title: Howard Dietz

texts:
<mask> (September 8, 1896 – July 30, 1983) was an American publicist, lyricist, and librettist, best remembered for his songwriting collaboration with Arthur Schwartz. Biography
<mask> was born in New York City, United States. He attended Columbia College and then studied journalism at Columbia University. He also served as publicist/director of advertising for Goldwyn Pictures and later MGM and is often credited with creating Leo the Lion, its lion mascot, and choosing their slogan Ars Gratia Artis. In 1942, he was made MGM's Vice President in Charge of Publicity. He held that position until his retirement in 1957. He began a long association with composer Arthur Schwartz, when they teamed up for the Broadway revue The Little Show in 1929.They would continue to work on and off over the next 30 or so years. Dietz served in the US Navy in World War I and became editor of their magazine, Navy Life. During World War II, he assisted the U.S. Treasury Department with the publicity and promotion of War Bonds, and created stage shows for the Coast Guard with composer Vernon Duke. Dietz saved copies of every document relating to his career, as well as relating to the publicity campaigns of every MGM film he publicized. After his death, this vast trove of artifacts was donated to the New York Public Library for the Performing Arts. The archive on Dietz constitutes its single largest archive on any person or subject. In 1972, <mask> was inducted into the Songwriters Hall of Fame.And, in 1981, he was inducted into the American Theatre Hall of Fame. Personal life
<mask> was married three times. He married Elizabeth Bigelow Hall in 1917. They divorced in 1936. In 1930, the couple had bought a townhouse on 18 West 11th Street in Greenwich Village from stockbroker Charles E. Merrill, founder of Merrill Lynch. The townhouse was later bought by advertising executive James Platt Wilkerson, whose daughter Cathlyn Platt Wilkerson was a member of the far-left terrorist organization Weather Underground; Wilkerson's associates were assembling a bomb in the basement in 1970 when it exploded and destroyed the townhouse. <mask> married Tanis Guinness Montagu on January 25, 1937, and had a daughter; they divorced 14 years later, in 1951.Later that year, he married the costume designer Lucinda Ballard. He died in July 1983, in New York City of Parkinson's disease, from which he had suffered from 1954. Broadway credits
 Dear Sir — 1924 (music by Jerome Kern)
 Merry-Go-Round — 1927 (music by Henry Souvaine and Jay Gorney)
The Little Show — 1929 (music by Schwartz)
The Second Little Show — 1930 (music by Schwartz)
Three's a Crowd — 1930 (music by Schwartz)
The Band Wagon — 1931 (music by Schwartz)
Flying Colors — 1932 (music by Schwartz)
Revenge with Music — 1934 (music by Schwartz)
At Home Abroad — 1935 (music by Schwartz)
Between the Devil — 1937 (music by Schwartz)
Keep Off the Grass — 1940 (Dietz contributed three songs with music by Jimmy McHugh)
Jackpot — 1944 (music by Vernon Duke)
Sadie Thompson — 1944 (music by Duke)
Inside U.S.A. — 1948 (music by Schwartz)
The Gay Life — 1961 (music by Schwartz)
Jennie — 1963 (music by Schwartz)

London credits
Here Comes the Bride — 1930 (music by Schwartz)

Radio credit
The MGM Theater of the Air, host (1949-1951)

Songs
"All The King's Horses" (w.m. Alec Wilder, Edward Brandt & <mask>z). Introduced in the revue Three's A Crowd by Margaret Lee. "Alone Together" (music by Schwartz). Introduced in the revue Flying Colors by Jean Sargent."Blue Grass" (music by Schwartz). From the musical Inside USA
"By Myself" (music by Schwartz). Introduced by Jack Buchanan in the musical Between the Devil
"Dancing In The Dark" (music by Schwartz). Introduced by John Barker in the 1931 revue The Band Wagon. "The Dickey-Bird Song" (music by Sammy Fain). Introduced in the 1948 film Three Daring Daughters by Jeanette MacDonald, Jane Powell, Jean Garbo dubbing for Elinor Donahue and Pat Hyatt dubbing for Ann E. Todd. "First Prize at the Fair" (music by Schwartz).From the musical Inside USA. "A Fugitive from Esquire" (music by Jimmy McHugh). Introduced by Jimmy Durante in the musical Keep Off The Grass
"Get Yourself a Geisha" (music by Schwartz). From the musical revue At Home Abroad
"Got A Bran' New Suit" (music by Schwartz). Introduced by Ethel Waters in the 1935 revue At Home Abroad
"Haunted Heart" (music by Schwartz). Introduced by John Tyers in the revue Inside USA
"Hoops" (music by Schwartz). Introduced in the 1931 revue The Band Wagon by Fred and Adele Astaire
"I Guess I'll Have to Change My Plan" (music by Schwartz).Introduced by Clifton Webb in the 1929 revue The Little Show. "I Love Louisa" (music by Schwartz). Introduced by Fred and Adele Astaire in the 1931 revue The Band Wagon
"I See Your Face Before Me" (music by Schwartz). Introduced by Jack Buchanan, Evelyn Laye and Adele Dixon in the 1937 musical Between the Devil
"Louisiana Hayride" (music by Schwartz). Introduced by Tamara Geva, Clifton Webb and ensemble in the 1932 revue Flying Colors
"The Love I Long For" (music Vernon Duke). Introduced by June Havoc and James Newill in the musical Sadie Thompson
"Love Is a Dancing Thing" (music by Schwartz) from the 1935 revue At Home Abroad
"Moanin' Low" (music by Ralph Rainger). Introduced by Libby Holman in the revue The Little Show
"Rhode Island Is Famous For You" (music Schwartz) from the revue Inside U.S.A.
"That's Entertainment!"(music by Schwartz). Introduced by Jack Buchanan, Nanette Fabray, Oscar Levant and Fred Astaire in the 1953 film The Band Wagon
"You and the Night and the Music" (music by Schwartz) from the musical Revenge with Music. "If There is Someone Lovelier Than You" (music by Schwartz) from the musical Revenge with Music. "Schickelgruber" (music by Kurt Weill)

References

External links

 <mask> papers (research materials assembled in preparation for his autobiography) in the Music Division of The New York Public Library for the Performing Arts. 1896 births
1983 deaths
Columbia University Graduate School of Journalism alumni
Townsend Harris High School alumni
American film studio executives
Metro-Goldwyn-Mayer executives
Columbia College (New York) alumni
Broadway composers and lyricists

masks:
Howard Dietz
Dietz
Howard Dietz
Dietz
Dietz
Howard Diet
Howard Dietz


title: Nigel Clarke (composer)

type: original

texts:
<mask> (born 1960) is a British composer and musician. He is a former head of composition and contemporary music at the London College of Music and Media. <mask> began his career as a military bandsman, then studied composition at the Royal Academy of Music with composer Paul Patterson. While at the Royal Academy, he was awarded the Queen's Commendation for Excellence. He was previously Young Composer in Residence at The Hong Kong Academy for Performing Arts, Composition and Contemporary Music Tutor at the Royal Academy of Music, London, Head of Composition at the London College of Music and Media, a visiting tutor at the Royal Northern College of Music and Associate Composer to the world-famous Black Dyke Mills Band , Associate Composer to the Band of the Grenadier Guards, Composer-in-Residence to the Marinierskapel der Koninklijke Marine (Marine Band of the Royal Netherlands Navy) and Associate Composer to Brass Band Buizingen in Belgium. He has also been guest professor at the Xinjiang Arts Institute in China and Associate Composer to the Royal Military School of Music, Kneller Hall. More recently he has been Visiting Composer to Middle Tennessee State University Bands.In 1997, <mask> visited the United States as part of the country's International Visitor Leadership Program, and the President's Own Marine Band performed one of his pieces, "Samurai", conducted by Colonel Timothy Foley. The Winnipeg Fress Press described the piece as a throbbing, raucous work influenced by Japanese drumming.<ref>Nemerofsky, Gwenda. Unexpected percussion discussion bang on, Winnipeg Free Press, 2 May 2009. In 2015 he collaborated with Danish writer Malene Sheppard Skærved on his first symphony ("A Richer Dust") for Speaker and Symphonic Wind Orchestra. Using music and words, ‘A Richer Dust’ explores what it means to live with violence and extremism, the constant companions of human history. The intertwined text and music, ideas and images, weave together voices ranging from those of historically significant figures through to the voiceless, ordinary people living in extraordinary times. "A Richer Dust"  was commissioned by Dr Reed Thomas and the Middle Tennessee State University (MTSU) Wind Ensemble.It was premiered on 14 April 2015 by Dr Reed Thomas (Conductor), H. Stephen Smith (Speaker) and the MTSU Wind Ensemble in the T. Earl Music Hall, Wright Music Building, Murfreesboro, Tennessee, USA. The European Premiere was given by the Regimental Band of the Irish Guards on 6 November in the Guards Chapel, London, under the baton of the composer with WO1 Andrew Porter as Speaker. A number of <mask>'s works have been recorded on the Naxos Record label most recently with the Grimethorpe Colliery Band. Early life

After failing the 11 plus (school exam) <mask> attended St. John's Secondary Modern School, Margate, UK. In 1979 he joined the Staff Band of the Royal Army Medical under the direction of Major Peter Parkes and attended the Royal Military School of Music (Kneller Hall) the same year. In 1982  <mask> started his studies as a composition student at the Royal Academy of Music and also joined the Band of the Irish Guards which he served with until 1986. Discography

 Samurai (Wind Orchestra The Royal Marines Band conducted by Lt Col Chris Davis); Loulan (Violin: Peter Sheppard Skaerved); The Miraculous Violin (Violin and Strings: Peter Sheppard Skaerved & Longbow); Pernambuco (Violin: Peter Sheppard Skaerved); Premonitions (Trumpet: James Watson).Recorded 2007. Naxos 8.570429

 Dial H for Hitchcock; Swift Severn's Flood; Mysteries of the Horizon; Earthrise. Performed by The Grimethorpe Colliery Band conducted by <mask>, Sandy Smith & David Thornton Recorded. Cornet Soloist: Harmen Vanhoorne. Recorded in 2019/20 at the Foundry Recording Studio, Sheffield. Naxos 8.574097

