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<mask> (; 4 April 18751 July 1964) was a French (later American) conductor. After violin and viola studies, and a decade as an orchestral player and occasional conductor, he began to receive regular conducting engagements in 1907. He came to prominence when, for Sergei Diaghilev's Ballets Russes company between 1911 and 1914, he conducted the world premieres of Stravinsky's The Rite of Spring and other prominent works including Petrushka, Ravel's Daphnis et Chloé, and Debussy's Jeux. Thereafter he directed orchestras around the world for more than half a century. From 1917 to 1919 <mask> was the principal conductor of the French repertoire at the Metropolitan Opera in New York. He conducted the Boston Symphony Orchestra (1919–24), Amsterdam Concertgebouw Orchestra (1924–34), Orchestre Symphonique de Paris (1929–38) and San Francisco Symphony (1936–52). In 1961, aged eighty-six, he accepted the chief conductorship of the London Symphony Orchestra, a post which he held until his death three years later.Although known for his performances of the French repertoire, his chief love was the music of German composers, above all Brahms. He disliked recording, finding it incompatible with spontaneity, but he nevertheless made a substantial number of records. <mask> was well known as a teacher. In 1932 he began a conducting class in Paris, which he developed into a summer school that was later moved to his summer home in Les Baux in the south of France. After moving permanently to the US in 1942, and taking American citizenship, he founded a school for conductors and orchestral musicians in Hancock, Maine. Among his students in France and America who went on to international fame were Lorin Maazel, Igor Markevitch, Neville Marriner, Seiji Ozawa, André Previn and David Zinman. The school in Hancock has continued since <mask>'s death.Life and career

Early years
<mask> was born in Paris, the third son and the fifth of six children of Gustave Élie <mask>, a shoe salesman, and his wife, Clémence Rebecca née Brisac. The <mask> family was descended from Sephardic Jews who settled in the south of France. The <mask> ancestors included at least one rabbi, but Gustave <mask> and his family were not religious. Among <mask>'s brothers were Henri, who became an actor, and Paul, who became a conductor of light music under the name <mask>-Brisac. Gustave <mask> was not musical, but his wife was a graduate of the Conservatoire de Musique de Marseille and gave piano lessons. <mask> took violin lessons from the age of six. When he was nine years old <mask> was admitted to the Conservatoire de Paris.He studied the violin with Jules Garcin and Henri Berthelier, composition with Charles Lenepveu, and harmony and theory with Albert Lavignac. His fellow violin students included George Enescu, Carl Flesch, Fritz Kreisler and Jacques Thibaud. Among the piano students at the Conservatoire was Alfred Cortot, with whom he developed a lifelong friendship. At the age of twelve, <mask> organised and conducted a small orchestra of Conservatoire students to accompany Cortot in performances of concertos in and around Paris. He attended the world premiere of César Franck's Symphony in February 1889. From 1889 to 1892, while still a student, he played in the orchestra of the Folies Bergère; he later said to George Gershwin that his rhythmic sense was formed during the experience of playing popular dance music there. At the age of fifteen, while continuing his violin studies, <mask> took up the viola.He studied privately with Benjamin Godard, with whom he performed in the premiere of Saint-Saëns's Septet, with the composer at the keyboard. <mask> joined the Geloso Quartet as violist; he played many concerts with them, including a performance of Fauré's Second Piano Quartet with the composer at the piano. On another occasion he was the violist in a private performance of a Brahms quartet given before the composer in Vienna. <mask> recalled Brahms's remark, "It takes the French to play my music properly. The Germans all play it much too heavily." <mask> remained a member of the Geloso Quartet until 1911. With Johannes Wolff and Joseph Hollman he also played chamber music for Grieg.Years later, in his seventies, <mask> deputised with the Budapest Quartet without rehearsal or score; asked by Erik Smith if he could write out the parts of the seventeen Beethoven quartets, he replied, "You know, I cannot forget them." In 1893, when he was eighteen, <mask> married a fellow student, the pianist Victoria Barrière. With her he played the complete Beethoven violin sonatas in public. Neither family approved of the marriage; although the <mask> family were not religious, both they and the Roman Catholic Barrières were doubtful about an inter-religious marriage; furthermore, both families thought the couple too young to marry. There were a son and a daughter from the union. During his formative years <mask> belonged to a group which toured with the Casadesus family of musicians and the pianist Alfredo Casella. The combination played supposed "ancient pieces", allegedly discovered in libraries by one or other of the Casadesus family; Marius Casadesus later revealed that he or his brother Henri had written the music.While still a student, in 1893 <mask> was successful in the competition for the chair of first viola of the Concerts Colonne, of which he became assistant conductor and choirmaster the following year. This gave him a link via the orchestra's founder, Édouard Colonne, to Berlioz. Colonne had known Berlioz, and through the older conductor <mask> was able to mark his scores with notes based on the composer's intentions. He was also employed on a freelance basis at the Opéra-Comique, where he continued to play from time to time for several years; he led the viola section at the 1902 premiere of Pelléas et Mélisande under the baton of André Messager. In 1896 he graduated from the Conservatoire, sharing first prize for violin with Thibaud. First conducting posts

<mask>'s first high-profile conducting experience came in 1895, when he was barely 20 years old. He was a member of the orchestra engaged for a performance of Saint-Saëns's oratorio La lyre et la harpe, to be conducted by the composer.At the last minute Saint-Saëns judged the player engaged for the important and difficult organ part to be inadequate and, as a celebrated virtuoso organist, decided to play it himself. He asked the orchestra if any of them could take over as conductor; there was a chorus of "Oui – Monteux!". With great trepidation, <mask> conducted the orchestra and soloists including the composer, sight-reading the score, and was judged a success. <mask>'s musical career was interrupted in 1896, when he was called up for military service. As a graduate of the Conservatoire, one of France's grandes écoles, he was required to serve only ten months rather than the three years generally required. He later described himself as "the most pitifully inadequate soldier that the 132nd Infantry had ever seen". He had inherited from his mother not only her musical talent but her short and portly build and was physically unsuited to soldiering.Returning to Paris after discharge, <mask> resumed his career as a violist. Hans Richter invited him to lead the violas in the Bayreuth Festival orchestra, but <mask> could not afford to leave his regular work in Paris. In December 1900 <mask> played the solo viola part in Berlioz's Harold in Italy, rarely heard in Paris at the time, with the Colonne Orchestra conducted by Felix Mottl. In 1902 he secured a junior conducting post at the Dieppe casino, a seasonal appointment for the summer months which brought him into contact with leading musicians from the Paris orchestras and well-known soloists on vacation. By 1907 he was the principal conductor at Dieppe, in charge of operas and orchestral concerts. As an orchestral conductor he modelled his technique on that of Arthur Nikisch, under whose baton he had played, and who was his ideal conductor. Ballets Russes
For some time, <mask>'s marriage had been under strain, exacerbated by his wife's frequent absences on concert tours.The couple were divorced in 1909; <mask> married one of her former pupils, Germaine Benedictus, the following year. <mask> continued to play in the Concerts Colonne through the first decade of the century. In 1910 Colonne died and was succeeded as principal conductor by Gabriel Pierné. As well as leading the violas, <mask> was assistant conductor, taking charge of early rehearsals and acting as chorus master for choral works. In 1910 the orchestra was engaged to play for a Paris season given by Sergei Diaghilev's ballet company, the Ballets Russes. <mask> played under Pierné in the world premiere of Stravinsky's The Firebird. In 1911 Diaghilev engaged Nikolai Tcherepnin to conduct the premiere of Stravinsky's Petrushka.<mask> conducted the preliminary rehearsals before Tcherepnin arrived; Stravinsky was so impressed that he insisted that <mask> conduct the premiere. Petrushka was part of a triple bill, all conducted by <mask>. The other two pieces were Le Spectre de la Rose and Scheherazade, a balletic adaptation of Rimsky-Korsakov's symphonic suite of the same name. The three works were choreographed by Fokine. In later years <mask> disapproved of the appropriation of symphonic music for ballets, but he made an exception for Scheherazade, and, as his biographer John Canarina observes, at that stage in his career his views on the matter carried little weight. Petrushka was a success with the public and with all but the most diehard conservative critics. Following the Paris season Diaghilev appointed <mask> principal conductor for a tour of Europe in late 1911 and early 1912.It began with a five-week season at the Royal Opera House in London. The press notices concentrated on the dancers, who included Anna Pavlova as well as the regular stars of the Ballets Russes, but <mask> received some words of praise. The Times commented on the excellent unanimity he secured from the players, apart from "occasional uncertainty in the changes of tempo." After its season in London the company performed in Vienna, Budapest, Prague and Berlin. The tour was successful, artistically and financially, but was not without untoward incident. A planned visit to St Petersburg had to be cancelled because the Narodny Dom theatre burned down, and in Vienna the Philharmonic was unequal to the difficulties of the score of Petrushka. The illustrious orchestra revolted at the rehearsal for the first performance, refusing to play for <mask>; only an intervention by Diaghilev restored the rehearsal, by the end of which <mask> was applauded and Stravinsky given an ovation.In the middle of the tour <mask> was briefly summoned back to Paris by the Concerts Colonne, which had the contractual right to recall him, to deputise for Pierné; his own deputy, Désiré-Émile Inghelbrecht, took temporary musical charge of the Ballets Russes. In May 1912 Diaghilev's company returned to Paris. <mask> was the conductor for the two outstanding works of the season, Vaslav Nijinsky's ballet version of Debussy's Prélude à l'après-midi d'un faune, made with the composer's approval, and Fokine's Daphnis et Chloé to a score commissioned from Ravel. <mask> later recalled "Debussy was behind me when we played L'après midi d'un faune because he did not want anything in his score to be changed on account of the dancing. And when we came to a forte, he said 'Monteux, that is a forte, play forte'. He did not want anything shimmering. And he wanted everything exactly in time".In February and March 1913 the Ballets Russes presented another London season. As in 1911, the local orchestra engaged was the Beecham Symphony Orchestra. The orchestra's founder, Thomas Beecham, shared the conducting with <mask>. At the end of February Beecham had to take over Petrushka when <mask> suddenly hastened to Paris for four days to be with his wife on the birth of their daughter, Denise. The Rite of Spring
During the 1913 Ballets Russes season in Paris, <mask> conducted two more premieres. The first was Jeux, with music by Debussy and choreography by Nijinsky. The choreography was not liked; <mask> thought it "asinine", while Debussy felt that "Nijinsky's cruel and barbarous choreography ... trampled over my poor rhythms like so many weeds".The second new work was Stravinsky's The Rite of Spring given under the French title, Le sacre du printemps. <mask> had been appalled when Stravinsky first played the score at the piano:

Despite his initial reaction, <mask> worked with Stravinsky, giving practical advice to help the composer to achieve the orchestral balance and effects he sought. Together they worked on the score from March to May 1913, and to get the orchestra of the Théâtre des Champs-Élysées to cope with the unfamiliar and difficult music <mask> held seventeen rehearsals, an unusually large number. <mask>'s real attitude to the score is unclear. In his old age he told a biographer, "I did not like Le Sacre then. I have conducted it fifty times since. I do not like it now."However, he told his wife in 1963 that the Rite was "now fifty years old, and I do not think it has aged at all. I had pleasure in conducting the fiftieth anniversary of Le Sacre this spring". The dress rehearsal, with Debussy, Ravel, other musicians and critics among those present, passed without incident. However, the following evening the premiere provoked something approaching a riot, with loud verbal abuse of the work, counter-shouts from supporters, and fisticuffs breaking out. <mask> pressed on, continuing to conduct the orchestra regardless of the turmoil behind him. Stravinsky wrote "The image of <mask>'s back is more vivid in my mind today than the picture of the stage. He stood there apparently impervious and as nerveless as a crocodile.It is still incredible to me that he actually brought the orchestra through to the end." The extensive press coverage of the incident made <mask> "at age thirty-eight, truly a famous conductor". The company presented the Rite during its London season a few weeks later. The Times reported that although there was "something like a hostile reception" at the first London performance, the final performance in the season "was received with scarcely a sign of opposition". Before the 1913 London performances, <mask> challenged Diaghilev's authority by declaring that he, not the impresario, was the composer's representative in matters related to The Rite of Spring. <mask> believed that most of the anger aroused by the work was due not to the music but to Nijinsky's choreography, described by Stravinsky as "knock-kneed and long-haired Lolitas jumping up and down". With the composer's agreement <mask> presented a concert performance in Paris in April 1914.Saint-Saëns, who was present, declared Stravinsky mad and left in a rage, but he was almost alone in his dislike. At the end Stravinsky was carried shoulder-high from the theatre after what he described as "the most beautiful performance that I have had of the Sacre du printemps". That performance was part of a series of "Concerts Monteux", presented between February and April 1914, in which <mask> conducted the orchestra of the Théâtre des Champs-Élysées in a wide range of symphonic and concertante works, including the concert

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 premiere of the orchestral version of Ravel's Valses nobles et sentimentales. His last notable engagement before the outbreak of war was as conductor of the premiere of Stravinsky's opera The Nightingale at the Palais Garnier. The Met and Boston

After the outbreak of the First World War <mask> was again conscripted into the army, serving as a private in the 35th Territorial Regiment, with which he saw action in the trenches at Verdun, Soissons and the Argonne. He later described much of this period as one of "filth and boredom", although he formed a scratch band to divert his fellow soldiers. After just over two years on active service he was released from military duties after Diaghilev prevailed on the French government to second Monteux to conduct the Ballets Russes on a North American tour.The tour took in fifty-four cities in the US and Canada. In New York in 1916 <mask> refused to conduct Nijinsky's new ballet Till Eulenspiegel as the music was by a German – Richard Strauss – so a conductor had to be engaged for those performances. At the end of the tour <mask> was offered a three-year contract to conduct the French repertoire at the Metropolitan Opera in New York, and received the permission of the French government to remain in the US. At the Met (as the Metropolitan Opera is generally called), <mask> conducted familiar French works such as Faust, Carmen and Samson and Delilah, with singers including Enrico Caruso, Geraldine Farrar, Louise Homer and Giovanni Martinelli. Of his first appearance, The New York Times said, "Mr. <mask> conducted with skill and authority. He made it evident that he had ample knowledge of the score and control of the orchestra – an unmistakably rhythmic beat, a sense of dramatic values." <mask> conducted the American premieres of Rimsky-Korsakov's The Golden Cockerel, and Henri Rabaud's Mârouf, savetier du Caire.The American premiere of Petrushka, in a new production by, and starring, Adolph Bolm, was in an unusual opera-ballet double bill with La traviata. <mask>'s performances were well received, but, though he later returned to the Met as a guest, opera did not loom large in his career. He said, "I love conducting opera. The only trouble is that I hate the atmosphere of the opera house, where only too often music is the least of many considerations, from staging to the temperaments of the principal singers." Nor was he drawn to further engagements as a ballet conductor: "it offers special problems of fitting in with the dances and the dancers, most of whom, I'm sorry to say, seem to have musical appreciation confined to an ability to count beats." Nonetheless he occasionally conducted ballet performances, and even in his concert performances of the ballet scores he had conducted for Diaghilev he said he always had the dancers in his mind's eye. In 1919 <mask> was appointed chief conductor of the Boston Symphony Orchestra.The orchestra was going through difficult times; its conductor, Karl Muck, had been forced by anti-German agitation to step down in 1917. Sir Henry Wood turned down the post, and despite press speculation neither Sergei Rachmaninoff nor Arturo Toscanini was appointed. At least twenty-four players of German heritage had been forced out with Muck, and orchestral morale was low. Shortly before <mask> took up the conductorship the autocratic founder and proprietor of the orchestra, Henry Lee Higginson, died. He had steadfastly resisted unionisation, and after his death a substantial minority of the players resumed the struggle for union recognition. More than thirty players, including two important principals, resigned over the matter. <mask> set about rebuilding the orchestra, auditioning players from all kinds of musical background, some of whom had not played symphonic music before.By the end of his first season he had restored the orchestra to something approaching its normal complement. He trained the orchestra to a high standard; according to the critic Neville Cardus, <mask>'s musicianship "made the Boston Symphony Orchestra the most refined and musical in the world." <mask> regularly introduced new compositions in Boston, often works by American, English and French composers. He was proud of the number of novelties presented in his years at Boston, and expressed pleasure that his successors continued the practice. He was dismayed when it was announced that his contract would not be renewed after 1924. The official explanation was that the orchestra's policy had always been to appoint conductors for no more than five years. It is unclear whether that was genuinely the reason.One suggested possibility is that the conductor chosen to replace him, Serge Koussevitzky, was thought more charismatic, with greater box-office appeal. Another is that the primmer members of Boston society disapproved of <mask>'s morals: he and his second wife had gradually drifted apart and by 1924 he was living with Doris Hodgkins, an American divorcée, and her two children. They were unable to marry until 1928, when Germaine <mask> finally agreed to a divorce. Amsterdam and Paris

