waltz and Etude. He played as though he were playing for a group of intimate friends, and not for a Town Hall audience.His unceremonious approach served him less well with the Schumann "Etudes Symphoniques," which will not stand for anything less than the most professional treatment. Here his technical shortcomings were too prominent to permit even a passably accurate account of the music. As heretofore, Mr. <mask>'s most impressive interpretations were those of the modern works on his list. In all of these he was in his element, investing them with fascinating tonal tints and hues and the essential touch of fantasy. Arthur Berger in the New York Herald-Tribune (February 19, 1950):
Mr. <mask>'s Debussy is as natural as if it were being improvised on the spot, and Debussy, for all its clarity of form should have some of the character of improvisation. It should also seem often to come from far away, transmitted as if through a gauze, with the caressing touch Mr. <mask> has completely mastered. We do not hear "Les terrasse des audiences" or "Feuilles Mortes" presented these days with such exquisite balancing of sonorities.I do not share the conviction of his many ardent devotees, well represented yesterday, that he is the only one that plays Debussy well, or that everything he does with it is perfection itself. Without being letter perfect he can, of course, convey the shape of a piece astonishingly. For my part, however, I was troubled by some details I could not hear yesterday, and by the blurring in some, but not all, of the rapid passages. "Feux d'artifice" has many quiet measures, but through technical difficulties, I suspect, he made it stormy almost throughout, and approached the gently rippling passages like tone clusters. I am not sure the relaxed quality is appropriate at all times, for it gives some passages a certain limpness. J.B. in the New York Times (February 22, 1956):
It is always interesting to hear a performer who, like Mr. <mask>, was a friend of Debussy and other Parisian composers in the early days of this century. Mr. <mask> belongs to the school of Debussy-players who use the pedal generously, and play with such rhythmic freedom that two successive measures are not often in the same tempi.Although the word "brilliant" does not come to mind when one hears Mr. <mask>'s playing, it has a casual, informal quality that is very charming. Recordings

From 1933 to 1940, <mask> recorded a large portion of his repertoire for RCA Victor. The most-represented composer was Debussy, including excerpts from the Preludes, Images, Estampes, Children's Corner and Suite Bergamasque, as well as many Spanish piano works including those of Albéniz, Granados, and de Falla, and more obscure composers like Gustavo Pittaluga, Joaquin Turina, Raoul Laparra, Federico Longas. These performances are explosive, displaying <mask>'s command of rhythm and his unique ability to ascend to the climax of any work in a blaze of pianistic color. <mask>'s RCA Victor recordings are available on a two-CD Pearl set, "<mask>land – Victor Solo Recordings" (PRL 0001). In 1937, <mask> recorded a number of songs with well-known Spanish soprano Lucrezia Bori, including works of de Falla, Nin, and Obradors. In the early 1950s, he recorded two discs for MGM Records (all-Debussy and all-Spanish), and in the early 1960s he made private recordings engineered by Peter Bartok and distributed by his agent, Constance Wardle.Repertoire
Isaac Albéniz: El Albaicin, El Polo, Malaga, Triana (Iberia); Malaguena ("Rumores de la Caleta"); Seguidillas; Tango in D; Zortzico

J. S. Bach: Chromatic Fantasie; English Suite no. 5; Italian Concerto

Ludwig v. Beethoven: Sonata in c#, op. 27/1 ("Moonlight"); Sonata in f, op. 57 ("Appassionata")

Joaquin Cassado: Hispania, for piano and orchestra (U.S. Premiere, Detroit, 1919)

Emmanuel Chabrier: Bourrée fantasque; España (arr. Copeland); Habañera

Frederic Chopin: Ballades no. 1 & 3; Etudes (selections); Mazurkas (selections); Waltzes (selections)

Claude Debussy: Berceuse héroïque (U.S. premiere, 1915); La Boîte à joujoux (U.S., possible world premiere, March 23, 1914); En blanc et noir; Estampes; Etudes X & XI (world premiere, 1916); Images I & II; L'isle joyeuse; Pour le piano; Preludes Livre I & II (excerpts)