 <mask> Music for Strings - Parnassus; The Scarlet Flower; Dogger, Fisher, German Bight, Humber, Thames, Dover Wight; Pulp & Rags; Epitaph for Edith Cavell. Performed by Longbow,  Peter Sheppard Skaerved (Violin).Sebastien Rousseau (Flugel Horn) & Melene Sheppard Skaerved (Speaker). Recorded in 2014/15 in All Saints Church, Tooting, London SW17. Toccata Classics TOCC 0325

 Outrageous Fortune (Symphony No 2). Performed by Middle Tennessee State University Wind Ensemble conductor: Reed Thomas,  Brett Baker (Trombone Soloist), Natalie Grady (Voice Actor). Recorded in 2016 in the Hinton Hall, Middle Tennessee State University, Murfreesboro, USA. Toccata Classics TOCN 003

 Lindisfarne Stone - Peter Sheppard Skaerved (Violin) / Tamami Honma (Piano). Echo & Narcissus - Janne Thomsen (Flute).Spectroscope - Neil Heyde (Cello). Solstice - Philip Mead (Piano). Pernambuco - Peter Sheppard Skaerved (Violin). Premonitions - James Watson (Trumpet). Chinese Puzzles - Janne Thomsen (Flute), Tamami Honma (Piano). Recorded in 1998 in the Conway Hall, London, UK. Metier MSV CD92024

 Earthrise; Heritage Suite; Their Finest Hour.Performed by Middle Tennessee State University Wind Ensemble conductor: Reed Thomas. Recorded in 2012 in the Wright Music Hall, Middle Tennessee State University, Murfreesboro, USA. Naxos 8.573184

 Equiano for Clarinet Quintet. Performed by Linda Merrick (Clarinet) and the Navarra Quartet. Recorded in 2008 at Lord Rhodes Room, Middle Royal Northern College of Music, Manchester, UK. Naxos 9.570122

 Mysteries of the Horizon; A Richer Dust (Symphony No. 1).Performed by Middle Tennessee State University Wind Ensemble conductor: Reed Thomas / Cornet Soloist: Harmen Vanhoorne.. Recorded in 2015 at the Wright Music Hall, Middle Tennessee State University, Murfreesboro, USA. Toccata Classics TOCC 0412

 Solstice - Philip Mead (Piano). Graham Caskie (Piano). Recorded in 1993 in the Adrian Boult Hall, Birmingham, UK. Metier MSV CD92004

 When Worlds Collide; Swift Severn's Flood; The City in the Sea (Concerto for Euphonium and Brass Band); Tilbury Point; Mysteries of the Horizon (Concerto for Cornet and Brass Band). Performed by Brass Band Buizingen conducted by Luc Vertommen, Soloists: Harmen Vanhoorne (Cornet) & Glenn Van Looy (Euphonium), Speaker: Frank Renton with Poetry by Martin Westlake.Recorded in 2012/2013 in Belgium. Mirasound 88931-2

Film Score Recordings

 The Thief Lord (Co-written score with Michael Csanyi-Wills). Performed by The London Symphony Orchestra, Conductor: Robin Page. Recorded in 2005 at the AIR Lyndhurst Studios, London, UK. Colosseum LC 03387

 Will (Co-written score with Michael Csanyi-Wills). Performed by The London Symphony Orchestra, Conductor: Chris Davis OBE. Recorded in 2011 at the Abbey Road Studios, London, UK.Varese Sarabande VSD -7124

 The Little Polar Bear (Der Kleine Eisbar) (Co-written score with Michael Csanyi-Wills). Performed by The Royal Philharmonic Orchestra, Conductor: Robin Page. Recorded in 2001 at the Angel Studios, London, UK. Nord-Sud Verlag

 The Rocket Post (Co-written score with Michael Csanyi-Wills). Performed by The Royal Philharmonic Orchestra, Conductor: Robin Page. Recorded in 2006 at the AIR Lyndhurst Studios, London, UK. MovieScore Media MMS-07006

 The Little Vampire (Der Kleine Vampir) (Co-written score with Michael Csanyi-Wills).Performed by The Bulgarian Symphony Orchestra, Conductor: Robin Page. Recorded in 2000 in Sofia at Studio 1, Bulgarian National Radio. Universal Music Company LC 00270

 Baseline (Co-written score with Michael Csanyi-Wills). Recorded in 2010 in London by Moviefonics Ltd.

Accolades
 1987: The Queen’s Commendation for Excellence The Royal Academy of Music (London) highest distinction. "Collaboration between Composers and Performers"
Miles, Tim and Westcombe, John. Music & Dyslexia: Opening News Doors. Miles, Tim; Ditchfield, Diane; and Westcombe, John.Music & Dyslexia: A Positive Approach.References

External links
 <mask>'s website

British classical musicians
Living people
1960 births
Place of birth missing (living people)
Alumni of the Royal Academy of Music

masks:
Nigel Clarke
Clarke
Clarke
Clarke
Clarke
Clarke
Nigel Clarke
Nigel Clarke
Nigel Clarke


title: Tony Accardo

texts:
<mask> (; born <mask>, ; April 28, 1906 – May 22, 1992), also known as "Joe Batters" and "Big Tuna", was an American longtime mobster. In a criminal career that spanned eight decades, he rose from small-time hoodlum to the position of day-to-day boss of the Chicago Outfit in 1947, to ultimately becoming the final Outfit authority in 1972. <mask> moved the Outfit into new operations and territories, greatly increasing its power and wealth during his tenure as boss. Early life
<mask> was born on April 28, 1906, in Chicago's Near West Side, the second of six children of shoemaker <mask> and <mask>. One year prior to his birth, the <mask>s had emigrated from Castelvetrano, in the Province of Trapani, Sicily, Italy to America. At age 14, <mask> left school and started loitering around neighborhood pool halls. He soon joined the Circus Cafe Gang, run by Claude Maddox and <mask>, one of many street gangs in the poor neighborhoods of Chicago.These gangs served as talent pools (similar to the concept of farm teams) for the city's adult criminal organizations. Jack "Machine Gun" McGurn, one of the toughest hitmen of Chicago Outfit boss Al Capone, recruited <mask> into his crew, along with long time associate <mask>ck of Gary, Indiana. Career

Capone regime
During Prohibition, <mask> got the nickname "Joe Batters" after using a baseball bat to murder three mobsters who had betrayed the Outfit. Capone was allegedly quoted as saying, "Boy, this kid's a real Joe Batters". Chicago newspapers eventually dubbed <mask> "The Big Tuna", after a fishing expedition where <mask> caught a giant tuna and was famously photographed with his catch. In later years, <mask> boasted over federal wiretaps that he participated in the infamous 1929 St. Valentine's Day Massacre in which, allegedly, Capone gunmen murdered seven members of rival Bugs Moran's North Side Gang. <mask> also claimed that he was one of the gunmen who murdered Brooklyn gang boss Frankie Yale, again by Capone's orders to settle a dispute.However, most experts believe <mask> had only peripheral connections, if any, with the St. Valentine's Day Massacre and none whatsoever with the Yale murder, which was most likely committed by Gus Winkler, Fred Burke, and Louis Campagna. However, on October 11, 1926, <mask> may have participated in the assassination of Northside gang leader Hymie Weiss near the Holy Name Cathedral in Chicago. In 1932, Capone was convicted of tax evasion and sent to prison for an 11-year sentence, and Frank "The Enforcer" Nitti became the new Outfit boss after serving his own 18-month sentence for tax evasion. By this time, <mask> had established a solid record making money for the organization, so Nitti let him establish his own crew. He was also named as the Outfit's head of enforcement. <mask> soon developed a variety of profitable rackets, including gambling, loansharking, bookmaking, extortion, and the distribution of untaxed alcohol and cigarettes. As with all caporegimes, <mask> received 5% of the crew's earnings as a so-called "street tax".<mask>, in turn, paid a tax to the boss of the Outfit. If a crew member were to refuse to pay a street tax (or paid less than half of the amount owed), they would be killed. <mask>'s crew included future Outfit heavyweights Gus "Gussie" Alex and Joseph "Joey Doves" Aiuppa. Chicago boss
In the 1940s, <mask> continued to gain power in the Outfit. As the decade progressed, senior members of the Outfit were investigated and charged with using the threat of strike action by the labor unions they controlled to extort millions of dollars from Hollywood studios. Nitti, who was claustrophobic and fearful of serving a second prison term, committed suicide in 1943. Paul "The Waiter" Ricca, who had been the de facto boss since Capone's imprisonment, took the role officially and named <mask> as underboss.Ricca and <mask> would run the Outfit for the next 30 years until Ricca's death in 1972. When Ricca subsequently received a 10-year prison sentence for his part in the Hollywood scandal, <mask> became acting boss. Three years later, when Ricca was barred from contact with mobsters as a condition for his parole, <mask> then became boss of the Outfit; in practice, he shared power with Ricca, who remained in the background as a senior consultant. Under <mask>'s leadership in the late 1940s, the Outfit moved into slot and vending machines, counterfeiting cigarette and liquor tax stamps, and expanding narcotics smuggling. <mask> placed slot machines in gas stations, restaurants and bars throughout the Outfit's territory. Outside of Chicago, the Outfit expanded into Las Vegas and took influence over gaming away from the Five Families of New York City. <mask> made sure that all the legal Las Vegas casinos used his slot machines.In Kansas and Oklahoma, he took advantage of the official ban on alcohol sales to introduce bootlegged alcohol. The Outfit eventually dominated organized crime in most of the western United States. To reduce the Outfit's exposure to legal prosecution, <mask> phased out some traditional activities such as labor racketeering and extortion. He also converted the Outfit's brothel business into call girl services. The result of these changes was a golden era of profitability and influence for the Outfit. <mask> and Ricca emphasized keeping a low profile and let flashier figures, such as Sam Giancana, attract attention instead. For example, when professional wrestlers Lou Albano and <mask>, wrestling as a Mafia-inspired tag team called "The Sicilians", came to Chicago in 1961, <mask> persuaded the men to drop the gimmick to avoid any mob-related publicity.By using tactics such as these, <mask> and Ricca were able to run the Outfit much longer than Capone. Ricca once said, "<mask> had more brains for breakfast than Capone had in a lifetime". Change of leadership
After 1957, <mask> turned over the official position as boss to Giancana, because of "heat" from the IRS. <mask> then became the Outfit's consigliere, stepping away from the day-to-day running of the organization, but he still retained considerable power and demanded ultimate respect. Giancana still had to obtain the sanction of <mask> and Ricca on major business, including murders. However, this working relationship eventually broke down. Unlike <mask>, the widowed Giancana lived an ostentatious lifestyle, frequenting posh nightclubs and dating high-profile singer Phyllis McGuire.Giancana also refused to distribute some of the lavish profits from Outfit casinos in Iran and Central America to the rank-and-file members. Many in the Outfit also felt that Giancana was attracting too much attention from the FBI, which was forever tailing his car around the Chicago metropolitan area. Around 1966, after spending a year in jail on federal contempt of court charges, <mask> and Ricca replaced Giancana with Aiuppa. In June 1975, after spending most of his Outfit-exile years in Mexico and unceremoniously being booted from that country, Giancana was murdered in the basement apartment of his home, in Oak Park, Illinois, while cooking Italian sausages and escarole. Ricca died in 1972, leaving <mask> as the ultimate authority in the Outfit. The burglary
In 1978, while <mask> vacationed in California, burglars entered his River Forest home. Shortly afterwards, the three suspected thieves and four related persons were found strangled and with their throats cut.Law enforcement officials believed <mask> had ordered the killings in retaliation for the burglary. In 2002, this theory was confirmed on the witness stand by Outfit turncoat Nicholas Calabrese, who had participated in all of the murders. The surviving assassins were all convicted in the Family Secrets trial, and sentenced to long prison terms. Personal life
In 1934, <mask> met Clarice Pordzany, a Polish-American chorus girl. They later married and had two daughters, Marie Judith and Linda Lee, and adopted two sons, Joseph Frank and Anthony Ross. Several of <mask>'s family members have had careers in the National Football League. His daughter Marie married Palmer Pyle, who played guard for the Baltimore Colts, Minnesota Vikings, and Oakland Raiders.Palmer Pyle's brother, Mike Pyle, also played in the NFL. Their son Eric Kumerow played linebacker for the Miami Dolphins, and Eric's son Jake currently plays wide receiver for the Buffalo Bills, and has also played for the New Orleans Saints and the Green Bay Packers. Eric's sister Cheryl married John Bosa, who played defensive end for the Dolphins. They have two sons, Joey and Nick, both of whom also currently play defensive end: Joey for the Los Angeles Chargers, and Nick for the San Francisco 49ers. For most of his married life, <mask> lived in River Forest, Illinois. The six-bedroom, six-bath home he owned on Franklin Avenue in River Forest contained two bowling lanes, an indoor swimming pool and a pipe organ. When he started receiving attention from the IRS about his apparent high lifestyle, he bought a ranch home on the 1400 block of North Ashland Avenue, in River Forest, and installed a vault.<mask>'s official job was that of a beer salesman for a Chicago brewery. Death and burial
In the late 1970s, <mask> bought a home in Palm Springs, California, flying to Chicago to preside over Outfit "sit-downs" and mediate disputes. By this time, his personal holdings included legal investments in commercial office buildings, retail centers, lumber farms, paper factories, hotels, car dealerships, trucking companies, newspaper companies, restaurants and travel agencies. <mask> spent his last years in Barrington Hills, Illinois living with his daughter and son-in-law. On May 22, 1992, <mask> died of respiratory and heart conditions at age 86. <mask> is buried in a crypt in the mausoleum at Queen of Heaven Cemetery, in Hillside, Illinois. Despite an arrest record dating back to 1922, <mask> spent only one night in jail or avoided the inside of a cell entirely (depending on the source).In popular culture
In the 1995 television movie Sugartime about Giancana and McGuire, <mask> is portrayed by Maury Chaykin. In the television series Vegas, <mask> is simply referred to as "Tuna" by mobster Vincent Savino when he is preparing the monthly casino skim to depart to Chicago. In the 2016 AMC mini series “The Making of the Mob: Chicago” <mask> is portrayed by actor Jason Fitch