In 1924, <mask> began a ten-year association with the Concertgebouw Orchestra of Amsterdam, serving as "first conductor" ("eerste dirigent") alongside Willem Mengelberg, its long-serving chief conductor. The two musicians liked and respected one another, despite the difference in their approach to music-making: <mask> was scrupulous in his adherence to a composer's score and straightforward in his performances, while Mengelberg was well known for his virtuoso, sometimes wilful, interpretations and his cavalier attitude to the score ("Ve vill make some changements", as an English player quoted him). Their preferred repertoire overlapped in some of the classics, but Mengelberg had his own favourites from Bach's St. Matthew Passion to Mahler symphonies, and was happy to leave Debussy and Stravinsky to Monteux. Where their choices coincided, as in Beethoven, Brahms and Richard Strauss, Mengelberg was generous in giving Monteux at least his fair share of them.While in Amsterdam <mask> conducted a number of operas, including Pelléas et Mélisande (its Dutch premiere), Carmen, Les Contes d'Hoffmann, a Lully and Ravel double bill of Acis et Galatée and L'Heure espagnole, Gluck's Iphigénie en Tauride (also brought to the Paris Opéra) and Verdi's Falstaff. Toscanini had been invited to conduct the last of these, but he told the promoters that <mask> was his dearest colleague and the best conductor for Falstaff. During the first eight years of his association with the Concertgebouw, <mask> conducted between fifty and sixty concerts each season. In his final two years with the orchestra other conductors, notably the rising young Dutchman Eduard van Beinum, were allocated concerts that would previously have been given to <mask>, who amicably withdrew from his position in Amsterdam in 1934. He returned many times as a guest conductor. In addition to his work with the Concertgebouw Orchestra, from 1929 <mask> conducted the Orchestre Symphonique de Paris (OSP), founded the previous year. The orchestral scene in Paris in the 1920s had been adversely affected by the "deputy" system, whereby any contracted orchestral player was at liberty, if a better engagement became available, to send a deputy to a rehearsal or even to a concert.In most other major cities in Europe and America this practice either had never existed or had been eradicated. Alongside the opera orchestras, four other Paris orchestras were competing for players. In 1928 the arts patron the Princesse de Polignac combined with the fashion designer Coco Chanel to propose a new orchestra, well enough paid to keep its players from taking conflicting engagements. With financial backing assured, they appointed a triumvirate of musicians – Cortot, Ernest Ansermet and Louis Fourestier – to assemble the OSP. The following year Cortot invited <mask> to become the orchestra's artistic director and principal conductor. Ansermet, its initial musical director, was not pleased at being supplanted by a conductor of whom he was reportedly "ragingly jealous", but the composer Darius Milhaud commented on how much better the orchestra played for <mask> "since Ansermet has been sent back to his Swiss pastures". <mask> considered the OSP one of the finest with which he worked.He conducted it until 1938, premiering many pieces, including Prokofiev's Third Symphony in 1929. The orchestra's generous funding in the first years allowed for ample rehearsals and adventurous programming, presenting contemporary music and the lesser-known works of earlier composers as well as the classic repertoire. In his first season <mask> conducted an all-Stravinsky concert, consisting of the suite from The Firebird and complete performances of Petrushka and The Rite of Spring. The orchestra made European tours in 1930 and 1931, receiving enthusiastic receptions in the Netherlands and Germany. In Berlin the audience could not contain its applause until the end of the Symphonie fantastique, and in <mask>'s words "went wild" after the slow movement, the "Scène aux champs". He approved of spontaneous applause, unlike Artur Schnabel, Sir Henry Wood and Leopold Stokowski, who did all they could to stamp out the practice of clapping between movements. After 1931 the OSP suffered the effects of the Great Depression; much of its funding ceased, and the orchestra reformed itself into a co-operative, pooling such meagre profits as it made.To give the players some extra work <mask> started a series of conducting classes in 1932. From 1936 he held the classes at his summer home in Les Baux in Provence, the forerunner of the school he later set up in the US. San Francisco and the Monteux School
<mask> first conducted the San Francisco Symphony Orchestra (SFSO) in 1931, and in 1935 at the age of 60 he was offered the chief conductorship. He was doubtful about accepting, both on personal and on professional grounds. He did not want to leave the OSP, his wife did not want to live on the west coast of America, and the orchestra was so low in funds that it had been forced to cancel an entire season in 1934. Like most orchestras the SFSO had been badly hit financially by the depression, and it suffered the further difficulty that many of its former players had left for better-paid jobs in Hollywood studios. That problem was exacerbated by the insistence of the Musicians' Union that only local players could be recruited.<mask> nevertheless accepted the appointment. The SFSO concert season was never longer than five months a year, which enabled him to continue working with the OSP, and allowed him to conduct the inaugural concert of the NBC Symphony Orchestra on 13 November 1937. In The New York Times Olin Downes wrote that the new orchestra was "of very high rank" and that the broadcast concert had displayed <mask> "at the height of his powers." The Times said of <mask>'s time in San Francisco that it had "incalculable effect on American musical culture", and gave him "the opportunity to expand his already substantial repertory, and by gradual, natural processes to deepen his understanding of his art." <mask> consistently programmed new or recent music. He generally avoided, as he did throughout his career, atonal or serial works, but his choice of modern works nevertheless drew occasional complaints from conservative-minded members of the San Francisco audience. Among guest conductors with the SFSO during <mask>'s years were John Barbirolli, Beecham, Otto Klemperer, Stokowski and Stravinsky.Soloists included the pianists George Gershwin, Rachmaninoff, Arthur Rubinstein and Schnabel, the violinists Jascha Heifetz, Yehudi Menuhin and the young Isaac Stern, and singers such as Kirsten Flagstad and Alexander Kipnis. Almost all his seventeen San Francisco seasons concluded with Beethoven's Ninth Symphony. <mask>'s SFSO studio recordings were mainly made in the cavernous acoustics of War Memorial Opera House (without an audience) with the music transmitted over telephone wires to a Los Angeles studio and recorded on film there. Confined to the US for the years of the Second World War, in 1942 <mask> took American citizenship. <mask> wished to continue his work in helping young conductors: "Conducting is not enough. I must create something. I am not a composer, so I will create fine young musicians."In addition to his classes in Paris and Les Baux in the 1930s he had given private lessons to Igor Markevitch; later private students included André Previn, Seiji Ozawa, José Serebrier and Robert Shaw. Previn called him "the kindest, wisest man I can remember, and there was nothing about conducting he didn't know." After a performance conducted by Previn, <mask> said to him, "Did you think the orchestra was playing well? ... So did I. Next time don't interfere with them." Previn said that he never forgot this advice.<mask>'s best-known undertaking as a teacher was the Pierre Monteux School for conductors and orchestral musicians, held each summer at his home in Hancock, Maine from 1943 onwards. Internationally known alumni of the school include Leon Fleisher, Erich Kunzel, Lorin Maazel, Neville Marriner, Hugh Wolff and David Zinman. Other Monteux students included John Canarina, whose 2003 biography was the first full-length study of the conductor in English, Charles Bruck, one of <mask>'s first pupils in Paris, who became music director of the school in Hancock after <mask>'s death, and Emanuel Leplin. <mask> appeared as guest conductor with many orchestras; he commented in 1955, "I regret they don't have symphony orchestras all over the world so I could see Burma and Samarkand". His successor with the Boston Symphony Orchestra, Serge Koussevitzky, invited many guest conductors during his twenty-five years in charge; <mask> was never among them, probably, in Canarina's view, because of Koussevitzky's jealousy. In 1949 Koussevitzky was succeeded by Charles Munch, whose early career had been boosted by an invitation from <mask> to conduct the Orchestre Symphonique de Paris in 1933. Munch invited <mask> to Boston as a guest conductor in the 1951 season.The engagement was greeted with enthusiasm by the critics and the public, and Munch invited <mask> to join him the following year in heading the orchestra's first European tour. The high point of the tour was a performance under <mask> of The Rite of Spring at the Théâtre des Champs-Elysées, in the presence of the composer. <mask> returned annually to Boston every year until his death. For some time <mask> had felt that he should leave the SFSO. He had two main reasons: he believed that a conductor should not remain in one post for too long, and he wished to be free to accept more invitations to appear with other orchestras. He resigned from the SFSO at the end of the 1952 season. He briefly reappeared on the podium at the War Memorial Opera House within a year, as co-conductor of the Boston Symphony Orchestra's coast-to-coast American tour, at Munch's invitation.Almost all the members of the SFSO were in the audience, and joined in the ovation given to their former chief. After an absence of thirty-four years, <mask> was invited to conduct at the Metropolitan Opera in New York in 1953. The opera chosen was Faust, which he had conducted at his debut at the house in 1917. The production had

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 what Canarina calls "a stellar cast" headed by Jussi Björling, Victoria de los Ángeles, Nicola Rossi-Lemeni and Robert Merrill, but the critics, including Virgil Thomson and Irving Kolodin, reserved their highest praise for <mask>'s conducting. Between 1953 and 1956 <mask> returned to the Met for Pelléas et Mélisande, Carmen, Manon, Orfeo ed Euridice, The Tales of Hoffmann and Samson et Dalila. The Met at that time typecast conductors according to their nationality, and, as a Frenchman, <mask> was not offered any Italian operas. When his request to be engaged for La traviata in the 1956–57 season was refused he severed his ties with the house.London
Since his first visit to London with the Ballets Russes in 1911, <mask> had had a "love affair with London and with British musicians". He had conducted for the fledgling BBC in an orchestral concert at Covent Garden in 1924, where he conducted the first public performance of the BBC Wireless Orchestra, and for the Royal Philharmonic Society at the Queen's Hall in the 1920s and 1930s. In 1932 he was one of four conductors who took charge of the Hallé Orchestra in Manchester in the absence of its principal conductor; the other three substitutes were Sir Edward Elgar, Beecham and the young Barbirolli. The Hallé players were immensely impressed with Monteux, and said that his orchestral technique and knowledge easily beat those of most other conductors. In 1951 he conducted the BBC Symphony Orchestra in a concert of Mozart, Beethoven and Bartók in the new Royal Festival Hall, and made further appearances with London orchestras during the rest of the 1950s. He would have made more but for Britain's strict quarantine laws, which prevented the Monteuxs from bringing their pet French poodle with them; <mask> would not travel without the poodle, and Monteux would not travel without his wife. In June 1958 <mask> conducted the London Symphony Orchestra (LSO) in three concerts, described by the orchestra's historian Richard Morrison as "a sensation with players, press and public alike."The first concert included Elgar's Enigma Variations, in which Cardus judged <mask> to be more faithful to Elgar's conception than English conductors generally were. Cardus added, "After the performance of the 'Enigma' Variations, the large audience cheered and clapped <mask> for several minutes. This applause, moreover, broke out just before the interval. English audiences are not as a rule inclined to waste time applauding at or during an interval: they usually have other things to do." <mask> considered British concertgoers "the most attentive in the world", and British music critics "the most intelligent". However, a disadvantage of conducting a London orchestra was having to perform at the Festival Hall, of which he shared with Beecham and other conductors an intense dislike: "from the conductor's rostrum it is impossible to hear the violins". <mask>'s later London performances were not only with the LSO.In 1960 he conducted Beecham's Royal Philharmonic Orchestra performing "feats of wizardry" in works by Beethoven, Debussy and Hindemith. The LSO offered him the post of principal conductor in 1961, when he was eighty-six; he accepted, on condition that he had a contract for twenty-five years, with an option of renewal. His large and varied repertoire was displayed in his LSO concerts. In addition to the French repertoire with which, to his occasional irritation, he was generally associated, he programmed Mozart, Beethoven, Brahms and Wagner, as well as later composers including Granados, Schoenberg, Scriabin, Shostakovich, Sibelius, Richard Strauss and Vaughan Williams. With the LSO, <mask> gave a fiftieth anniversary performance of The Rite of Spring at the Royal Albert Hall in the presence of the composer. Although the recording of the occasion reveals some lapses of ensemble and slack rhythms, it was an intense and emotional concert, and <mask> climbed up to Stravinsky's box to embrace him at the end. Players believed that in his few years in charge he transformed the LSO; Neville Marriner felt that he "made them feel like an international orchestra ...He gave them extended horizons and some of his achievements with the orchestra, both at home and abroad, gave them quite a different constitution." Last years
Although <mask> retained his vitality to the end of his life, in his last years he suffered occasional collapses. In 1962 he fainted during a performance of Beethoven's Fifth Symphony. In 1963 he collapsed again after being presented with the Gold Medal of the Royal Philharmonic Society, Britain's highest musical honour. The presentation was made by Sir Adrian Boult, who recalled that as they left the platform, "Monteux gave two little groans as we walked down the passage, and I suddenly found my arms full of violins and bows. The orchestra had recognized the signs. Their beloved chief was fainting."<mask> suffered another collapse the following year, and David Zinman and Lorin Maazel deputised for him at the Festival Hall. In April 1964 <mask> conducted his last concert, which was in Milan with the orchestra of Radiotelevisione italiana. The programme consisted of the overture to The Flying Dutchman, Brahms's Double Concerto and Berlioz's Symphonie fantastique. Unrealised plans included his debut at The Proms, and his 90th birthday concert, at which he intended to announce his retirement. In June 1964 <mask> suffered three strokes and a cerebral thrombosis at his home in Maine, where he died on 1 July at the age of 89. Personal life
<mask> had six children, two of them adopted. From his first marriage there were a son, Jean-Paul, and a daughter, Suzanne.Jean-Paul became a jazz musician, performing with artists such as Josephine Baker and Mistinguett. His second marriage produced a daughter, Denise, later known as a sculptress, and a son, Claude, a flautist. After <mask> married Doris Hodgkins he legally adopted her two children, Donald, later a restaurateur, and Nancie, who after a career as a dancer became administrator of the Pierre Monteux School in Hancock. Among <mask>'s numerous honours, he was a Commandeur of the Légion d'honneur and a Knight of the Order of Oranje-Nassau. A political and social moderate, in the politics of his adopted homeland he supported the Democratic Party and was a strong opponent of racial discrimination. He ignored taboos on employing black artists; reportedly, during the days of segregation in the US, when told he could not be served in a restaurant "for colored folk" he insisted that he was coloured – pink. Music making