Manuel de Falla: Transcriptions from El Amor Brujo, La vida breve; Nights in the Gardens of Spain

Gabriel Grovlez: Evocacion; Recuerdos; Reverie

Franz Liszt: Paganini Etudes II, III, V; Un Sospiro; Spanish Rhapsody; Venezia a Napoli

Maurice Ravel: Alborada del gracioso (Miroirs); Rigaudon (La Tombeau de Couperin); Sonatine

Robert Schumann: Faschingschwank aus Wien, op.26; Symphonic Etudes, op. 13

Turina: A los Toros, Los bebedores de manzanilla; Fandango; Romantic Sonata; Sacro-Monte

References

External links

<mask>: The Victor Solo Recordings (Amazon.com)
<mask>: The Private Recordings, 1957–1963 (Amazon.com)
Copeland's complete rollography, a listing of all the piano rolls made for the Ampico Co.
A collection of Isadorables programs featuring Copeland (NYPL.org)

American classical pianists
Male classical pianists
American male pianists
1882 births
1971 deaths
LGBT musicians from the United States
LGBT people from Massachusetts
20th-century classical pianists
20th-century American male musicians
20th-century American

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<mask> (born June 21, 1947) is an American football coach. He has served as head coach of the Denver Broncos, Buffalo Bills, and Dallas Cowboys. He has also served as interim head coach for the New Orleans Saints, Atlanta Falcons, and the Houston Texans. His career winning percentage as a head coach is .546. Additionally, <mask> has long been considered to be among the best defensive coordinators in the NFL. In his long career, he has served as defensive coordinator in eight separate stints with seven different franchises (twice with the Denver Broncos). Multiple players under <mask>' system have won Defensive Player of the Year: Reggie White, Bryce Paup, Bruce Smith, J. J. Watt and Aaron Donald.Others under <mask> have won Defensive Rookie of the Year: Mike Croel and Shawne Merriman. Early career
<mask> attended Port Neches–Groves High School in Port Neches, Texas, and went to the University of Houston, where he was a three-year starter at linebacker from 1966 to 1968. He held the school record for career assisted tackles (228) until 2011 when the record was broken by Marcus McGraw. <mask> began his coaching career as a graduate assistant to Bill Yeoman at the University of Houston in 1969. From 1970 to 1972 he served as defensive coordinator at the former Lutcher Stark High School (now West Orange-Stark High School) in Orange, Texas. He then coached the linebackers at Oklahoma State University from 1973 to 1974, under his father, Bum <mask>, who was OSU defensive coordinator at that time. In 1975, <mask> coached the defensive line at the University of Kansas under head coach Bud Moore.NFL coaching
<mask> began his professional coaching career with the Houston Oilers, head-coached by his father. He served as the linebackers coach in 1976, and the defensive line coach from 1977 to 1980. <mask> remained on his father's staff as the pair headed for New Orleans. Bum stepped down as head coach of a struggling Saints team in late 1985, and <mask> stepped in as interim head coach. The Saints routed the eventual NFC West champion Los Angeles Rams 29-3 in his first game at the helm, but finished with losses to the Cardinals, 49ers and Falcons. <mask> was interviewed for the job permanently in January 1986 by new Saints president and general manager Jim Finks, but the position went to Jim Mora, the highly successful coach of the United States Football League's Philadelphia/Baltimore Stars. <mask> spent the next three years as the defensive coordinator of the Philadelphia Eagles under Buddy Ryan.During <mask>' tenure in Philadelphia, defensive end Reggie White recorded 21 sacks in just 12 games in 1987, and the Eagles won the NFC East championship in 1988. <mask>' last game with the Eagles was the infamous Fog Bowl vs. the Chicago Bears in the NFC divisional playoffs. Denver Broncos
<mask> then spent four seasons as the defensive coordinator for the Denver Broncos. The Broncos reached Super Bowl XXIV, where they lost to the San Francisco 49ers, 55–10. <mask> replaced Dan Reeves as head coach for the Broncos in 1993, but was fired after a mediocre 1994 season in which management felt he lost control of the team. Buffalo Bills
<mask> spent two seasons as the Buffalo Bills defensive coordinator under Hall of Fame coach Marv Levy. After Levy's retirement in 1998, the Bills hired <mask> as head coach.<mask> enjoyed a successful coaching stop at Buffalo. He always kept the team competitive and in the playoff hunt. A loss to the Titans in the 1999 playoffs haunted <mask> for the rest of his time at Buffalo. Prior to the game, <mask> made the controversial decision to start Rob Johnson at quarterback, after Doug Flutie was the starter the whole year and led the team to the playoffs. Following an 8-8 record in 2000, owner Ralph Wilson fired <mask> after <mask> refused to fire special teams coach Ronnie Jones. Dallas Cowboys