See also
List of Havana Conference invitees

Notes

References

External links

LIUNA – <mask> Obituary 22

1906 births
1992 deaths
Al Capone associates
American crime bosses
American gangsters of Sicilian descent
Burials in Illinois
Chicago Outfit bosses
Chicago Outfit mobsters
Consiglieri
People from Barrington Hills, Illinois
People from Chicago
People from Palm Springs, California
People from River Forest, Illinois
Prohibition-era gangsters

masks:
Anthony Joseph Accardo
Antonino Leonardo Accardo
Accardo
Accardo
Francesco Accardo
Maria Tilotta Accardo
Accardo
Accardo
Tony Capezio
Accardo
Tony Mazla
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Tony Altomare
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Anthony Accardo
Accardo
Accardo
Accardo
Accardo
Accardo
Tony Accardo


title: Ruslan Kogan

texts:
<mask> (born November 1982) is a serial entrepreneur, and founder and CEO of Kogan.com as well as several other eCommerce-related companies in Australia. He was Australia's richest person under the age of 30 from 2011 to his 30th birthday in November 2012. In 2020, Kogan's net worth was estimated by the Financial Review 2020 Rich List as . <mask> holds several publicised controversial views regarding the consumer technology industry, expressing his opposition to the Australian Government's proposed internet filter as well as lambasting the government for their handling of the Set Top Box Scheme. He was also the only executive from a consumer electronics vendor in Australia to campaign against the introduction of 3DTV into homes around the world. He has written articles as both a guest and regular for several large media outlets, including a guest article for Forbes giving his views on Facebook, a guest article for Fast Company about the importance of social proof in business, a guest article for VentureBeat about affiliate marketing, a guest post on Gizmodo outlining his opposition to the filter and The Age regarding the future of TV. He was also a guest columnist for business magazine BRW throughout 2011, and has on several occasions provided guest opinions on the world's largest technology blog, TechCrunch.In 2015, he was interviewed on the Bloomberg Television series High Flyers. Early life
<mask> <mask> was born to Belarusian parents, and moved with his sister Svetlana and parents to Melbourne, Victoria, Australia in 1989. Kogan grew up in the Elsternwick Housing Commission flats, and started his first business at the age of ten by finding lost golf balls, cleaning them and selling them for $0.50/each to golfers at Elsternwick Golf Course on Saturday mornings. Kogan was interested in technology from an early age, building his first computer at the age of nine. He has started approximately twenty businesses since the age of ten, with Kogan.com being his most recent and most successful venture. Kogan attended Brighton Secondary College and Melbourne High School before graduating from Monash University with a Bachelor of Business Systems (Information Technology). Career
By the age of 23, Kogan had worked at the IT departments of Bosch, GE, Telstra, and was a management consultant at Accenture, until 2006.Kogan.com
Kogan started Kogan.com in his parents' Melbourne garage in 2006, aged 23 years. The company rapidly expanded to a broader range of products such as Digital Radios, GPS devices, netbooks, tablets, and video cameras, and in September 2011 began selling complementary products from a range of brands including Apple, Canon, Nikon, Samsung, Motorola and others. Kogan achieved 3 million in sales in its third year, followed by 8 million in year four, 22 million in year five, 70 million in year six, and over 200 million in the seventh year. In 2013 The Wall Street Journal speculated that Kogan was worth over 400 million. More than two million products were delivered by Kogan.com, with daily sales of more than 1 million. Having started with no external funding or capital, as of 2011, Kogan.com has grown to become one of Australia's fastest-growing businesses in any industry. Open source
Kogan has been a strong believer in open-source solutions for many years, telling Computerworld: "We are huge believers in cloud computing and open-source software.The reasons are simple: open-source software is usually faster, better and has more features." Kogan believes that open-source tablets like Android present a significant challenge to the Apple iPad's dominance of the tablet market, and was the first to launch an open-source tablet in the UK for under £100. In Australia, he launched a laptop running the open-source version of Google's Chrome OS before multinationals like Samsung and Acer could launch their own products. Criticism

<mask> is known for using social media to take a swipe at his competitors and has been accused of making 'outlandish statements' through his company's blog about giant retailers like JB Hi-Fi. At Kickstart Forum 2008, in Gold Coast Australia, Kogan was called a 'loudmouthed punk', when he said the future of retail was heading online. On International Transgender Day of Visibility in 2018, <mask> was asked to apologise after a transphobic tweet referencing the 2018 Australian ball-tampering scandal and Caitlyn Jenner. Personal life
<mask> was the first Australian to register as a passenger on Richard Branson's Virgin Galactic sub-orbital spaceflight, having paid a deposit on the 200,000 ticket.<mask> and his wife, Anastasia, reside in Melbourne, Victoria, Australia. Personal wealth
Kogan's net worth was estimated to be 575 million, listed on the Financial Review 2020 Rich List. Kogan did not reach the threshold for inclusion on the 2021 Rich List. Achievement lists
<mask> and his company Kogan.com have been listed on the following:

The Age Top 100 most influential people in 2008
BRW 2009 Fast Starters list at rank 37
BRW 2010 Fast 100 at rank 15
BRW 2010 Fast Starters list at rank 17
Charter Security Retail Innovator of the Year 2010
Anthill Top 30 under 30 entrepreneurs for 2010
The Age Top 100 most influential people in 2011
BRW 2011 Fast 100 at rank 27
SmartCompany 2011 Hot 30 Under 30 in 2011
Virgin Australia Top Guns in Tech in 2011
BRW 2012 Fast 100 at rank 14, valued at A$75.2M
Men's Style Magazine 2012 Men of Influence
Ernst & Young Entrepreneur of the Year 2012 Southern Region Winner
Deloitte Technology Fast 50 - 4th fastest growing technology company in Australia in 2012
BRW Fast 100 2012 - Ranked 14
Top 50 Most Influential People in Tech in 2012. He joined Mark Zuckerberg and Mike Cannon-Brookes as the only Gen Ys on the list
SmartCompany Hot 30 Under 30 CEOs in 2012
The Australian Top 5 Young Chief Executives in 2012
T3 29th most influential person in the technology industry in 2012