Reputation and repertoire
The record producer John Culshaw described Monteux as "that rarest of beings – a conductor who was loved by his orchestras ... to call him a legend would be to understate the case."Toscanini observed that <mask> had the best baton technique he had ever seen. Like Toscanini, <mask> insisted on the traditional orchestral layout with first and second violins to the conductor's left and right, believing that this gave a better representation of string detail than grouping all the violins together on the left. On fidelity to composers' scores, <mask>'s biographer John Canarina ranks him with Klemperer and above even Toscanini, whose reputation for strict adherence to the score was, in Canarina's view, less justified than <mask>'s. According to the biographical sketch in Grove Dictionary of Music and Musicians, <mask> "was never an ostentatious conductor ... [he prepared] his orchestra in often arduous rehearsals and then [used] small but decisive gestures to obtain playing of fine texture, careful detail and powerful rhythmic energy, retaining to the last his extraordinary grasp of musical structure and a faultless ear for sound quality." <mask> was extremely economical with words and gestures and expected a response from his smallest movement. The record producer Erik Smith recalled of <mask>'s rehearsals with the Vienna Philharmonic for Beethoven's Pastoral Symphony and Brahms's Second, "although he could not speak to the orchestra in German, he transformed their playing from one take to the next". The importance of rehearsal to Monteux was shown when, in 1923, Diaghilev asked him to conduct Stravinsky's new Les noces with no rehearsal, as the composer would already have conducted the first performance, <mask> following on from there.<mask> told the impresario "Stravinsky, 'e can do what 'e like, but I have to do what ze composer 'as written." <mask>'s self-effacing approach to scores led to occasional adverse comment; the music critic of The Nation, B. H. Haggin, while admitting that <mask> was generally regarded as one of the giants of conducting, wrote of his "repeatedly demonstrated musical mediocrity". Other American writers have taken a different view. In 1957 Carleton Smith wrote, "His approach to all music is that of the master-craftsman. ... Seeing him at work, modest and quiet, it is difficult to realize that he is a bigger box office attraction at the Metropolitan Opera House than any prima donna ... that he is the only conductor regularly invited to take charge of America's 'big three' – the Boston, Philadelphia and New York Philharmonic orchestras." In his 1967 book The Great Conductors, Harold C. Schonberg wrote of <mask>, "[A] conductor of international stature, a conductor admired and loved all over the world.The word 'loved' is used advisedly." Elsewhere, Schonberg wrote of <mask>'s "passion and charisma". When asked in a radio interview to describe himself (as a conductor) in one word, <mask> replied, "Damned professional". Throughout his career <mask> suffered from being thought of as a specialist in French music. The music that meant most to him was that of German composers, particularly Brahms, but this was often overlooked by concert promoters and recording companies. Of the four Brahms symphonies, he was invited by the recording companies to record only one, the Second. Recordings of his live performances of the First and Third have been released on CD, but the discography in Canarina's biography lists no recording, live or from the studio, of the Fourth.The critic William Mann, along with many others, regarded him as a "supremely authoritative" conductor of Brahms, though Cardus disagreed: "In German music <mask>, naturally enough, missed harmonic weight and the right heavily lunged tempo. His rhythm, for example, was a little too pointed for, say, Brahms or Schumann." Gramophones reviewer Jonathan Swain contends that no conductor knew more than Monteux about expressive possibilities in the strings, claiming that "the conductor who doesn't play a stringed instrument simply doesn't know how to get the different sounds; and the bow has such importance in string playing that there are maybe 50 different ways of producing the same note"; In his 2003 biography, John Canarina lists nineteen "significant world premieres" conducted by Monteux. In addition to Petrushka and The Rite of Spring is a further Stravinsky work, The Nightingale. <mask>'s other premieres for Diaghilev included Ravel's Daphnis et Chloé and Debussy's Jeux. In the concert hall he premiered works by, among others, Milhaud, Poulenc and Prokofiev. In a letter of April 1914 Stravinsky wrote "everyone can appreciate your zeal and your probity in regard to the contemporary works of various tendencies that you have had occasion to defend."<mask>'s biographer Jean-Philippe Mousnier analysed a representative sample of <mask>'s programmes for more than 300 concerts. The symphonies played most frequently were César Franck's D minor Symphony, the Symphonie fantastique, Beethoven's Seventh, Tchaikovsky's Fifth and Sixth, and the first two symphonies of Brahms. Works by Richard Strauss featured almost as often as those of Debussy, and Wagner's Prelude and "Liebestod" from Tristan und Isolde as often as The Rite of Spring. Recordings

<mask> made a large number of recordings throughout his career. His first recording was as a violist in "Plus blanche que la blanche hermine" from Les Huguenots by Meyerbeer in 1903 for Pathé with the tenor Albert Vaguet. It is possible that <mask> played in the Colonne Orchestra's 20 early cylinders recorded around 1906–07. His recording debut as a conductor was the first of his five recordings of The Rite of Spring, issued in 1929, with the OSP, judged by Canarina to be indifferently played; recordings by Monteux of music by Ravel and Berlioz made in 1930 and 1931, Canarina believes, were more impressive.Stravinsky, who also recorded The Rite in 1929, was furious that <mask> had made a rival recording; he made vitriolic comments privately, and for some time his relations with <mask> remained cool. <mask>'s final studio recordings were with the London Symphony Orchestra in works by Ravel at the end of February 1964. In the course of his career he recorded works by more than fifty composers. In <mask>'s lifetime it was rare for record companies to issue recordings of live concerts, although he would much have preferred it, he said, "if one could record in one take in normal concert-hall conditions". Some live performances of <mask> conducting the Metropolitan Opera, and among others the San Francisco Symphony, Boston Symphony, BBC Symphony and London Symphony orchestras survive alongside his studio recordings, and some have been issued on compact disc. It has been argued that these reveal even more than his studio recordings "a conductor at once passionate, disciplined, and tasteful; one who was sometimes more vibrant than the Monteux captured in the studio, and yet, like that studio conductor, a cultivated musician possessing an extraordinary ear for balance, a keen sense of style and a sure grasp of shape and line." Many of <mask>'s recordings have remained in the catalogues for decades, notably his RCA Victor recordings with the Boston Symphony and Chicago Symphony orchestras; Decca recordings with the Vienna Philharmonic; and Decca and Philips recordings with the LSO.Of Manon, one of his few opera recordings, Alan Blyth in Opera on Record states "<mask> had the music in his blood and here dispenses it with authority and spirit". He can be heard rehearsing in the original LP issues of Beethoven's Eroica Symphony with the Concertgebouw Orchestra (Philips 835132 AY) and Beethoven's 9th with the London Symphony (Westminster, WST 234). Video recordings of <mask> are scarcer. He is seen conducting Berlioz's Roman Carnival Overture and Beethoven's 8th symphony with the Chicago Symphony Orchestra, and Dukas' L'Apprenti sorcier with the London Symphony Orchestra in an "unshowy, deeply satisfying humane way". Notes and references
Notes