Before the 2007 season, <mask> was named the head coach of the Dallas Cowboys, replacing the retired Bill Parcells. This was the most successful coaching stop for <mask>.He was chosen after Jerry Jones interviewed 10 potential replacements, including former Cowboys and former San Francisco 49ers offensive coordinator Norv Turner, former Chicago Bears defensive coordinator Ron Rivera and former Cowboys quarterback Jason Garrett. In the 2007 NFL playoffs, he led the Cowboys to another playoff loss, making his playoff record 0–5. The Cowboys failed to make the playoffs in 2008, as the season ended with a 44–6 loss to the Philadelphia Eagles, preventing a wild card playoff berth. Prior to the 2009 season, <mask> also took over as defensive coordinator, replacing the fired Brian Stewart. <mask> called defensive plays for the final 10 games of the 2008 season after Stewart was stripped of the responsibilities. In the 2009–10 playoffs, <mask>'s Cowboys defeated the Eagles in the wild card round, ending the club's 12-year playoff win drought (6 games total, <mask> was only coach for one of those losses) and earning <mask> his first playoff win. Following the 2009 season, <mask> signed a contract extension through the 2011 season.However, he was fired by the Cowboys on November 8, 2010, following the second-worst start in franchise history (one win in their first eight games) punctuated by a 45–7 loss to the Green Bay Packers. Garrett was named interim coach, then permanent successor, and held the position through 2019. Houston Texans
Prior to the 2011 season, <mask> was hired as the defensive coordinator of the Houston Texans, replacing Frank Bush, who was released by Texans owner Bob McNair. The Texans defense made major improvements on defense in <mask>'s first year calling Houston's defense. Houston allowed the fourth-fewest points in the league in 2011 (compared to fourth-most in 2010), the second-fewest yards allowed (third-most in 2010) and third-fewest yards per play (4.8, compared to 6.0, second-worst in 2010). On November 3, 2013, Texans Head Coach Gary Kubiak collapsed at the end of the first half of the Texans-Colts game; he was then hospitalized at a local hospital. In Kubiak's absence, <mask> was given the head coaching duties as the acting head coach for the remainder of the game.On November 6, 2013, the Texans and Kubiak decided to temporarily hand <mask> the head coaching duties, and named him the interim head coach until Kubiak was medically cleared to return. Exactly one month later, Kubiak was fired after his team had lost 11 games in a row. Once again, <mask> served as interim head coach for the Texans until the end of the season, when former Penn State head coach and New England Patriots offensive coordinator Bill O'Brien was hired as the new head coach. When <mask> was dismissed by Houston, this ended a continuous run where he had coached football at the high school, college, and NFL levels. Denver (second stint)
On January 28, 2015, <mask> reunited with Gary Kubiak, joining the latter's staff as the defensive coordinator on the Denver Broncos. It would be <mask>' second stint at that position with the team. <mask> replaced his predecessor's complex wait-and-react scheme with a simple style of going after the ball, making Denver the top-ranked defense that season, which carried the team to a 12–4 record and the number one seed in the AFC despite their offensive struggles.In Super Bowl 50, played on February 7, 2016, in Santa Clara, California, the game was seen by some as a contest between <mask> and Carolina Panthers offensive coordinator Mike Shula, as both of them were sons of well-known NFL coaches, and as Carolina had the top-ranked offense in the 2015 regular season. Denver's defense shut down Carolina and Cam Newton in a 24–10 victory, giving <mask> the first Super Bowl victory of his career. Following the retirement of Kubiak as head coach after the 2016 season, <mask> was replaced by Joe Woods as the defensive coordinator for the Broncos. Los Angeles Rams
After a successful stint with the Denver Broncos, <mask> left to become defensive coordinator of the Los Angeles Rams, alongside new head coach Sean McVay. In Super Bowl LIII, Phillip's defense was credited with keeping the New England Patriots and Tom Brady out of the end zone until the fourth quarter, as the Rams only trailed by a field goal for the first three quarters despite the Patriots' offense having the majority of possession. The Patriots' offense had to resort to running the ball often, which eventually tired out the Rams defensive line. However, the Rams' top-ranked offense that game was stifled and they lost to the Patriots, 13–3.On January 6, 2020 the Rams announced they would not be renewing his contract. This followed their 2019 season in which the Rams went 9–7 and failed to make the playoffs. Head coaching record
Counting head coaching jobs as well as interim stints, <mask> has served as head coach for more teams in NFL history (six) than any other person. * Interim head coach