Notes
 : Net worth drawn from the BRW Young Rich List in that year. References

External links
 <mask> <mask> page at Kogan.com

Australian chief executives
1982 births
Living people
People from Melbourne
Belarusian emigrants to Australia
People from Babruysk

masks:
Ruslan Kogan
Kogan
Ruslan
Kogan
Kogan
Kogan
Kogan
Kogan
Kogan
Ruslan
Kogan


title: Yankev Shternberg

texts:
<mask> (in English language texts occasionally referred to as Jacob Sternberg; ; ; 1890, Lipcani, Bessarabia, Russian Empire – 1973, Moscow, USSR) was a Yiddish theater director, teacher of theater, playwright, avant-garde poet and short-story writer, best known for his theater work in Romania between the two world wars. Biography
<mask> grew up in the northern Bessarabian shtetl of Lipkany (Yiddish: Lipkon, now Lipcani in Moldova), which was famously termed "Bessarabian Olympus" by Hebrew and Yiddish poet Chaim Nachman Bialik and which in the second half of the 19th century produced several major figures of the modern Yiddish and Hebrew belle-lettres, among them Yehuda Shteinberg and Eliezer Steinbarg. He attended a Russian secondary school in Kamenets-Podolsky, where he was a classmate and close friend of the future Yiddish writer Moyshe Altman. Shternberg debuted in 1908 with a fairy tale in the newspaper Unzer Lebn (Odessa). He published poetry in Reizen's collections "Fraye Erd" (1910) and "Dos Naye Land" (1911). In the 1910s, he published poetry in the periodicals Hamer (Brăila), Frayhayt, Arbeter Tsaytung, and Dos Naye Lebm (all in Czernowitz), as well as Gut Morgn (Odessa),  (Warsaw), and Tsayt (New York). In 1914 Shternberg settled in Romania, at first in Czernowitz (Chernivtsi, Ukraine), and later in Bucharest.He became associated with the short-lived Yiddish-language magazine Likht ("Light"), four issues of which were published in Iaşi between December 1914 and September 1915. Likht called for a "renaissance of the Jewish stages in Romania" and condemned the "poor foundation" of Yiddish theater as a commercial institution: "The Yiddish stage ought to be a place of education, of drawing Jews closer together through the Yiddish word… we will fight against this [commercial] state of things." Israil Bercovici counts the "literary-musical" gatherings sponsored by that magazine as "the beginning of modern Yiddish theater in Romania", and sees <mask> as preparing the way for the Vilna Troupe, the Yiddish theater troupe that brought the ideas of Konstantin Stanislavski to Romania. Nonetheless, <mask> adopted as a slogan "Back to Goldfaden". Calling Abraham Goldfaden "the Prince Charming who woke up the lethargic Romanian Jewish Culture" when he founded professional Yiddish theater in 1876 (Iaşi), <mask> wrote, "The only milieu that attracts the great Jewish masses is a traditional-cultural theater. Not even a literary theater… From that I created a social-political theater, a theater… [of current events]… which I think was, then, the first of its kind in Yiddish". In 1917–18, <mask> and Jacob Botoshansky together founded a Yiddish revue theater in Bucharest, for which they wrote and produced nine short plays (revues), including Tsimes (named after the traditional pureed vegetable dish tsimes), Bukaresht-Yerusholaim ("Bucharest-Jerusalem"), In mitn drinen ("All of a sudden"), Grine bleter ("Green leaves"), Kukuriku, Sholem-Aleykhem ("Hello"), and Hershele Ostropoler ("Hershele of Ostropol").In 1917, in response to antisemitic violence at that time in Romania and elsewhere in Eastern Europe, he staged passages from Bialik. In 1920, he became the editor of "Der Veker", official organ of the Jewish section of the Romanian Socialist Party. In 1924–26, he was the director for the "Vilner trupe". The Romanian daily newspaper Adevărul wrote on August 23, 1924, shortly after the troupe's arrival in Bucharest, that "Such a demonstration of artistry, even on a small stage such as Jigniţa and even in a language like Yiddish ought to be seen by all who are interested in superior realization of drama." In 1930 he created a hugely successful studio theater BITS ("Bukareshter Yidishe Teater-Studiye"), housed in Bucharest's Jewish quarter Văcărești, that played a prominent role in the development of modern trends in European theater. BITS staged works of Osip Dymov (Yashke-muzikant – "Yashka the Musician"), Jacob Gordin, I.L. Peretz (Banakht afn altn mark – "A night at the old market"), Sholem Aleichem (Oytser – "Treasure", and most famously Der farkishefter shnayder – "The enchanted tailor"),  (Der Geler Shotn, 1935), Nikolai Gogol (Zhenit'ba – "The Marriage"), – mostly musical comedies with elements of grotesque, but also I.Y.Singer's Yoshe Kalb and his own play Teater in Flamen ("Theater in Flames") on the theme of the then-ongoing Spanish Civil War. Sidi Tal starred in many of these productions. The performances were popular with the Bucharest intelligentsia and Peretz's "Banakht Afn Altn Mark", for one, was played more than 150 times. During this time, <mask> published his first collection of poetry, in Bucharest (1938). As antisemitic, pro-fascist tendencies gained power in Bucharest, the theater left for a prolonged tour of major European cities and eventually <mask> moved to Czernowitz, where he continued his theatrical activities. In 1939, <mask> along with Moyshe Altman sneaked across the Dniester and became a Soviet citizen. A year later, when his native Bessarabia was annexed by the Soviet Union, he and most of his former troupe settled in Kishinev, where <mask> became artistic director of the Yiddish-language Moldovan State Jewish Theater and staged, among other works, M. Daniel's Zyamke Kopatsh and Sholom-Aleichem's Motl Peysi Dem Khazns ("Motl Peysi, the cantor's son") with Sidi Tal in the boys' roles.During the war, he and his theatre evacuated to Uzbekistan, where he worked for the Jewish Anti-Fascist Committee and was mobilized into a paramilitary construction unit. After the war, he returned to Kishinev and resumed his work at the Moldovan State Jewish Theater, where he staged his play Di Balade fun der Esesovke Brunhilde un ir hunt ("The ballad of the SS soldier Brunhilde and her dog") and published poetry in the almanac Heymland (1948). He was arrested at the height of the Stalin's campaign against "rootless cosmopolitans" (Jews) in the spring of 1949 and was sent to labour camps for 7 years. On his early return and rehabilitation 5 years later, <mask> settled in Moscow and worked as a translator of Romanian literary works into Russian. He began to publish literary essays and poetry in the newly founded Sovetish Heymland in 1961 and briefly became a member of its editorial board. Collections of his poetry were published in Bucharest and Paris, and in Hebrew translation by Shlionsky and Penn in Israel on the occasion of his 75th birthday. <mask> died of a heart attack in 1973 on the very day he received a permission to leave for Israel.His wife, the composer Otiliya Likhtenshteyn, who set his poems and those of other Soviet Yiddish poets (first of all Leib Kvitko) to music, died the same year. A collection of <mask>'s literary essays on theatrical topics was published posthumously in Israel. A committed socialist, <mask> wrote that, in the wake of the October Revolution, "we satirized bourgeois assimilation, struggled with the [Jewish] clergy, fought for progressive Jewish culture, for the emancipation of the Jews, for the rights of citizenship… for progressive Jewish literature." Books
 Shtot in profil. Lid un grotesk ("City in Profile. Poetry and Grotesque", Bucharest, 1935)
 Izbrannoe" ("Collected Poetry", in Russian, Moscow: Sovetskiy Pisatel', 1954)
 Lid un balade af di karpatn ("Songs and Ballads of the Carpathians", Paris: Afsnay, 1968)
 In krayz fun yorn (geklibene lider) ("At the Crossing of Years" (collected poems)", Bucharest: Kriterion, 1970)
 Veygn literatur un teater ("On Literature and Theater" (critical essays), Tel Aviv, 1987)

Notes and references

 Bercovici, Israil, O sută de ani de teatru evriesc în România'' ("One hundred years of Yiddish/Jewish theater in Romania"), 2nd Romanian-language edition, revised and augmented by Constantin Măciucă. Editura Integral (an imprint of Editurile Universala), Bucharest (1998). . 116–119 and 148.Also, 125–143 is an extensive discussion of the Vilner Trupe's activities in Bucharest. External links

1890 births
1973 deaths
People from Briceni District
People from Khotinsky Uyezd
Moldovan Jews
Bessarabian Jews
Yiddish-language poets
Yiddish theatre
Soviet writers
Moldovan writers
Moldovan male writers
Jewish Romanian writers
Jewish socialists
20th-century poets
20th-century Romanian male writers
Romanian Ashkenazi Jews

masks:
Yankev Shternberg
Shternberg
Shternberg
Shternberg
Shternberg
Shternberg
Shternberg
Shternberg
Shternberg
Shternberg
Shternberg
Shternberg
Shternberg
Shternberg


title: Carl Schuster

texts:
<mask> (1904–1969) was an American art historian who specialized in the study of traditional symbolism. Life and career