References

Sources

External links

<mask>ux Music Manuscripts at the Newberry Library

1875 births
1964 deaths
American conductors (music)
American male conductors (music)
Ballet conductors
Chevaliers of the Légion d'honneur
Conservatoire de Paris alumni
French classical violists
20th-century French male classical violinists
French conductors (music)
French male conductors (music)
French emigrants to the United States
Jewish classical musicians
London Symphony Orchestra principal conductors
Musicians from Paris
Officers of the Order of Orange-Nassau
People from Hancock, Maine
Royal Philharmonic Society Gold Medallists
19th-century French Sephardi Jews
20th-century American Sephardic

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<mask> (born December 5, 1944) is an American historian of science and Horning Professor in the Humanities emerita of the History Department at Oregon State University. She is known for her work on the relationships between scientific discovery and social and political phenomena. Early life and education

<mask> was born December 5, 1944, to <mask> and Mildred Mann of Nashville, Tennessee. She began her undergraduate studies as a chemistry major at Vanderbilt University, but became interested in history of science after taking a class from Robert Siegfried. In 1964 she left Vanderbilt to attend the University of Wisconsin in Madison, Wisconsin, where she completed her BA in Chemistry in 1965. She married Robert A<mask>, also a historian, on February 17, 1968. They traveled to France to do doctoral research in 1968: their trip coincided with revolutionary unrest and offered them opportunities to learn French cooking.<mask> <mask> completed a Ph.D. in History of Science at the University of Wisconsin in 1970, advised by Erwin N. Hiebert, whom Nye credits for his egalitarian support of women students. At the time, students studying the 19th and 20th century were also a minority in the field. <mask>'s generation of scholars is credited with creating a shift that embraces international perspectives and examines the interactions of politics and science. <mask> was awarded a National Science Foundation post-doc in the history of science in 1969. In 1970 she began teaching part-time at the University of Oklahoma, later moving to a tenure-track position. She was appointed Assistant Professor in 1975, Associate Professor in 1978, served as Acting Chair of the History of Science department in 1981, and became a Full Professor in 1985. In 1991 she was named George Lynn Cross Research Professor in the History of Science.She and her husband, also a faculty member, shared responsibility for caring for their daughter and frequently traveled to France for research. Their interests later broadened to include England and Germany, as <mask> studied the British physicist and Nobel laureate P.M.S. Blackett. In 1993, <mask> was appointed chair of the History of Science Department at the University of Oklahoma. <mask> <mask> was active in the History of Science Society (HSS), serving as vice-president in 1987 and succeeding Bill Coleman as president from 1988-1989 when he became ill. She has also served as Second Vice-President of the Division of History of Science in the International Union of History and Philosophy of Science. She has held a number of visiting research appointments at institutions including the University of Pittsburgh, Rutgers University, the Institute for Advanced Study in Princeton, Churchill College at the University of Cambridge, the Max Planck Institute for the History of Science in Berlin, and Harvard University. In 1994, <mask> and her husband were co-appointed as Thomas Hart and <mask> Horning Professors of the Humanities and Professors of History at Oregon State University.AT OSU she became interested in Linus Pauling, whose papers are held by the university, and whose career covers much of the 20th century. She worked as well on Hungarian-born physical chemist and philosopher Michael Polanyi  <mask> retired from Oregon State University in 2009. Research interests
The history of chemistry and physics since the eighteenth century in Western Europe, Great Britain and the United States
The social and cultural history of science, including laboratory science, university education, and the political activities of scientists
The philosophy of science, especially relations between theory and evidence
Studies of Michael Polanyi and P.M.S. Blackett

Awards and honors

 2017 Abraham Pais Prize for History of Physics Recipient from the American Physical Society
 2013 John and Martha Morris Prize for Outstanding Achievement in the History of Modern Chemistry, from the Society for the History of Alchemy and Chemistry
 2013 Roy G. Neville Prize in Bibliography or Biography from the Chemical Heritage Foundation for her book Michael Polanyi and His Generation: Origins of the Social Construction of Science
 2006 History of Science Society's George Sarton Medal for Lifetime Scholarly Achievement
 2005 Elected as a Corresponding Member of the Académie Internationale d'Histoire des Sciences
 1999 Dexter Award for outstanding achievement in the history of chemistry of the American Chemical Society
 1998 Elected  as a Fellow of the American Association for the Advancement of Science
 1993 Elected as a Fellow of the American Academy of Arts and Sciences

Publications (selections)

As author
 Molecular reality ; A perspective on the scientific work of Jean Perrin, London [usw. ]: MacDonald [usw. ], 1972
Science in the Provinces: Scientific Communities and Provincial Leadership in France, 1860-1930, University of California Press, 1986,
From chemical philosophy to theoretical chemistry : dynamics of matter and dynamics of disciplines, 1800 - 1950, Berkeley [u.a.] : Univ.of California Press, 1993
Before Big Science: The Pursuit of Modern Chemistry and Physics, 1800-1940, Harvard University Press, Reprint 1999,
Was Linus Pauling a Revolutionary Chemist? (Award Address - Dexter Award) in: Bull. Hist. Chem. 25 (2000), 73-82. Blackett. Physics, War, and Politics in the Twentieth Century, Harvard University Press, 2004 -  - about the English physicist Patrick Maynard Stuart Blackett
Michael Polanyi and His Generation: Origins of the Social Construction of Science, The University of Chicago Press, 2011.As editor
The invention of physical science : intersections of mathematics, theology and natural philosophy since the seventeenth century ; essays in honor of Erwin N. Hiebert, Dordrecht [u.a.] : Kluwer, 1992
The Cambridge History of Science, Vol. 5: The Modern Physical and Mathematical Sciences, Cambridge University Press, 2002,

Personal life
<mask> <mask> lives in Oregon with her husband, historian of sexuality Robert A<mask>. They have one daughter, Lesley. References

External links
 <mask> <mask> Oral History Interview

1944 births
Living people
Oregon State University faculty
University of Wisconsin–Madison College of Letters and Science alumni
Historians of science
Fellows of the American Academy of Arts and Sciences
Fellows of the American Association for the Advancement of Science
Institute for Advanced Study faculty

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Mary Jo Nye
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Joe Allen
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Mary Jones
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<mask>. (September 5, 1908 – July 15, 1965), was an American jurist and the 35th governor of Arkansas, elected as a Democrat for a single two-year term from 1953 to 1955. Biography
<mask> was born in Fort Worth, Texas, the son of a Rock Island Lines railroad conductor. He and his four older siblings grew up in El Reno and Enid, Oklahoma, where he graduated from high school in 1926. He graduated from Oklahoma State University, (then A&M College), in Stillwater in 1930. In 1932, <mask> moved to Fayetteville to attend the University of Arkansas Law School. He received his law degree in 1936. He moved to Jonesboro in northeastern Arkansas to establish a law practice.Political career
In 1936, he was appointed U.S. Commissioner for the Jonesboro division of the Eastern district and in 1940 he was named referee to the Workers' Compensation Commission by Governor Carl E. Bailey. In 1942, <mask> was elected chancellor and probate judge of the 12th Judicial District, which included Clay, Crittenden, Greene, Craighead, Mississippi, and Poinsett counties. During World War II, <mask> waived his judicial immunity, and applied for a commission in the United States Navy. He served for the last two years of World War II. <mask> was elected governor in 1952. He defeated the two-term incumbent Sidney Sanders McMath in the primary. He then overwhelmed the Republican candidate, Jefferson W. Speck, 342,292 (87.4 percent) to 49,292 (12.6 percent), who had also lost to McMath in the 1950 general election.Speck (1916–1993) was a planter and businessman from Frenchmans Bayou in Mississippi County in eastern Arkansas. At the time of his death, he was living in Kerrville in the Texas Hill Country. In a post-election statement, Speck said that the GOP had done nothing to assist his two gubernatorial campaigns. He further alleged that the Arkansas GOP would "never fully develop and take its place in Arkansas politics under its present leadership.... The same tired old men—old in ideas, old in hopes—will still keep a death grip on southern Republicanism." (Little Rock Arkansas Democrat, November 5, 1952)

<mask>'s administration was responsible for establishing the Department of Finance and Administration and promoted industrial development. When <mask> ran for a second term, he was defeated in a runoff primary by Orval Eugene Faubus of Madison County.Faubus then defeated the Republican Pratt C. Remmel, the mayor of Little Rock, to win the first of his six terms as governor. In that race, former GOP nominee Jefferson Speck endorsed Faubus to protest the state party leadership. He was only the second governor in Arkansas history to have been denied a second term—the first was Tom Jefferson Terral, who was defeated in 1926. After the governorship, Republican U.S. President Dwight D. Eisenhower appointed <mask>, a staunch anti-communist, to head the Subversive Activities Control Board, a position that continued under Democratic presidents John F. Kennedy and Lyndon B. Johnson. In his scrapbook memoirs Down From the Hills, Faubus tells a story of having checked into a motel in El Reno, Oklahoma, in 1954, while he was en route on a family trip to Colorado, after having defeated <mask> in the runoff. The motel clerk told Faubus that the <mask>s were an "old-line Republican family" in Oklahoma, but "some fellow beat him this last time." When <mask> ran for office, he sought the governorship as a Democrat at a time when Arkansas had virtually no Republican presence.<mask>'s Democratic label did not keep Eisenhower from naming him to the SACB. Later life, death, and legacy
In 1963, after a heart operation in Houston, Texas, <mask> was unable to devote full-time to his duties but went to his office in Washington, D.C., several times a week. He died in Washington on July 15, 1965. The first of two funeral services was held at his home in Washington. Then the body was transported to Little Rock to lie in state in the rotunda of the Arkansas State Capitol. Services were also held at the First Presbyterian Church of Jonesboro. Interment was at Oaklawn Cemetery in Jonesboro.<mask> was married to the former Margaret Frierson (1912–1990), originally of Jonesboro. They had two sons, Haskille <mask> (1940–2007) and <mask>, Jr., and a daughter, <mask>, then all of Washington, D.C.  Margaret and older son, Haskille <mask>, were living in Williamsburg, Virginia, at the time of their deaths. Governor Faubus and President Johnson were particularly magnanimous in their public statements of mourning on <mask>'s death. Faubus said that his former rival rendered "fine service". Johnson said that <mask> left "a rich legacy of accomplishment... I particularly want to extend my sympathy to his family and dear ones and to the countless citizens of Arkansas who have lost in his passing a distinguished leader and a native son whose devotion to constitutional principles and human dignity won him the confidence and admiration of all who knew him." In 1964, he was named "Alumnus of the Year" from Arkansas graduates of OSU.<mask>'s papers were donated to the Archives and Special Collections of Arkansas State University. See also
List of governors of Arkansas
List of members of the American Legion