Personal life
<mask> is the son of former NFL coach Bum <mask> and Helen Wilson <mask>. He adored his father, both personally and professionally, stating, "I was blessed to have him as a father and coach. I got to coach with him for 11 years. He taught me everything I know about coaching.He taught me right and wrong. He taught me to enjoy life." His Twitter account is @sonofbum. <mask> and wife Laurie met in 1964 at Port Neches–Groves High School, where he was the quarterback of the football team and she was the head cheerleader; they have a daughter, Tracy, an actress, dancer, and choreographer living in Southern California who played the title role in My Chemical Romance's video "Helena" in 2005, and a son, <mask>, who served alongside his father in Dallas and in 2019 on the Rams staff. References

External links
 Los Angeles Rams profile

1947 births
Living people
American football linebackers
Atlanta Falcons coaches
Atlanta Falcons head coaches
Buffalo Bills coaches
Buffalo Bills head coaches
Dallas Cowboys head coaches
Denver Broncos coaches
Denver Broncos head coaches
Houston Cougars football coaches
Houston Cougars football players
Houston Oilers coaches
Houston Texans coaches
Houston Texans head coaches
Kansas Jayhawks football coaches
Los Angeles Rams coaches
National Football League defensive coordinators
New Orleans Saints coaches
New Orleans Saints head coaches
Oklahoma State Cowboys football coaches
People from Orange, Texas
Philadelphia Eagles coaches
Players of American football from Texas
San Diego Chargers coaches

masks:
Wade Phillips
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<mask> (born 25 July 1964) is an Italian composer. Biography
<mask>, author of opera, film score, orchestral and chamber music,  has studied composition at the Conservatorio di Palermo with Eliodoro Sollima. Afterwards, he improved his studies with Armando Gentilucci and Salvatore Sciarrino. He made his debut in 1982 at the Festival Spaziomusica of Cagliari, thenceforth his compositions are regularly performed in the main Italian and European institutions. His musical language merges old Sicilian cultures with the main techniques of the contemporary music, in particular the minimalism and the neotonality genres. Between 1994 and 2002, he was artistic director of the Teatro Massimo, working on the project for the reopening of the theatre, that happened after 23 years on 12 May 1997, with a concert of the theatre choir conducted by Franco Mannino and the Berliner Philharmoniker Orchestra conducted by Claudio Abbado. <mask> teaches composition at the Conservatory of Palermo.Works