<mask> was born in Milwaukee, Wisconsin, to a prominent Jewish family. His gift for languages was evident from an early age as was an interest in puzzles, codes, and ciphers. These skills would later serve him well both as a scholar and as a cryptanalyst for the OSS during the Second World War. He received a B.A. (1927) and an M.A. (1930) from Harvard where he studied art history and oriental studies.A growing interest in traditional symbolism led him to Peking (1931–1933) where he spent three years studying with Baron Alexander Staël von Holstein, a Baltic refugee and distinguished scholar. It was during this period that he began collecting textile fragments and ventured on the first of his many field trips in search of specimens. His travels would eventually take him to some of the more remote parts of the world, photographing rock carvings, visiting small museums or private collections, and talking to missionaries, scholars, or anyone else who might have information he was seeking. <mask> returned to Europe to study at the University of Vienna with the noted art historian, Josef Strzygowski, and received his doctorate in 1934 in art history. He worked briefly as Assistant Curator of Chinese Art at the Philadelphia Art Museum but was soon back in China (1935–38) pursuing his researches and traveling until the Japanese invaded. <mask> was assisted in his researches by academic grants from the Harvard-Yenching Institute, the Bollingen Foundation, and the Guggenheim Foundation. His easy-going manner and gift for languages provided access to people and information not available to others.He collected and photographed specimens in his widespread travels, but he never wandered randomly. Nothing diverted him. He lived an almost ascetic life. In rural areas, he could readily satisfy hunger with a heaping bowl of fresh rice, which cost one cent. He never raised his camera to record Mao's Long March, though he witnessed it. Detained by Japanese soldiers in rural China, he recorded the event merely to explain why certain notes and negatives were missing. He literally walked through famine, revolution, and war.Some of his rare Chinese embroideries were purchased by George Hewitt Myers for the Textile Museum and another large group was given to the Field Museum in Chicago. He also donated a group of Chinese prints to the New York Public Library as well as a collection of Buddhist woodcuts. After World War II, he lived in Woodstock, New York, where he began to develop his ideas, publishing learned monographs on traditional design motifs. He generally placed these studies in specialized publications, whose readers, he hoped, would respond with more leads. Harvard University was on the verge of publishing a book, The Sun Bird, but he withdrew it at the last moment because he felt it contained errors. The American Museum of Natural History (AMNH) provided him with a desk and he spent much time there and in the New York Public Library. In 1945, the American Anthropological Association sponsored an exhibition of his photographs at the AMNH illustrating his ideas about how certain symbols were shared by widely separated cultures.Along with the artist Miguel Covarrubias, the curator Rene d'Harnoncourt, and the politician and philanthropist Nelson Rockefeller, <mask> was involved in the foundation of the Museum for Primitive Art (now part of the Michael Rockefeller wing of the Metropolitan Museum of Art). He continued to travel, attending conferences and doing fieldwork and to correspond with others who shared his interests. Scattered around the world, often in remote or unlikely places, were hundreds of self-trained scholars, who in response to some personal passion, sought to preserve the last remnants of fading, local traditions. They were primary sources: rigorously trained in other disciplines, self-taught in their special interests, totally dedicated in their researches. Many were far better scholars than the professionals who ignored them. Most had no one to talk to until <mask> arrived. They welcomed him; opened their records to him; corresponded with him.Long after his death, letters from isolated places continued to arrive, filled with data, drawings, and photographs. His archives contain incalculable riches from a world now forgotten. Schuyler Cammann (1912–1991), Professor of East Asian Studies at the University of Pennsylvania, first met <mask> in China in the 1930s and was greatly influenced by him. But <mask> was no mere follower; he was a pioneer in the realms of the mind. He constantly developed original ideas and experimented with linking various fields of scholarship in new and imaginative ways, always being careful to check his thoughts and his findings with the most rigorous scholarship before he shared them with others. <mask> never sought the spotlight and his work was generally ignored in academic circles where his approach was considered out of date. Privately, he was at the center of a vast network of scholars and other interested parties who shared ideas and sought his advice.Because he traveled so widely, he was well-known to scholars, museum curators, and congress-goers on five continents. He also served as an important link in international scholarship, not only through personal contacts during his research trips, but also because, from his home-base in Woodstock, N.Y., he conducted a kind of free information bureau for the exchange of questions and ideas among scholars and specialists in different fields, between whom he was the only direct link. There in Woodstock, he had very extensive files of notes and films, just the ordering of which was in itself a marvel of efficient organization. <mask>'s ability to gather, organize and evaluate data was extraordinary. In an age before the copier and the personal computer, he accumulated an archive comprising some 200,000 photographs, 800 rubbings (mostly of petroglyphs), 18,000 pages of correspondence in multiple languages, and a bibliography of 5670 titles filed by alphabet (Chinese, Cyrillic, Latin)—all meticulously cross-referenced. <mask> did not live to see his work completed. He died suddenly of cancer in 1969.The task fell to a friend, the anthropologist Dr. Edmund Carpenter, who agreed to write and publish his findings. The result of twenty years of labor was Materials for the Study of Social Symbolism in Ancient and Tribal Art: A Record of Tradition and Continuity, published privately in three volumes (1986–88) and distributed free of charge to scholars and libraries throughout the world. A much abbreviated version of this work was published in 1996 under the title Patterns That Connect, by Abrams Press. Schuster's archives, which contain unpublished material on a wide variety of subjects, are housed in the Museum der Kulturen in Basel, Switzerland. Those who knew him well, and were qualified to make judgments, uniformly spoke of his brilliance, his capacity to perceive what no one before had seen. His archives reveal this better than his publications. He was a lucid correspondent, but far too hesitant in publishing.His archives are his real legacy. His work
<mask>'s initial publications centered on traditional design motifs that he found preserved on textile fragments he had collected in western China during the 1930s. While the textiles themselves were not old, the designs were, having been preserved by endless imitation. Even where the motifs seemed specifically Chinese, like the return of the triumphant scholar (chuang yüan) on horseback, the oldest known prototypes were found in distant times and places. <mask> used the method employed by many art historians of identifying significant design motifs and then tracing their distribution and meaning in different cultural and historical contexts, looking for commonalities. He tried, where possible, to provide historical evidence for the movement of these ideas and images but this proved increasingly difficult as the trail moved backward in time. Writing later about the difficulty of providing historical support for the idea of cultural contact between Asia and the Americas in prehistoric times, he defended his methodology.However convincing some of these arguments for relationships appear to be, it is inevitable that they remain inconclusive in the absence of any historical documentation. It is the writer’s belief, nevertheless, that attempts at the comparative study of traditions, more especially artistic traditions, of the Old and New Worlds should not be abandoned because of the obvious difficulties of historical documentation, but should, on the contrary, be systematically pursued, on a frankly tentative or hypothetical basis, in an effort to assess the true extent and significance of existing similarities. <mask> was a believer in the comparative method. Like the great art historian, folklorist and metaphysician, Ananda Coomaraswamy — from whom he learned a great deal — he believed that traditional symbolism constituted a form of language that communicated the beliefs of ancient peoples from the earliest times. As in linguistics, where many languages can arise from a common ancestor, he sought the underlying patterns that provided the links between seemingly disparate art forms. Not unlike the early navigators in the Pacific, who used the deep ocean swells to find their way around vast stretches of unexplored ocean, <mask> looked for older meanings obscured or altered by the fashion-driven arts of the palace and the propaganda of the great world religions. We can conceive of popular tradition as an undercurrent which flows deeply beneath the reflecting surface of history, a movement of long duration and great force which, though generally hidden from academic view, comes to the surface occasionally in unexpected places, bringing with it memories of distant times and places.He learned to look for cross-relations between the arts, following the evidence where it led, across time periods and boundaries, both geographic and academic. He expressed some of his feelings about these matters in a letter to the ethnographer Heiner Meinhard in 1967. First in the natural sciences, and then to some extent in the humanities (eg in linguistics), empirical observations by individuals over decades established certain facts permitting certain conclusions. But in the study of the traditional arts, we are still in a pre-scientific age. Nobody seems to have any idea even how to go about learning what the world of traditional culture actually is: this can only be learned by the painstaking tracing of traditional forms on the widest possible comparative basis, empirically, without any arbitrary limits set by academic preconceptions and compartmentation. Much of his time was taken up in collecting and comparing the motifs he felt to be of particular importance. One gauge of antiquity was how widely dispersed these designs were.He became interested in the figure of the Sun Bird, and its earthly antagonist, a turtle, snake, or other reptile. This led him to a deeper understanding of traditional cosmologies and their relation to ideas about kinship and rebirth. An area that proved to be of primary importance was a study of joint marks, present in the arts of Asia, Oceania and the Far East. He gradually uncovered an ancient correlation between body joints and ancestors based on a metaphoric association of the human body with a plant or tree, with each limb representing a branching of the group or tribe. Indo-European and other language families preserve these ideas in the words used to describe kinship. He was systematically building up a picture of some of the earliest beliefs and practices of mankind. A list of the topics that he investigated would be too lengthy to include here, but many of them proved to be inter-related.Continuous-line drawings, including such related forms as string figures, mazes, and labyrinths. These art forms were related, in turn, to joint

masks:
Carl Schuster
Carl Schuster
Schuster
Schuster
Schuster
Carl
Schuster
Carl
Schuster
Schuster
Schuster
Schuster
Schuster
Schuster
Schuster


title: Carl Schuster

texts:
 marks. The design of fur garments using a technique of small, interlocking skins. The resulting designs were later transferred to other media where they formed a kind of primitive heraldry, serving to identify group membership and the social standing of the owner. Crossed figures (human or animal) engaged in primordial copulation at the center of the world, representing the foundation of society and the cosmos. The point of intersection of these figures was often indicated by hatching or a checkerboard pattern, used for divination and gaming in later periods. These ideas can be connected to the origin of writing systems and to early mathematical ideas.Y-posts, notched sticks, notched disks, rosaries, and other mnemonic devices, where the notching represented generations. These forms were related to counting systems and heavenly ladders which, in turn, were tied into the cosmological system as a means of returning to heaven by retracing one’s ancestry back to the First One. Finger amputation and cannibalism, which related to ideas of rebirth and kinship. It was <mask>'s study of joint marks that ultimately revealed an underlying system of genealogical iconography that he believed dated from Upper Paleolithic times. He expressed his growing excitement in a letter to a friend:

I have been undergoing a "change of life," in this sense: my work has suddenly branched out and is growing so rapidly and luxuriantly that it is simply becoming impossible to keep up with it and with everything else too. It is extremely exciting: I have at last begun excavating a vein of incalculable richness. To try to get down to earth: I have the clue, at last, to one of the central symbols of all human cultural history, which explains the survival of traditions from at least Upper Paleolithic times through all subsequent cultures.He published his initial findings in Brazil in 1956 under the title, “Genealogical Patterns in the Old and New Worlds.” Its goals seemed modest enough for a work of such importance. The purpose of this paper is to call attention to a type of design which occurs among various peoples in both hemispheres, and to offer an explanation of its form, which may at the same time account for its surprisingly wide distribution. Designs of this type are made up of a series of human bodies joined by their arms and legs in such a way as to form an endlessly repeating “all-over pattern” (Muster ohne Ende). <mask> believed that Paleolithic peoples developed a system for illustrating their ideas about genealogy. Not a kinship system — which depicts actual relations — but an idealized system linked to certain cosmological ideas. The resulting designs were used to decorate the body, clothing, and tools. Their function was to clothe the individual in his/her tribal ancestry.The basic units of the system were conventionalized human figures, linked like paper dolls, arm to arm to depict relation within the same generation, and leg to arm to depict descent. Linked together, these human bodies formed geometric patterns, often of astonishing complexity. (These figures are most familiar to us as decorative motifs like hourglass figures, diamonds, St. Andrew's crosses, meanders, and spiral patterns, which appear in the traditional art forms of many cultures throughout the world.) How did this iconography originate? Conceivably from robes of small animal skins, which resemble, by chance, human figures. These small furs were sewn together, with the fore-legs of one animal interlocked with the hind-legs of each adjacent, inverted animal. The use of split figures, emphasized by alternating colors, stressed the dual parentage that everyone enjoys, along with the concomitant notion that a human being is half male and half female, an idea which would have a long history.No examples of these furs survive from ancient times but the Tehuelche Indians of Patagonia made such robes as did other technologically simple hunting peoples. <mask> also found abundant evidence that these designs were reproduced on cave walls, pebbles, tools, and stone monuments where they represented the corporate identify of their owners, much like military insignia do today. Another significant aspect of the system is that descent is depicted as a fusion of the leg of an upper figure with the arm of a lower one. These common limbs represent bonds between generations. Many myths tell of human beings born from limbs – sometimes from arms or fingers, more commonly from legs, and most commonly from knees. The idea of birth from the limbs is based on an analogy with the plant world. Just as tree limbs can regenerate, so too, are human limbs seen as a source of potency.A human body becomes a living kinship chart with the ancestral spirits resident in the joints. Bibliography