References

External links
 Encyclopedia of Arkansas History & Culture entry: <mask> <mask>
 "<mask><mask>, Governor in '53–55, Dies in Washington", Arkansas Gazette, July 16, 1965
 "<mask> Left 'Rich Legacy', President Says", Arkansas Gazette, July 16, 1965
 "Rendered 'Fine Service', Says Faubus", Arkansas Gazette, July 16, 1965
 Orval Eugene Faubus, Down From the Hills (Little Rock, 1980)

1908 births
1965 deaths
Politicians from Fort Worth, Texas
American Presbyterians
Arkansas Democrats
Governors of Arkansas
People from El Reno, Oklahoma
Politicians from Enid, Oklahoma
Politicians from Jonesboro, Arkansas
United States Navy officers
United States Navy personnel of World War II
University of Arkansas School of Law alumni
Oklahoma State University alumni
Arkansas lawyers
Arkansas state court judges
American planters
Democratic Party state governors of the United States
20th-century American lawyers
20th-century American judges
Military personnel from Texas

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Francis Adams Cherry Sr
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Francis Cherry
Charlotte Cherry
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Francis Adams
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Gerald E. "<mask><mask> (April 5, 1891 – July 23, 1930) was an American radio commentator in Detroit, Michigan. He successfully campaigned for the recall of Mayor Charles Bowles in the wake of corruption allegations. Prior to his death, <mask> had served as an investigator for Henry Ford, and as a special investigator for the United States government. Early life and career
<mask> was born and spent his youth in Detroit’s oldest neighborhood of Corktown. <mask> and his five siblings were raised by his mother, Anna “Annie” C<mask>, a stay-at-home mom and Michigan native, and his father, Jeremiah “<mask>, a moneyed landowner who emigrated from Canada to Michigan in 1884. As a popular young adult, <mask> was known for his good looks and his “playboy” attitude, wooing women through his musical compositions and frequent presence in local nightclubs. In 1915, at the age of 24, <mask> married Michigan native Jeanette Logan, who gave birth to their only daughter, Rosemary, in 1918.<mask> served as an investigator for Henry Ford, owner of Ford Motor Company, during the 1921 Newberry v. United States Supreme Court case, in which Ford legally challenged his defeat to Truman Newberry in the 1918 US Senate Election. Following his involvement in this case, <mask> continued to work as a government investigator on various legal cases, and occasionally channeled his investigative skills to aid his brother, George, in his legal work.<mask>’s lifelong passion for song composition, combined with his investigative background, led him to a career in broadcasting, where he would become one of the first media celebrities of the burgeoning new medium of radio in the 1920s. Radio career
In 1928, <mask> began hosting a 6 p.m. nightly commentary program on Detroit radio station WMBC. Since the imposition of Prohibition in Michigan in 1917, Detroit had become a mecca for criminal activity, with prostitution, gambling and illegal alcohol production and consumption running rampant in the hands of mobsters, resulting in frequent gangland killings. Bootleggers operated extensively in Detroit, using nearby Windsor, Ontario as a conduit to funnel liquor illicitly into the US. Broadcasting from WMBC-AM studios on the top floor of the luxurious LaSalle Hotel, <mask> used his platform to enact a campaign against the rampant and rising crime in Detroit. <mask> voiced the fears and outrage of his Detroit audience, whom he called the "Common Herd," openly criticizing and accusing city government officials of incompetence and attacking those whom he believed to be at fault for Detroit's rising crime rates.<mask> also served as an advocate for his "Common Herd," lobbying for various social causes such as social welfare programs, old-age pensions and providing jobs for the unemployed. This advocacy earned him his status as "the voice of the people" amidst the beginnings of the Depression Era, when unemployment figures skyrocketed in Detroit. The success of <mask>'s radio career came at a price; although beloved by the masses, he was also subject to numerous threats for his uninhibited critique of illicit activities in Detroit. When implored to hire a bodyguard to protect him, <mask> reportedly dismissed the suggestion, stating, "I get twenty threats a day. There is always someone who says I'll be killed." Despite his joking, <mask> kept a room at the LaSalle Hotel for emergency scenarios, and allegedly refused to leave the hotel on multiple occasions out of fear for his safety. In the summer of 1930, <mask>'s programs increasingly focused on claims of corruption among various Detroit officials, specifically targeting then-Mayor Charles Bowles.Mayoral recall
The tension and violence that permeated throughout Detroit culminated in "Bloody July" in July of 1930, during which ten men were killed by gangsters in the span of two weeks. Just before the start of <mask>’s broadcast on the night of July 3rd, two Chicago-based dope peddlers, later identified as George Collins and William Cannon, were murdered just outside the LaSalle Hotel on Woodward Avenue. <mask> quickly gathered information regarding the double-homicide, and delivered detailed information to his audience on his broadcast that night. Infuriated by this murder, and the eight murders to follow, <mask> attacked the Detroit police department for its inability to quell this explosion of violence, and specifically targeted newly-elected Mayor Charles Bowles for his inadequate response to the crime wave. After two failed mayoral campaigns, Charles Bowles was elected Mayor of Detroit and took office in January of 1930.Using the Prohibition Era to his advantage, Bowles ran as the "dry candidate" in the elections, thus winning the support of Detroit Protestants. While promoting law and order on the campaign trail, Bowles seemed incapable of quelling the rampant crime that plagued the city. Frustrated by Bowles' inaction, police commissioner Harold Emmons raided multiple illegal gambling operations in May of 1930 while Bowles was out of town attending the Kentucky Derby.Bowles was outraged by this circumvention of his authority and fired Emmons, filling the position of police commissioner with his friend Thomas Wilcox. <mask>, mirroring the anger of the broader Detroit public, initiated a crusade against the perceived corruption of Bowles, which eventually led to a recall election. Accounts of <mask>'s position on the recall differ by source. Some sources claim that <mask>, despite his disdain for Mayor Bowles, actually opposed the recall, either because he considered it undemocratic or because he favored impeachment as a way to eliminate taxpayer expense. One account of the events claims that, despite his continuous anti-recall stance, <mask> mysteriously changed his position in his final broadcast before the recall vote, suddenly strongly favoring Bowles' recall, to the confusion of his audience. Alternate accounts claim that <mask> vehemently supported and spearheaded the recall campaign and frequently took to the airwaves to encourage his listeners to fight for Bowles' recall. Some accounts claim that <mask> persisted in promoting the recall despite receiving a threatening phone call warning that he would be "taken for a long ride" if he did not cease his efforts.Other accounts claim that <mask> inexplicably altered his firm pro-recall stance in his final broadcast before the vote, reportedly cautioning his listeners, "Some of you have taken this recall business very seriously, and to you of that class we say, do not be so het up." Days before the recall vote, a fellow reporter and friend of <mask>'s, Riley Murray, received word that <mask> was in grave danger, although the source of the threat is still unknown. Murray implored <mask> to make a list of people who could potentially have motive to kill him. Murray hoped to secure this list in a locked box and to have <mask> broadcast its existence to dissuade his enemies from causing him harm. Murray's efforts were in vain; after considering Murray's proposition, <mask> allegedly stated, "I'll be alright." On July 21, 1930, the day of the recall vote, <mask> broadcast from City Hall to inform his "Common Herd" about the latest vote developments. At the end of the vote, <mask> announced that Mayor Bowles had been recalled by a vote of 120,863 in favor of his removal to 89,907 opposed.This event garnered wide publicity both within and outside of Detroit, as no mayor of a large city had ever been recalled before this point. After <mask>'s broadcast, his wife reportedly received an anonymous phone call during which she was warned, "Your husband won't be home tonight." Death
On the night of the successful recall, <mask> was approached by three men and shot eleven times in the lobby of the LaSalle Hotel in Detroit, where WMBC's studios were located. Following a funeral mass at St. Gregory’s Catholic Church, <mask> was buried at Detroit’s Mount Olivet Cemetery. The funeral had 150,000 attendees. After his murder, Police Commissioner Wilcox alleged that <mask> was a known extortionist and racketeer who had likely been killed because of his underworld connections. In his attempt to tarnish <mask>'s reputation, Wilcox produced an affidavit stating that the slain radio commentator had been paid $4,000 in "protection money" by a bootlegger.The affidavit was soon dismissed as having been coerced. <mask>'s brother Paul, a former assistant prosecutor, claimed that the murder was orchestrated as revenge for the campaign against the mayor. In response, Michigan Gov. Fred W. Green directed the state police to investigate the murder separately from the Detroit Police Department. The investigation was taken to a grand jury by prosecutor (and future Governor) Harry Kelly. Trial
Historical documents provide several different iterations of the events that occurred that night, testimonies given, as well as suspects and their fates. As a result of the murder and inconclusive initial investigation, a Grand Jury of 23 people was constructed to investigate the murder of <mask>.Harry Toy served as prosecutor, with Harry Kelly second in command. Anthony Maiullo, Allen W. Kent, Nicholas Salowich, and Leroy W. Payne provided defense. The first person to be questioned was Mrs. Lucille Love, whose car blocked the street after the shots were fired. She claimed to have heard the shots, and exited the car and fled across the street in fright. The jury made note of the fact that she was being held as a witness for some time, making $25 a week, and that she was the daughter of a policeman. Other sources invoke the testimony of Gus Reno, who owned a taxi stand at the La Salle hotel. He identified Angelo Livecchi and claimed he exited the hotel and gave other men the signal to enter just seconds before gunshots were heard.Livecchi was charged with first degree murder. Other suspects included Thomas Licavoli, Ted Pizzino, Mike Morgany, and Frank Cammarata. Thomas Licavoli was buried just 100 feet away from <mask>. Testimonies from Robert Jackson, the hotel’s night porter, and Fred Tara, a shady police informant, identified Pizzino, Bommarito, and Livecchi as the three men who killed <mask>. At one point, Tara refused cross examination and fought with news reporters, claiming that a photo of him would mean his death. Tara was held in contempt, and his testimony was stricken from the record. Upon resuming his testification later in the trial, the judge reinstated his earlier testimony.Other witness testimonies contradicted the accounts of Jackson and Tara- an auto salesman who had been in the lobby and claimed to have seen the killers testified that none of the three that were identified by Jackson and Tara were there. An electrician who was across the street testified that he had seen the murderers enter the building, and that none of the men on trial were the men he saw. William Adams, a bellboy who was also in the lobby, was not able to identify any of the men. W.S. Martin, a WMBC radio engineer who had disappeared after the murder, resurfaced a week before the trial and stated that he was willing to testify and that he would recognize the killers, but that they were not Pizzino, Bommarito, and Livecchi. Although henchmen belonging to Detroit mobster James "Blackie" Licavoli's gang were arrested, no convictions were secured for the killing. See also
 Detroit Partnership
List of journalists killed in the United States
 Censorship in the United States