Opera
 Bellini ultime luci, 1993. Publisher: Sonzogno. Sabaoth e Sammael, 1994. Publisher: Sonzogno. Averroè, 1999, three scenes from Averroè, Le mille e una notte, Il Cantare del Cid. Text written by Daniele Martino. Publisher: Sonzogno
 Il  Fantasma nella cabina, 2002, opera.Text written by Andrea Camilleri and libretto by Rocco Mortelliti. Duration: 110'. Publisher: Sonzogno. Il mistero del finto cantante, 2002–2003, opera. Libretto written by Rocco Mortelliti from Le Inchieste Del Commissario Collura by Andrea Camilleri. Duration: 55'. Publisher: Ricordi.Che fine ha fatto la piccola Irene?, 2002–2003, opera. Libretto written by Rocco Mortelliti from Le Inchieste Del Commissario Collura by Andrea Camilleri. Duration: 50'. Publisher: Ricordi. Sette storie per lasciare il mondo, 2006, opera. Film directed by Roberto Andò, performed at the Teatro Bellini di Catania on September 2006. Publisher: Ricordi.Natura viva, 2010, opera. Libretto written by Ruggero Cappuccio, performed at the Maggio Musicale Fiorentino in Florence, in June 2010. Publisher: Ricordi. Ballet
 Il viaggio del Commissario Collura, 2004, ballet, libretto written by Rocco Mortelliti from "Le inchieste del Commissario Collura" by Andrea Camilleri. First performance at Teatro Filarmonico, on 8 December 2004, conductor David Coleman, choreograph Maria Grazia Garofoli, orchestra and corps de ballet of the Fondazione Arena di Verona. Duration: 30'. Publisher: Ricordi.Orchestra
 Città azzurra dall'alba all'alba for woodwind and orchestra (2005). Publisher: Ricordi. Corone di pietra for tenor, chorus and orchestra (2003–2004), text written by Daniele Martino. Publisher: Ricordi. Lacrime for orchestra  (2004); in memory of all the victims of the Mafia and violence. Publisher: Ricordi. Lux æterna per soprano, tenor, chorus and orchestra, (1993 ), text written by Vincenzo Consolo, from the Requiem per le vittime della mafia.Publisher: Sonzogno. Magaria for voice and orchestra (2001), text written by Andrea Camilleri. Publisher: Sonzogno. Resurrexi for choir and orchestra (2000), from the Missa Solemnis Resurrectionis. Publisher: Sonzogno. Senti l'eco, aria for orchestra (1989). Publisher: Ricordi.Sorpresa, aria for soprano and orchestra (1993), text written by Dario Oliveri. Publisher: Ricordi. Chamber music
 Ballata for violin and piano (1991). Publisher: Ricordi. Cadentia Sidera fantasia for piano and strings (1990). Publisher: Ricordi. In ombra d'amore ballata for viola (1988).Publisher: Ricordi. Maiores umbrae for five instruments (1989). Publisher: Ricordi. Soledad for eleven string instruments (1992). Publisher: Ricordi. Ultimo canto for viola (2001). Publisher: Ricordi.Ombre sul mare per piano, clarinet, viola, violoncello and contrabass (2003). Incidental music
 Paolo Borsellino essendo stato, 2004, stage music for the text and the stage written by Ruggero Cappuccio. Directed by Ruggero Cappuccio, Production: Teatro Segreto. Publisher: Ricordi. La notte delle lucciole, 2008, stage music, directed by Roberto Andò and <mask>ani, from texts written by Leonardo Sciascia and Pier Paolo Pasolini. Production: Nuovo Teatro. Il tredicesimo punto, 2011, written by Sergio Claudio Perroni, directed by Roberto Andò.Production: Teatro Stabile di Catania. Leonilde, 2011. Production: Teatro Stabile di Catania. La Mennulara, 2011. Production: Teatro Stabile di Catania. Film score
 Il Manoscritto del Principe, (2000), soundtrack, directed by Roberto Andò. Production: Sciarlò Film di Giuseppe e Franco Tornatore.Distribution: Warner Bros. Publisher: Ricordi. Viaggio segreto, (2006), soundtrack, directed by Roberto Andò. Production: Medusa Film and Manigolda Film. Publisher: Emi Music – Ricordi. Soundtrack (contributes) of the documentary film Oltre Selinunte (2006). Maria Montessori, una vita per i bambini" (2007), soundtrack, directed by Gianluca Maria Tavarelli.Production: Tao Due Film. Publisher: Rti Music – Ricordi. Aldo Moro il Presidente (2008), soundtrack, directed by Gianluca Maria Tavarelli. Production: Tao Due Film. Publisher: Rti Music – Ricordi. Con gli occhi di un altro (2010), soundtrack, directed by Antonio Raffaele Addamo. Production: Tersite.Publisher: Unda Maris Edizioni. Le cose che restano, (2010), soundtrack, directed by Gianluca Maria Tavarelli. Production:  Angelo Barbagallo for BiBi Film TV. Discography