Articles
 International Studio, Vol. XCII, No. 381, February 1929, pp. 44–47. <mask> writing on decoration of Japanese sword guards (decorative tsubas)
 “Some Peasant Embroideries from Western China,” Embroidery Magazine, London, (Sept., 1935), pp. 88–89.“Das Vogelmotif in der Chinesischen Bauernstickerei,” (part of his PhD thesis) in J. Strzygowski, Spuren Indogermanischen Glaubens in der bildenden Kunst, Heidelberg, 1936, pp. 326–44. An English translation of this work was published under the title, “A Bird Motif in Chinese Peasant Embroidery,” 13 pages, Peking, 1936. “An Archaic Form of Chess in Chinese Peasant Embroidery.” Man (Sept. 1936), London, pp. 148–151. “A Prehistoric Symbol in Modern Chinese Folk Art” Man, vol. XXXVI (270-292), (Dec. 1936), pp.201–203. “A Comparative Study of Motives in Western Chinese Folk Embroideries” Monumenta Serica, vol. 2, fasc. 1, (1936), Peking. “Peasant Embroideries of China” Asia (Jan. 1937), pp. 26–31. “A Comparison of Aboriginal Textile Designs in Southwest China with Peasant Designs from Eastern Europe,” Man, vol.37, (July 1937), pp. 105–106. “The Triumphant Equestrian,” Monumenta Serica, vol. II, fasc. 2 (1937), Peking, pp. 437–440. “The Bird with S-Curves in Southwestern China,” Artibus Asiae, vol.IX, no. 4 (1946), pp. 321–322. “Some Comparative Considerations about Western Asiatic Carpet Designs,” Artibus Asiae, vol. IX, Ascona, Switzerland, (1946), pp. 68–92. “Some Artistic Parallels between Tanimbar, the Solomon Islands and Polynesia,” Cultureel Indië, vol.8, Leiden, (1946), pp. 1–8. “Prehistoric Stone Objects from New Guinea the Solomons,” Mankind, vol. III, No. 9, Sydney, Australia, (July 1946), pp. 247–251. Letter to A.F.C.A.van Heyset, on Chinese-made objects from the casque of the tropical hornbill, Cultureel Indië, vol. 8, (1946), Leiden, pp. 222–224. “A Perennial Puzzle: The Motive of Three Fish with a Common Head,” Art and Thought (Festschrift for Ananda K. Coomaraswamy), Luzac & Co., London, (1947), pp. 116–125. “Modern Parallels for Ancient Egyptian Tattooing,” Sudan Notes and Records, vol. 29, Khartoum, (1948), pp.71–77. “Stitch-Resist Dyed Fabrics of Western China,” Bulletin of the Needle and Bobbin Club, vol. 32, New York, (1948), pp. 10–29. “Traditional Designs Common to the Old and New Worlds,” Philadelphia Anthropological Society Bulletin, vol. 3, no. 4, (1950), pp.2–3. “An Ancient Chinese Mirror Design Reflected in Modern Melanesian Art,” The Far Eastern Quarterly, vol. 11, no. 1, (Nov. 1951), pp. 52–66. “Joint Marks: A Possible Index of Cultural Contact Between America, Oceania, and the Far East.” Koninklijk Instituut Voor de Tropen, Amsterdam, 1951. “Designs Incised on Pearl Shell from Northwestern Australia and Tanimbar,” Mankind, vol.IV, Sydney, (1951), pp. 219–220. “A Survival of the Eurasiatic Animal Style in Modern Alaskan Eskimo Art.” Indian Tribes of Aboriginal America, edited by Sol Tax, pp. 35–45, University of Chicago Press, 1952. “V-Shaped Chest Markings: Distribution of a Design Motive in and around the Pacific,” Anthropos, vol. 47, Fribourg, Switzerland (1952), pp. 99–118.“Head-Hunting Symbolism on the Bronze Drums of the Ancient Dongson Culture and in the Modern Balkans,” Actes du IVe Congrès International des Sciences Anthropologiques et Ethnologiques, Vienna (1952), tome II, pp. 278–282. “The Labyrinth Motive in the Old and New Worlds: Problems in the Diffusion of a Design." Communication to the 4th International Congress of Anthropological and Ethnological Sciences, Vienna, (1952). Mimeographed and distributed. “An Ancient Cultural Movement Reflected by Modern Survivals in the Arts of the Carpathians, the Caucasus Region, West China, and Melanesia, Dated by the Dongson Culture of Northern Indo-China,” Actes du IVe Congrès International des Sciences Anthropologiques et Ethnologiques, Vienna (1952), tome II, p. 283. “Human Figures in South American Petroglyphs and Pictographs as Excerpts from Repeating Patterns,” Anales del Museo de Historia Natural, 2nd series, vol.4, no. 6, Montevideo, Uruguay (1955), pp. 1–13. “Genealogical Patterns in the Old and New Worlds.” Revista Do Museu Paulista, Nova Série, vol. X  (1956/58), São Paulo, Brazil. This article was also printed separately as a booklet under the same title. “Human Figures with Spiral Limbs in Tropical America,” Miscellanea Paul Rivet, Octogenario Dicata, (Report of the 31st International Congress of Americanists); vol.II, Mexico (1958), pp. 549–561. “Skin and Fur Mosaics from Early Prehistoric Times to Modern Survivals,” Actes du VIe Congrès International des Sciences Anthropologiques et Ethnologiques, Paris (1960), tome II, pp. 631–632. “Some Geometric Designs of Upper Paleolithic Art Explained in Light of Survivals in Later Prehistoric Periods and Modern ‘Primitive’ Cultures,” 5th International Congress of Prehistoric and Protohistoric Science, Hamburg (1958), Berlin (1961), pp. 750-751. “Observations on the Painted Designs of Patagonian Skin Robes.” Essays in Pre-Columbian Art and Archaeology, Samuel Lothrop, ed.Harvard University Press, Cambridge, Mass., 1961, pp. 421–447. “Remarks on the Design of an Early Ikat Textile in Japan,” in Festschrift Alfred Bühler, Basel (1962), pp. 339–374. “Skin and Fur Mosaics in Prehistoric and Modern Times,” in Festschrift für Ad. E. Jenson, Munich (1964), pp. 559–610.“Speculations on the Similarity of some Notched Artifacts in the Folsom Culture and in the Old World Paleolithic." American Association for the Advancement of Science. Cleveland (1963). Mimeographed and distributed. “Kapkaps with Human Figures from the Solomon Islands,” Academiae Scientiarum Hungarica: Acta Ethnographia, tome 13, fasc. 1-4, Budapest (1964), pp. 213–279.“Pottery Vessels from South America in the Form of a Double-Headed Human Figures,” Folk, vol. 8/9, Copenhagen (1967), pp. 315–324. “The Ainu Inao; Some Comparative Considerations,” Proceedings, VIIIth Congress of Anthropological and Ethnological Sciences, Tokyo and Kyoto, Science Council of Japan (1968), pp. 86–98. “Pendants in the Form of Inverted Human Figures from Paleolithic to Modern Times." Proceedings of the 7th International Congress of Anthropological and Ethnological Sciences, (1964), pp.105–117, Moscow. “Incised Stones from Nevada and Elsewhere.” The Nevada Archaeological Survey Reporter, vol. II, no. 5 (May 1968). University of Nevada, Reno, NV. “V-Shaped Chest Markings Reconsidered: A Paleolithic Figurine as Explanation for Their Wide Modern Distribution,” Anthropos, vol. 63/64, Fribourg, Switzerland (1968/1969), pp.428–440. “Relations of a Chinese Embroidery Design: Eastern Europe and Western Asia, Southeast Asia (the Dongson Culture) and Melanesia.” Early Chinese Art and its Possible Influence in the Pacific Basin, edited by Noel Barnard and Douglas Fraser, vol. II, pp. 243–290, N.Y., 1972. “Comparative Observations on Some Typical Designs in Batak Manuscripts.” Catalog of Indonesian Manuscripts, Part 1 Batak Manuscripts, edited by P. Voorhoeve, pp. 52–85, The Royal Library, Copenhagen, 1975. Many of the articles listed above can be found at: https://edmundsnowcarpenter.com/2019/09/19/carl-schuster-1904-1969/.Manuscripts
Schuster, <mask>. The Sun Bird Book Reviews, Translations and Letters
 Review of Karl Hentze’s Objets Rituels, Croyances, et Dieux de

masks:
Schuster
Schuster
Schuster
Carl Schuster
Carl


title: Carl Schuster

texts:
 la Chine Antique et de l’Amérique (1936). Monumenta Serica, vol. IV (1939–1940), pp. 355–359. Review of Joseph Strzygowski's "Spuren indogermanischen Glaubens in der bildenden Kunst," Monumenta Serica, 2/2: 437-440, Peking. Translation of K. A. Nowotny's “A Unique Wooden Figure from Ancient Mexico,” American Antiquity, vol.15, no. 1, New York, (July 1951), pp. 57–61. “Antiquity-Survival” in Artibus Asiae, vol. 18, no. 2 (1955) p. 220. Letter offering material on parapegmata (peg calendars).Current Anthropology, vol. 1, nos. 5/6, 1960. .