References

Assassinated American journalists
Radio personalities from Detroit
People murdered in Michigan
1930 deaths
Deaths by firearm in Michigan
Journalists killed in the United States
1891 births

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<mask> (born August 31, 1973) is a Canadian former ice hockey defenceman and current special assignment coach of the Anaheim Ducks. He played 18 seasons and over 1,000 games in the National Hockey League (NHL) for the New Jersey Devils and Anaheim Ducks. <mask> is a four-time Stanley Cup champion and played in five NHL All-Star Games. He won the James Norris Memorial Trophy in 2003–04 as the NHL's top defenceman and the Conn Smythe Trophy in 2007 as the most valuable player of the playoffs. In 2017, <mask> was named one of the 100 Greatest NHL Players in history. As a junior, <mask> was a member of a Kamloops Blazers team that won two Western Hockey League championships and was voted the most valuable player of the 1992 Memorial Cup, leading the Blazers to the Canadian Hockey League championship. The third overall selection at the 1991 NHL Entry Draft by New Jersey, <mask> played the majority of his professional career with the Devils before moving to Anaheim in 2005.Internationally, <mask> played with Team Canada on several occasions. He is a member of the Triple Gold Club, having won the Stanley Cup as well as a World Championship (2004) and Olympic gold medals (2002, 2010). <mask> also played for the Memorial Cup champions, and championship teams at the 1991 World Junior Championships and the 2004 World Cup of Hockey, making him and Corey Perry the only players in history to have ever won each of the six major North American and international competitions available to players. He was introduced in to the IIHF All-Time Canada Team in 2020. Regarded as one of the greatest defencemen in NHL history, <mask> has earned numerous accolades throughout his career. He was inducted into Canada's Sports Hall of Fame in 2012 and was inducted into the Hockey Hall of Fame in November 2013. The New Jersey Devils, Anaheim Ducks, and Kamloops Blazers have all retired his uniform number.Early life
<mask> was born in Edmonton, Alberta, but spent the first three years of his life in Cassiar, British Columbia before his family settled in Cranbrook, British Columbia. His father, Bob, was a doctor in Cassiar and then Cranbrook, and his mother Carol was a teacher. He has a younger brother, Rob. <mask> and his brother were inseparable when they were younger and often played hockey together. While their father was often their team doctor, their mother taught them to skate. She enrolled them in figure skating to aid their skills development and taught power skating classes in Cranbrook in exchange for ice time for her sons. An offensive defenceman, <mask> led his Cranbrook midget team in scoring with 55 goals and 92 points in 1988–89.Playing career

<mask> played three seasons of junior hockey with the Kamloops Blazers of the Western Hockey League (WHL) between 1989 and 1992. He recorded 69 points in 64 games in his first season, 1989–90, and helped the Blazers win the President's Cup as WHL champions. The Blazers advanced to the 1990 Memorial Cup as the top ranked team in Canada, but disappointed in the tournament by losing all three games. <mask> earned several accolades in 1990–91. He scored 26 goals and 82 points in 57 games to earn a place on the Western Conference All-Star Team. Additionally, he was named the recipient of the Daryl K. (Doc) Seaman Trophy as the WHL's scholastic player of the year and won the Canadian Hockey League Scholastic Player of the Year award. A top prospect for the 1991 NHL Entry Draft, <mask> was selected in the first round, third overall, by the New Jersey Devils.He began the 1991–92 season with New Jersey as the team wanted him to experience the NHL before being returned to Kamloops. After sitting out the Devils first five games, <mask> made his NHL debut on October 16, 1991, against the New York Rangers. He appeared in four games with the Devils, recording one assist, before he was sent back to junior. Though he appeared in only 35 games in the 1991–92 WHL season, <mask>'s 39 points were enough to earn him a second berth on the West All-Star Team. After losing in the Western Conference Final the previous season, the Blazers rebounded to win their second WHL championship in three years in 1992. <mask> tied for third place in playoff scoring with 23 points. At the 1992 Memorial Cup, he scored seven points in five games to lead the Blazers to the national championship.He was voted the recipient of the Stafford Smythe Memorial Trophy as the most valuable player of the Memorial Cup. New Jersey Devils
<mask> joined the Devils full-time in 1992–93. He scored his first NHL goal on November 8, 1992, against goaltender Brian Hayward in a 6–1 victory over the San Jose Sharks. Overall, <mask> appeared in 80 games, scoring 11 goals and 40 points and was named to the NHL All-Rookie Team on defence. <mask> improved to 48 points in 1993–94, and added 4 points in 20 playoff games as the Devils reached the Eastern Conference Final against the New York Rangers, a series they lost in seven games. The Devils made another long playoff run in the lockout-shortened 1994–95 season, reaching the Stanley Cup Final for the first time in franchise history. <mask> scored 11 points in 20 playoff games, including a key goal in game two of the Final as the Devils won the Stanley Cup with a four-game sweep of the Detroit Red Wings.A 33-point season followed for <mask> in 1995–96, but the Devils became the first defending champion in 26 years to miss the playoffs. After a 35-point season in 1996–97, <mask>'s best statistical season in New Jersey came in 1997–98 with a 14-goal, 57-point campaign. He played in his first NHL All-Star Game, scoring a goal, and was named to the NHL's Second All-Star Team at the season's end. After finishing second in league scoring amongst defencemen, despite playing in New Jersey's stifling defensive system that suppresses offence, <mask> demanded a significant raise. He rejected an offer that would have paid him a base salary of $3.25 million and, unable to come to terms before the start of the 1998–99 season, began the year as a holdout. As the dispute dragged into the season, he joined the Utah Grizzlies of the International Hockey League (IHL). After missing the first month of the NHL season, <mask> and the Devils finally agreed to a multi-year contract, the terms of which were not released.He appeared in 71 games with the Devils that season, recording 46 points. Late in the 1999–2000 season, <mask> was involved in a violent incident with Peter Worell of the Florida Panthers. After being elbowed by Worell, <mask> responded by swinging his stick at his opponents head. Worell suffered a concussion and missed six games, while <mask> was suspended for ten games – nine in the regular season, and New Jersey's first playoff game. After returning from his ban, <mask>'s steady defensive contributions in the playoffs helped the Devils win their second Stanley Cup by defeating the Dallas Stars in six games in the 2000 Stanley Cup Final. While celebrating his day with the Cup, <mask> took the trophy to Fisher Peak, overlooking his hometown of Cranbrook and was famously pictured hoisting it over his head. The expiration of his contract following the season resulted in another lengthy dispute with the Devils.While he wanted a contract similar to the $5.3 million per season average the top ten paid defencemen in the league made, the Devils offered a deal with a base salary of $3.5 million. He was again a holdout at the start of the 2000–01 season, and missed nearly two months of play before finally agreeing to a four-year, $16 million contract. <mask> recorded 35 points in 57 games and played in his second All-Star Game. Late in game four of New Jersey's first round playoff series against the Toronto Maple Leafs, <mask> was knocked unconscious by a vicious elbow from Toronto's Tie Domi. <mask> later claimed that Domi had threatened to retaliate against him over a previous hit earlier in the series. Domi apologized for the incident, calling it a "stupid reaction", but was suspended for the remainder of the 2001 Stanley Cup playoffs. New Jersey reached the 2001 Stanley Cup Final, but lost the series to the Colorado Avalanche in seven games.<mask> missed several games early in the 2001–02 season due to back pain, and his 33 points on the season was his lowest in six seasons. <mask> and the Devils reached their fourth Stanley Cup Final in 2002–03. The series was a family affair, as <mask>'s brother Rob was a member of the opposing Mighty Ducks of Anaheim. When asked, their mother admitted she was hoping Rob's Mighty Ducks would win as <mask> already had two championships to his name. <mask> dashed his brother and mother's hopes, recording two assists in the deciding seventh game to lead the Devils to a 3–0 victory, and win his third Stanley Cup. <mask> cemented his reputation as an elite NHL defenceman in 2003–04, earning praise from both teammates and opponents for his play throughout the season. Injuries to fellow defencemen <mask> and Brian Rafalski resulted in <mask> averaging over 25 minutes of ice time per game, sometimes topping 30, and he temporarily inherited the Devils' captaincy from Stevens.Offensively, <mask> posted his second career 50-point season, finishing with 14 goals and 40 assists. He played in his third All-Star Game and was named a First Team All-Star for the first time. After finishing second in league scoring amongst defencemen, recording a plus-minus rating of +20 and leading the Devils to a modern NHL record low 164 goals against, <mask> was voted the winner of the James Norris Memorial Trophy as the league's top defenceman. Upon the expiration of his previous contract, <mask> was again a restricted free agent, and he again endured a difficult negotiation with the Devils, even after he changed agents. Initially demanding a five-year, $45 million contract, <mask> chose to go to arbitration. He was awarded a one-year contract for the 2004–05 season, and the $7 million salary he was given tied John LeClair's award in 2000 as the highest ever given in arbitration. However, the contract was wiped out when the entire season was cancelled as a result of the 2004–05 NHL lockout.Anaheim Ducks