CD
 Il Manoscritto del Principe, 2000, score from the film directed by Roberto Andò. Orchestra AMIT, Marco Betta Orchestra conductor. Publisher: Ricordi. Il Viaggio di Ferruccio,  2006, Ensemble Ottava Nota, Anita Vitale voice, Orchestra Roma Sinfonietta, <mask>ta Orchestra Conductor.Publisher: Ricordi. Maria Montessori – una vita per i bambini, 2009, score from the fiction directed by Gianluca Maria Tavarelli. Publisher: Ricordi. Aldo Moro,2009, score from the fiction directed by Gianluca Maria Tavarelli. Publisher: Ricordi. Con gli occhi di un altro, 2010, score from the film directed by Antonio Raffaele Addamo. Publisher: Unda Maris Edizioni.DVD
 La Corona di pietra, starring Plácido Domingo, La Corona di pietra Sony Music, conducted by Ivo Guerra.

masks:
Marco Betta
Marco Betta
Marco Betta
Marco Bali
Marco Bet


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<mask> (born February 8, 1939), also known by his nickname Joma, is a Filipino writer and activist who founded the Communist Party of the Philippines and added elements of Maoism to its philosophy — which would be known as national democracy. He applied the theory of Marxism-Leninism-Maoism to the history and current circumstances of the Philippines. Since August 2002, he has been classified as a "person supporting terrorism" by the United States. The European Union's second highest court ruled in September 2009 to delist him as a "person supporting terrorism" and reversed a decision by member governments to freeze his assets. <mask> has been a recognized political refugee in the Netherlands since 1988 and is in the protection of the Refugee Convention and Article 3 of the European Convention on Human Rights. Early years