 Books
 <mask> and Edmund Carpenter, Materials for the Study of Social Symbolism in Ancient and Tribal Art. Based on the research and writings of <mask>. 3 vols, Rock Foundation, 1986-89. Privately printed. Available in print-on-demand and e-book format from Ingram/Lightning Source.<mask> and Edmund Carpenter, Patterns That Connect. Based on the research and writings of <mask>. Abrams Press, New York, 1996. See also
 Tichelman, G.L., "Dr. <mask> on Bird-Designs in the Western Pacific: Indonesia-Melanesia-Polynesia," Cultureel Indië, 1: Leiden (1937), pp. 232–235. (Written partly by <mask>.) Levi-Strauss, Claude.“Huxley Memorial Lecture: The Future of Kinship Studies.” In Proceedings of the Royal Anthropological Institute of Great Britain and Ireland. No. 1965 (1965), pp. 13–22. Carpenter, Edmund. “Excerpt from <mask>’s Researches and Writings” in RES: Anthropology and Aesthetics, no. 6 (Autumn 1983), pp.32–46. Carpenter, Edmund. “Biography of <mask>” in RES: Anthropology and Aesthetics, no. 24 (Autumn 1993), p. 44. Siegeltuch, Mark. The Thread-Spirit. The Symbolism of Knotting and the Fiber Arts.Fons Vitae Press, 2010. Siegeltuch, Mark. Lunar Calendars or Tribal Tattoos? Alexander Marshack's ideas re-evaluated. PDF posted on Academia.edu. Siegeltuch, Mark. The Social Symbolism of Horns.PDF posted on Academia.edu. Siegeltuch, Mark. The Water Symbol. PDF posted on Academia.edu. Siegeltuch, Mark. Birth from the Knee. PDF posted on Academia.edu.Siegeltuch, Mark. The Heavenly Ladder. PDF posted on Academia.edu. Siegeltuch, Mark. The Continuous Line. PDF posted on Academia.edu. Siegeltuch, Mark.The Shameless Woman. The Origin and Meaning of an Ancient Motif. PDF posted on Academia.edu. Siegeltuch, Mark. Handprints and Finger Amputation. PDF posted on Academia.edu. Siegeltuch, Mark.Inversion: The Upside-Down World of the Dead. PDF posted on Academia.edu. Siegeltuch, Mark. What is Geometric Art? PDF posted on Academia.edu. Siegeltuch, Mark. Review of <mask>'s " Skin and Fur Mosaics in Prehistoric and Modern Times " An Overlooked Study that Provides an Essential Clue to the Origin and Meaning of Paleolithic Symbols.PDF posted on Academia.edu. Baker, Muriel, and Lunt, Margaret. Blue and White. The Cotton Embroideries of Rural China. Charles Scribner and Sons, New York, 1977. Ch'i-Lu, Ch’en. “The Aboriginal Art of Taiwan and Its Implication for the Cultural History of the Pacific,” in Early Chinese Art and its possible influence in the Pacific Basin.Volume Two, Asia,” Intercultural Arts Press, New York, 1972, pp. 395-430
 Cammann, Schuyler. “Ancient Symbolism in Modern Afghanistan” in Ars Orientalia, vol. 2 (1957), p. 5-34. Prins, Harald. Review of Patterns That Connect in American Anthropologist, New Series, vol. 100, no.3 (Sept. 1998). Siegeltuch, Mark. Review of Patterns That Connect in Gnosis, no. 45 (Fall 1997), pp. 70–71. Webber, Alika Podolinsky. "Ceremonial Robes of the Montagnais-Naskapi" in American Indian Art Magazine, Winter (1982), pp.60–77. Hinojosa, David Rettig. "Union Y Descendencia en Boca de Poterillos, Nuevo Leon: Elementos Graficos Transmitidos por el Hacer Rutinario," in Arte Rupestre del Noreste, edited by William Breen Murray. Fondo Editorial de Nuevo, Leon, Mexico, (2007) pp. 259–296. Messmer, Matthias. Jewish Wayfarers in Modern China: Tragedy and Splendor pp.135–136. Two pages on <mask>'s travels in China. The author's comments about the relationship of <mask>'s work to structuralism are not accurate. Article on <mask>'s Guggenheim grant for research in China. Article on <mask>'s research in the Solomon Islands. Pacific Islands Monthly, Vol. IX.No. 4 (Nov. 15, 1938). Click on picture above. Holmgren, Robert and Spertus, Anita. Early Indonesian Textiles from Three Island Cultures: Sumba, Toraja, Lampung,  Metropolitan Museum of Art, p. 62. Dallas Museum of Art. . Indonesian textile. See "Additional Information".Solheim, Wilhem G., "A Look at L'Art Prebouddhique de la Chine et de l'Asie du Sud-Est et Son Influence en Oceanie'' Forty Years After". pp. 177–179. Hamell, George. "Of Hockers, Diamonds and Hourglasses. Some Interpretations of Seneca Archeological Art." Paper delivered at the Iroquois Conference at Albany New York (1979).Available on Academia.edu. Archeology Related
 Gramly, Richard. “Abstract Stone Sculptures of Ancestors: Examples from Prehistoric North America.”
 Bostrom, Peter A.” Gault Site Engraved Stones.”
 Dennis C. Curry and Maureen Kavanagh. "A Carved Bone Figure". Deb Twigg. "Grid Stone Found at Spanish Hill". Excavations started in 1991 at the Blombos Cave site on the Southern coast of South Africa unearthed a 75,000-year-old piece of ocher engraved with hourglass figures, patterns that <mask> identified as basic units of a graphic system used to depict genealogical relations.If the dating is accurate, this would more than double the known age of this symbolism. Collections
 Field Museum, Chicago: Schuster Chinese Textile Collection
 NY Public Library: Chinese Prints collected by <mask>. A group of Chinese prints, including some important early Buddhist woodcuts and some 250 Chinese popular prints. Australian opossum skin cloak in the Smithsonian Museum

Schuster Archive
Museum der Kulturen
Münsterplatz 20
Entrance: Augustinergasse 8
4051 Basel, Switzerland. References

Cultural anthropologists
American art historians
1904 births
1969 deaths
Harvard University alumni
20th-century American historians
American male non-fiction writers
20th-century American male

masks:
Carl Schuster
Carl Schuster
Carl Schuster
Carl Schuster
Carl Schuster
Carl Schuster
Karl Schuster
Carl Schuster
Carl Schuster
Schuster
Schuster
Schuster
Schuster
Schuster
Carl Schuster


title: Otto von Stülpnagel

texts:
<mask> (16 June 1878 – 6 February 1948) was a German military commander of occupied France during the Second World War. Arrested by Allied authorities after the war, he committed suicide in prison in 1948. Career
<mask> was born on 16 June 1878 in Berlin. He was a member of the Stülpnagel family. He pursued a military career in keeping with his family's long tradition of military service. Commissioned in 1898 and accepted as a member of the Imperial General Staff, he received several decorations for distinguished service on the western front during World War I. Nominated for the Pour le Mérite, Stülpnagel survived personnel cuts mandated by the Treaty of Versailles.Dismayed by accusations of German atrocities, he published an angry defence of German military conduct in a popular book entitled Die Wahrheit über die deutschen Kriegsverbrechen (The Truth about German War Crimes) (1921). Promoted to the rank Generalleutnant (lieutenant general) in 1931, Stülpnagel played a leading role in the Reichswehr in conjunction with <mask> Schleicher and Erich Freiherr <mask> Bussche-Ippenburg during the Weimar era. Transferred to the fledgling Luftwaffe in 1934, Stülpnagel eventually took charge of the air force academy before falling from favour and retiring in March 1939. Days before the German invasion of Poland, Hitler recalled Stülpnagel to active service and placed him in charge of a military district in Austria (Wehrkreise XVII), and he held the latter post for fourteen months. Military Commander in France
On 25 October 1940, German army high command transferred  Stülpnagel to France and placed him in charge of a military government with the title of Militärbefehlshaber in Frankreich (MBF; "Military Commander in France"). Not without controversy, this last assignment defined Stülpnagel's career. Orders from Hitler placed the army and the MBF in charge of "security" but allowed other state and Nazi party agencies to exercise a degree of influence in Occupied France.The German ambassador in Paris, <mask>, first supervised and later controlled diplomatic relations between France and Germany, but that power amounted to little in practice. Hitler would not allow his ambassador to trade concessions for French cooperation, and formal negotiations between the Third Reich and Vichy France came to nought. With control of the flow of vital raw materials, food, and people across the demarcation line that separated occupied from unoccupied France, Stülpnagel could reward French cooperation by allowing people and goods to cross military checkpoints, or he could seal the borders and bring the French economy to a grinding halt. Control over both the demarcation line inside France and borders with Germany and Belgium gave the MBF considerable influence over German policy and French affairs. Thus Stülpnagel played a major role in Franco-German relations between October 1940 and January 1942. Determined to support the Nazi war effort by placing French industrial resources at the disposal of the German war economy, Stülpnagel discouraged all activities that did not advance the German war effort. The latter goal placed him at loggerheads with Nazi party stalwarts who viewed World War II as a struggle against Jews and their alleged Communist allies.Days after German troops occupied Paris, agents of the Reichsleiter Rosenberg Taskforce and German embassy staff began to confiscate the art collections of prominent French Jews. Upset by the apparent seizure of France's artistic patrimony, the French government complained to German diplomats and the MBF. Eager to maintain cordial relations with the Vichy regime, <mask> and his staff condemned the confiscations through a series of protests that eventually reached Hitler's desk, but to no avail. Hitler eventually exempted the Einsatzstab from military control and sanctioned the wholesale theft of Jewish art collections. Conflict with the SS followed a similar pattern. Forced to accept an advisory role at the start of the Occupation, the SS complained of the alleged danger of the so-called 'Jewish menace' and pressed MBF to launch an active campaign against "racial opponents" in France, but lacked the authority to act independently. After French Resistance groups shot Colonel Karl Friedrich Hotz in Nantes on 20 October and  in Bordeaux on 21 October 1941, Hitler ordered Stülpnagel to execute 100-150 French hostages for each attack.The MBF immediately condemned Hitler's policy through official channels, treated both attacks as a single incident, and shot a total of 98 hostages. Determined to preserve French cooperation, Stülpnagel condemned large-scale executions. In contrast, the SS demonstrated its enthusiasm for Hitler's war against the so-called Jewish conspiracy by bombing seven synagogues in Paris on the night of 2/3 October 1941. Embarrassed by the attacks, Stülpnagel complained to superiors in Berlin, but his repeated protests only reiterated tepid support for Nazi racial policy. Suspecting the MBF of Francophilia, Field Marshal Wilhelm Keitel, the head of Oberkommando der Wehrmacht (OKW; Armed Forces High Command) grew tired of Stülpnagel's complaints. On 2 February 1942, he directed the MBF to answer all acts of resistance with "sharp deterrents, including the execution of a large number of imprisoned Communists, Jews, or people who carried out previous attacks, and the arrest of at least 1,000 Jews or Communists for later evacuation." Stülpnagel, who had executed 95 hostages on 15 December 1941, refused to go any further in the implementation of the retaliation policy.He promptly submitted a bitter letter of resignation. Succeeded by his cousin Carl-<mask> Stülpnagel, Stülpnagel may have suffered a nervous breakdown. He spent the remainder of the war with his wife in Berlin. Imprisonment and death