As an unrestricted free agent in the summer of 2005, Niedermayer was in considerable demand; 14 teams contacted his agent on the first day they were allowed to talk to him. The Devils offered him a five-year contract that would have paid him $7.8 million per season, the maximum allowed under the new salary cap, but <mask> chose instead to sign a four-year contract worth $6.75 million per season with the Mighty Ducks of Anaheim. He chose to take the shorter term and lower salary to play and try to win a Stanley Cup with his brother. The Ducks immediately named <mask> the team's captain. In his first season in Anaheim, 2005–06, <mask> scored 63 points and was named a First Team All-Star for the second time. In the playoffs, the Ducks reached the Western Conference Final, but were eliminated by the Edmonton Oilers. Joined on Anaheim's blueline by Chris Pronger, <mask> helped the Ducks set franchise records in 2006–07 for most wins (48) and points (110).Both were named finalists for the Norris Trophy, but lost to Detroit's Nicklas Lidström. Individually, <mask> played his 1,000th career game, against the Edmonton Oilers on November 28, 2006. He set career highs of 15 goals, 54 assists and 69 points during the regular season and was named a First Team All-Star. He added 11 points in the 2007 Stanley Cup playoffs, and was named recipient of the Conn Smythe Memorial Trophy as the most valuable player of the post-season after leading Anaheim to the franchise's first championship in a five-game series victory over the Ottawa Senators in the final. As team captain, <mask> was the first player given the chance to hoist the Stanley Cup. He passed the trophy to his brother; it was Rob's first championship victory. Of the moment, <mask> stated: "You don't really dream of passing it to your brother.I never have. To be able to do that is definitely a highlight of my career." Coming off his fourth championship, the 34-year-old <mask> contemplated retirement. Remaining undecided on his future as the 2007–08 season began, he failed to report to the team and was suspended by the Ducks as a formality. Pronger replaced him as captain, and <mask> remained undecided until early December when he finally chose to return. He appeared in only 48 games that season, scoring 25 points, but played in his fourth All-Star Game. After the Ducks were eliminated in the first round of the 2008 playoffs, he again contemplated retirement, but quickly made the decision to return for the 2008–09 season.He regained captaincy of the Ducks, and played in his fifth All-Star Game during the season in which he scored 59 points in 82 games. In what proved to be his final season, 2009–10, <mask> scored 48 points in 80 games. He announced his retirement as a player on June 22, 2010, but remained with the Ducks organization as a consultant to general manager Bob Murray. He turned to coaching in 2012–13 season, serving as a special assignment coach with the Ducks. International play
<mask> enjoyed a long and successful international career, winning championships at all levels. He made his international debut as a 17-year-old with the Canadian junior team at the 1991 World Junior Ice Hockey Championships. He appeared in three games as Team Canada used a late goal by John Slaney in the final game of the tournament, against the Soviet Union, to win the gold medal.He returned for the 1992 tournament, one which The Sports Network described as one of the most disappointing in Canadian history, as the team finished sixth in the eight team event. Four years later, in 1996, <mask> first joined the senior team at the inaugural World Cup of Hockey. He had a goal and three assists in eight games, but Canada lost the championship final to the United States. <mask> next made his Olympic debut in 2002. He appeared in six games, and helped Canada defeat the United States, 5–2 in the final as the country won its first Olympic gold medal in hockey in 50 years. Gold medal victories followed in 2004 as <mask> scored five points in nine games at the World Championship then added two points in six games at the World Cup of Hockey. In the latter event, <mask> scored a goal in the championship game, a 3–2 victory over Finland.He was set to make his second Olympic appearance in 2006, however a knee injury suffered during NHL play that required surgery forced him to withdraw from the tournament. <mask>'s final international competition came at the 2010 Olympics, four months before his retirement as a player. He was named captain of the team for the tournament that was held in his home province, in Vancouver. He led Canada to the gold medal, culminating in a 3–2 overtime win over the United States. Playing style

An offensively-minded defenceman, <mask> was best known for his skating ability and drew comparison's to the game's offensive greats from the time he broke into the NHL. He was compared to Paul Coffey for his ability to take the puck from his own goal line and convert a defensive situation into an offensive rush. He often chafed at playing within the Devils' defence-oriented system, feeling it restricted his offensive creativity, but also admitted that he learned to place greater emphasis on his defence and develop his overall game.<mask> earned a reputation for inconsistency early in his career. He often played his best games against top opposition, but his failure to consistently apply his skills against all opposition occasionally frustrated his teammates and left his coaches lamenting that he was a player capable of being dominant but often was not. By the end of his career however, and following his Norris Trophy win in 2004, <mask> was regarded as one of the top offensive defencemen of his generation and as one of the game's greatest winners. <mask> and former Ducks teammate Corey Perry are the only players in hockey history to win every major contemporary North American and International Competitive titles: the Memorial Cup, World Junior championship, Stanley Cup, World Championship, World Cup and Olympic Games. <mask> has been honoured on several occasions. The New Jersey Devils retired his jersey number 27 in 2011, and the Kamloops Blazers retired the number 28 he wore in junior in 2013. He has been inducted into the BC Hockey Hall of Fame and Canada's Sports Hall of Fame.<mask> was elected to the Hockey Hall of Fame as part of its 2013 class, and was inducted on November 11, 2013. Personal life
<mask> and his wife Lisa have four sons. The family resides in Penticton, British Columbia, but often returns to Cranbrook, where they spent the off-seasons while he was playing. <mask> and Lisa are active in the community. They serve as honorary co-chairs of the Walk for Kids, a charity event that supports the Ronald McDonald House of Orange County, while <mask> and his brother Rob operate a hockey school in Cranbrook and established a fund that offers grants to community associations. An active environmentalist, <mask> has also joined with WWF-Canada to speak out in favour of efforts to maintain British Columbia's natural wilderness. Career statistics

Regular season and playoffs

International

Awards and honours

See also
List of family relations in the NHL

References
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External links

Note: <mask> served as the Devils captain for the latter half of the 2003–04 NHL season.<mask> was injured and out of the lineup during that time. 1973 births
Living people
Anaheim Ducks coaches
Anaheim Ducks players
Canadian ice hockey defencemen
Hockey Hall of Fame inductees
Sportspeople from Cranbrook, British Columbia
Sportspeople from Edmonton
Ice hockey players at the 2002 Winter Olympics
Ice hockey players at the 2010 Winter Olympics
James Norris Memorial Trophy winners
Kamloops Blazers players
Medalists at the 2002 Winter Olympics
Medalists at the 2010 Winter Olympics
Memorial Cup winners
Mighty Ducks of Anaheim players
Anaheim Ducks captains
National Hockey League All-Stars
National Hockey League first round draft picks
National Hockey League players with retired numbers
New Jersey Devils draft picks
New Jersey Devils players
Olympic gold medalists for Canada
Olympic ice hockey players of Canada
Olympic medalists in ice hockey
Stanley Cup champions
Triple Gold Club
Utah Grizzlies (IHL) players
Ice hockey people from British Columbia
Ice hockey people from Alberta
IIHF Hall of Fame inductees
Canadian expatriate ice hockey players in the United States
Canadian ice hockey coaches

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Scott Niedermayer
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<mask>v (born 1956 SR Macedonia, SFR Yugoslavia) is a sculptor and environmental installations artist, who lives in Windsor, Ontario, Canada. Education and career

He graduated at the Belgrade Art Academy with an M.A. <mask>v has participated in eighteen one-man exhibitions and in more than 100 group exhibitions in many countries, including the Venice Biennale, in Italy. Artist style
He creates site-specific works, paintings and drawings, religious and eco-art with organic materials. From the beginning of his career, Stefanov treated sculpture as an object or an installation of objects situated in space. In 1988, narrative aspects of his work shifted from mythology to religion. In the late 1980s and early 1990s, he produced a series of objects and installations, in the form of angels' wings and discs, executed in straw and boards or tree trunks and branches.

masks:
Gligor Stefano
Gligor Stefano