<mask> was born on February 8, 1939, in Cabugao to a prominent landowning family with ancestry from Spanish-Mexican-Malay mestizos and from Fujian, China and with connections to other prominent clans such as the Crisólogos, Geraldinos, Vergaras, Azcuetas, Sollers, Serranos and Singsons. His great-grandfather Don Leandro Serrano was the biggest landlord in northern Luzon at the end of the 19th century.His grandfather Don Gorgonio Soller <mask> was the last gobernadorcillo of Cabugao under Spanish colonial rule, the municipal president under the Philippine revolutionary government and first mayor under the US colonial rule. His great-uncle Don Marcelino Crisólogo was the first governor of Ilocos Sur. His uncle Teófilo <mask> was a governor of Pangasinan and the first Defense Secretary in the Commonwealth government. He was convicted in 1946 of having collaborated with the Japanese occupation forces but was covered by amnesty in 1947. During his childhood in Ilocos, he learned about the Huk rebellion in Central Luzon from Ilocano farm workers and from his mother who belonged to a landlord family in Mexico, Pampanga. In his early high school years in Manila, he talked to his barber about the Hukbalahap activity. Unlike his elder siblings, he attended a public school before entering Ateneo de Manila University and later studying at Colegio de San Juan de Letran.<mask> graduated from the University of the Philippines in 1959 with the degree of Bachelor of Arts in English literature with honors and then studied Indonesian in Indonesia before returning to the Philippines and becoming a university professor of literature and eventually Rizal Studies and Political Science. He joined the Lavaite Partido Komunista ng Pilipinas in December 1962 and became a member of its executive committee in early 1963. He was the Vice Chairman of the Lapiang Manggagawa (which eventually became the Socialist Party) and the general secretary of the Movement for the Advancement of Nationalism. In 1964, he co-founded the Kabataang Makabayan, or Patriotic Youth, with Nilo S. Tayag. This organization organized youth against the Vietnam War, Ferdinand Marcos, imperialism, bureaucrat capitalism and feudalism. The organization also spearheaded the study of Maoism as part of 'the struggle'. On December 26, 1968, he formed and led the Central Committee of the Communist Party of the Philippines (CPP), an organization founded on Marxism–Leninism–Mao Zedong Thought, stemming from his experience as a youth leader and labor and land reform activist.This is known as the First Great Rectification Movement where <mask> and other radical youth criticized the existing party leadership for its errors and failures since 1942. The old Communist Party had been run under a series of Moscow-leaning general secretaries from the Lava family. The reestablished CPP set its general political line as two-stage revolution comprising national-democratic as the first stage then proceeding to the socialist revolution. During this period, <mask> went by the nom de guerre of Amado Guerrero, meaning "beloved warrior", under which he published the book manifesto Philippine Society and Revolution. After this, the old Communist Party sought to eliminate and marginalize <mask>. However, the reorganized CPP had a larger base and renewed political line that attracted thousands to join its ranks. On March 29, 1969, the CPP, along with an HMB (Huk) faction led by Bernabe Buscayno, organized the New People's Army (NPA), the guerrilla-military wing of the party, whose guerrilla fronts, numbering more than 110,  are nationwide and cover substantial portions of 75 of the 81 Philippine provinces.The NPA seeks to wage a peasant-worker revolutionary war in the countryside against landlords and foreign companies by operating in rural communities and mountains as strategy for protection. <mask> was arrested in November 1977 during the Marcos presidency and was imprisoned for almost 9 years. He was released from military detention on March 5, 1986, soon after the overthrow of Marcos. His experience is described in Prison & Beyond, a book of poetry released in 1986, which won the Southeast Asia WRITE award for the Philippines. Two biographies have been written about him: one by the German writer Dr. Rainer Werning: The Philippine Revolution: From the Leader's View Point (1989), and one by the Filipina novelist Ninotchka Rosca, At Home in the World (2004). Two major biopics of <mask> as founder of Kabataang Makabayan (titled Tibak) and the Communist Party of the Philippines (titled The Guerrilla Is a Poet) have been produced by major film makers in the Philippines. The CPP has stated for over 20 years that <mask> is no longer involved in operational decisions and serves from Europe in an advisory role as chief political consultant of the National Democratic Front in peace negotiations with the Manila government.In 1986, after he was freed from prison, <mask> embarked on a world tour. In October, he accepted the Southeast Asia WRITE Award for a book of his poems from the Crown Prince of Thailand in October 1986 in Bangkok. While visiting the Netherlands in September 1988, he was informed that his passport had been revoked and that charges had been filed against him under the Anti-Subversion Law of the Philippines. Those charges were later dropped, as were subsequent charges filed by authorities in the Philippines. Personal life
<mask> met his wife, Julie de Lima, when both were students at UP Diliman. Attending the same study groups, they grew closer and married first in a civil wedding in September 1959 and then in a Catholic church wedding in January 1960. The couple has four children.His wife Julie de Lima belongs to the prominent De Lima family of Iriga City, Camarines Sur and is the aunt of Senator Leila de Lima, the former Secretary of the Philippine Department of Justice under the administration of President Benigno S. Aquino III, and currently detained for illegal drug charges. <mask> returned to teach at the University of the Philippines soon after his release from prison in 1986. He then went on a global lecture tour, starting in September 1986. He applied for political asylum in the Netherlands in 1988 after his Philippine passport was cancelled by the Philippine government. He had been earlier released from prison by the government of Corazon Aquino for the sake of "national reconciliation" and for his role in opposing Marcos. The release of <mask> was vehemently protested by the military. It is reported that upon his release, <mask> and his followers actively sought to discredit the Aquino government in the European media by speaking out on Aquino's human rights violations, including the Mendiola massacre, in which members of the military were accused of firing on unarmed peasants in Manila, killing 17 people.He is the chairperson of the International League of Peoples' Struggle, and the current Chief Political Consultant of the National Democratic Front of the Philippines. Since 1987, <mask> had based himself in the Netherlands for his European lecture tour. Since 1992, he has stayed in the Netherlands as a recognized political refugee. In 2017, President Rodrigo Duterte, claimed that <mask> has colon cancer. <mask>, while admitting he has been hospitalized at the Utrecht University Medical Center in March of that year connection to his rheumatoid arthritis and sweet syndrome symptoms, said that he has no serious illness including cancer. In early 2022, reports emerged that <mask> had died; <mask> himself refuted his supposed death. Arrest
The International Crime Investigation Team of the Dutch National Criminal Investigation Department arrested <mask> <mask> in Utrecht on August 28, 2007.<mask> was arrested for his alleged involvement from the Netherlands in three assassinations that took place in the Philippines: the murder of Romulo Kintanar in 2003, and the murders of Arturo Tabara and Stephen Ong in 2006. On the day of his arrest, <mask>'s apartment and eight apartments of his co-workers were searched by the Dutch National Criminal Investigation Department. Some 100 left-wing activists held a demonstration for the release of <mask>, marching towards the Dutch embassy in Manila on August 30, 2007. The demonstration was swiftly ended by police. There were no plans to hold the trial in the Philippines since there was no extradition request and the crimes <mask> was accused of were committed in the Netherlands. Dutch lawyer Victor Koppe said that <mask> would enter a plea of not guilty during his indictment. He could have received the maximum penalty of life imprisonment.On September 1, 2007, National Democratic Front peace panel chair Luis Jalandoni confirmed that the Dutch government was "maltreating" Sison because the court detained him in solitary confinement for several weeks without access to media, newspapers, television, radio or visitors; it also denied him the right to bring prescription medicines to his cell. The place where Sison was held was the same one used by the late former Yugoslav president Slobodan Milosevic who was held for war crimes and corruption. Meanwhile, protests were held in Indonesia, Hong Kong, Australia, the United States and Canada. The Communist Party of the Philippines (CPP) feared that Sison may be "extra-judicially" transferred to the United States. CPP spokesman Gregorio Rosal said that the U.S. may detain and subject Sison to extraordinary rendition in Guantanamo Bay or some secret facility. U.S. ambassador Kristie Ann Kenney formally announced that the U.S. will extend support to the Dutch government to prosecute Sison. In New York City, former United States Attorney General and left-wing human rights lawyer Ramsey Clark called for <mask>'s release and pledged assistance by joining the latter's legal defense team headed by Jan Fermon.Clark doubted Dutch authorities' validity and competency, since the murder charges originated in the Philippines and had already been dismissed by the country's Supreme Court. Committee DEFEND, an International group stated that the Dutch government tortured <mask> at the National Penitentiary in Scheveningen (used by the Nazis in World War II to torture Dutch resistance fighters). His wife, Julie De Lima

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Jose Maria Canlas Sison
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Jose Maria
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