Arrested by Allied authorities after Germany's surrender, Stülpnagel was moved to a French military prison. Charged with war crimes by French authorities, Stülpnagel committed suicide in Cherche-Midi Prison on 6 February 1948. He is buried in the Champigny-Saint-André German war cemetery. References
Secondary sources
 Walter Bargatzky, Hotel Majestic: Ein Deutscher im besetzten Frankreich (Freiburg: Verlag Herder, 1987, ).Thomas Laub, After the Fall: German Policy in Occupied France, 1940-1944 (Oxford: Oxford University Press, 2010). Allan Mitchell, Nazi Paris: The History of an Occupation (New York: Berghahn, 2008). François Marcot, Dictionnaire Historique de la Résistance (Paris: Robert Laffont, 2006). Archival sources
 BAMA, N 5 (Depot Stülpnagel)/26/11, 26–29;

Other sources
 <mask> <mask>, Die Wahrheit über die deutschen Kriegsverbrechen (Berlin: Staatspolitischer Verlag, 1921). 1878 births
1948 suicides
Generals of Aviators
German military governors of Paris
German untitled nobility
German military personnel who committed suicide
People indicted for war crimes
Military personnel from Berlin
People from the Province of Brandenburg
Suicides in France
German people who died in prison custody
People who committed suicide in prison custody
Prisoners who died in French detention
Prussian Army personnel
German military personnel of World War I
Lieutenant generals of the Reichswehr
German World War I pilots
Recipients of the Hanseatic Cross (Bremen)
Recipients of the Hanseatic Cross (Lübeck)
Generals of the German Army (Wehrmacht)
Generals of Infantry (Wehrmacht)
Burials at Champigny-Saint-André German war cemetery
Von Stülpnagel family
1948 deaths

masks:
Otto von Stülpnagel
Otto von Stülpnagel
Kurt von
von dem
Otto Abetz
Stülpnagel
Heinrich von
Otto von
Stülpnagel


title: DeNarius McGhee

texts:
<mask> (born June 12, 1991) is a former American football quarterback and current coach who is an offensive assistant for the Houston Texans of the National Football League (NFL). He played college football at Montana State University. Early years
An online feature on McGhee stated he was born in Mississippi, and for the first nine years of his life, he lived with his grandmother and aunt. Then he went to live with his mother for three years, and eventually moved down to Texas to live with his father. His father is a hero in McGhee's eyes since he worked for the sheriff department. McGhee's father was able to be there for him and help mold him to be the person he is today. McGhee attended Trinity Trojan High School in Euless, Texas.According to MSU Bobcats 2011 football roster, in his senior year he received All-District 5-5A and honorable mention, and he also led his team to the 5A Division 1 championship game. There, he earned MVP and the John Reddell Sportsmanship Award. In high school, he was not only an outstanding football player, but also participated in basketball, baseball, and track. College career

Freshman Year
In his freshman year, <mask> started as a redshirt. He played outstandingly his first year in college football and had one of the best seasons by a Bobcat quarterback. <mask> led the Bobcats to nine wins, the second highest in the school's history. He earned the Big Sky Offensive MVP and was voted the league's top newcomer, and was named National Freshman of the year by College Football Performance Awards and MSU's Sonny Holland Offensive MVP.He had the third-best season in the school's history and threw 3,163 yards. According to ESPN, in the “NCAA Division I-A Player Passing Statistics of 2011,” he would be in 29th right behind Russell Wilson of Wisconsin, who threw 3,175 yards. McGhee helped turn around the team and lowered the teams turnovers. In an article in the Billings Gazette, Greg Rachac said, “The Bobcats are off to their best start since 1978. And I believe McGhee is the reason for the renaissance.”
When McGhee was a freshman, Brian Wright said, “DeNarius would be the first to admit he had plenty of areas in which to improve.”   He knows he still has to grow, even though he had a superb and successful year as a quarterback for the Bobcats. Sophomore Year
McGhee improved as an athlete from his freshman year to his sophomore year. Eastern Washington University's defensive coordinator John Graham said, “Nothing seems to rattle him, and I think he’s maybe even staying in the pocket longer and not panicking and taking off running as much as he did as a freshman.”
The fall of his sophomore season, the team voted him one of the three captains.One of McGhee's best games of his sophomore season was against Portland State. His statistics were good; he completed 15 of his 22 passes, and had no turn overs. After that game against PSU, <mask> was awarded Big Sky Offensive Player of the Week. He was also in the running for the Walter Payton Award and was in the final 20, along with 9 other quarterbacks. <mask> led MSU to its first playoff win since 2006 when it beat New Hampshire 26–25 in Bozeman. <mask> ran for two touchdowns and threw for another as the Bobcats advanced to the FCS quarterfinals. Junior Year
<mask> had another solid campaign in 2012 as he again led the Bobcats to a Big Sky Conference title and helped advance the team to the quarterfinals of the NCAA FCS playoffs where they defeated Stony Brook 16–10 in the first playoff night game at Bobcat Stadium to advance to the quarterfinals of the FCS playoffs for the second straight season.<mask> attempted (436) and completed more passes (288) and at a higher completion percentage (66.0) than in his previous two seasons at MSU. He earned first team All-America by the American Football Coaches Association (AFCA), his second BSC Offensive Player of the Year award and was first team All-BSC at quarterback. He ran his record as MSU's starting quarterback to 30–8 to become the all-time leader in wins in MSU history. He needs just four more wins to become the winningest quarterback in Big Sky Conference history. In the spring, <mask> was initiated into the Pi Kappa Alpha fraternity, where he became a highly active member. Eventually, he would live at the fraternity his senior year and would assume high level leadership positions within the organization. Senior Year
<mask> suffered a separated shoulder on the last play of the second game of the season at Southern Methodist University.Playing near his hometown McGhee helped lead the Bobcats to a 22-5 first half lead and MSU still led 30–19 in the third quarter before SMU rallied and scored a touchdown with :12 seconds to play. MSU ran the hook-and-ladder for its last desperation attempt and <mask> completed a pass to Tanner Roderick, then got the ball back and was driven out of bounds landing on his right shoulder. <mask> returned to the field three weeks later, playing in 10 games. He finished the 2013 season completing 175 of 265 passes for 2087 yards and 8 touchdowns. He rushed for 248 yards in 83 attempts. Professional career
In October 2014, <mask> was signed to the practice roster of the Saskatchewan Roughriders of the Canadian Football League, but was cut later that month. Coaching career
Also in 2014, <mask> worked as a graduate assistant on the staff of the Florida Atlantic University college team.In 2015 and 2016, he was a graduate assistant for the North Carolina State University team. It was announced in December 2016 that <mask> would return to Montana State to serve as the Bobcats' quarterbacks coach. In 2018 he became the running backs coach. In January 2020, <mask> was hired by the Houston Texans as an offensive quality control coach. He was retained by the new coaching staff on March 10, 2021. References

1991 births
Living people
All-American college football players
American football quarterbacks
Montana State Bobcats football players
People from Euless, Texas
Players of American football from Texas
Montana State Bobcats football coaches
Houston Texans coaches

masks:
DeNarius Devon McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
DeNarius


title: Pat Eddery

texts:
<mask> (18 March 1952 – 10 November 2015) was an Irish flat racing jockey and horse trainer. He rode three winners of The Derby, and was Champion Jockey on eleven occasions. He rode the winners of 4,632 British flat races, a figure exceeded only by Sir Gordon Richards. Background

<mask> was born in Newbridge, County Kildare, less than 2 miles from the Curragh Racecourse, and his birth was registered in Dublin. He was the fifth child of <mask>, a jockey who rode Panaslipper to win the Irish Derby in 1955, and Josephine (the daughter of jockey Jack Moylan). His brother, Paul, also went on to become a jockey. He attended the Patrician Brothers' Primary School in Newbridge and when the family later moved to Blackrock, the Oatlands Primary School in Stillorgan.Riding career
Since early childhood, <mask>'s most frequent dreams were to be the champion jockey and winning the Derby. Eddery began his career as an apprentice jockey in Ireland with the stable of Seamus McGrath. In 1967 he moved to England where he was apprenticed to Frenchie Nicholson and recorded his first success on Alvaro at Epsom Downs Racecourse on 24 April 1969 after riding more than one whole season without a single winner. The same horse was to give Eddery 6 wins in succession during the 1969 season. While still riding as an apprentice he won the Wokingham Handicap and the Timeform Gold Cup in 1969, the Northumberland Plate in 1970 and the Goodwood Stakes in 1971, a year in which he won the title of Champion Apprentice Jockey. Before formally out of apprenticeship, Eddery won the Ascot Gold Cup in 1972 after the disqualification of Roc Roi. Nicknamed Polyfilla in his early career, <mask> was described as a seal in water on horseback in for a long swim.Throughout his riding career he clinched 11 championship titles, two batches coming in four consecutive seasons (1974–1977; 1988–1991). But for his joining the Vincent O'Brien stable in autumn 1980 that took him out of all main Saturday meetings in England, he would certainly have recorded more champion titles, though he did become the Irish Champion in 1982. His last champion title in 1996 was his determination to regain what he had lost when the English racing season switched over in the early 1990s to multi-purpose track racing starting in November, a time when Eddery was customarily riding for other overseas retainers since the early 1970s. Eddery's first championship title in 1974 saw the youngest English flat racing champion emerging after World War II, a record not since broken by subsequent champions. He was also first voted the Jockey of the Year in 1974 by the Horserace Writers' Association. He finished his retainer with Peter Walwyn in 1980 after two seasons of aquine virus acutely affecting the Walwyn stables. He then joined forces with the greatest racing conglomerate of that time – the Ballydoyle stables under Irish compatriot Vincent O'Brien.When in the mid-1980s the Arab owners began to dominate the British racing scene, Eddery was retained globally  by the owner of Juddmonte stables, Arab prince Khalid Abdullah, a position he held until 1994, after which he rode as freelance jockey until his retirement from the saddle at the end of 2003. Eddery's riding style was not elegant by normal standards, owing to his habit of bouncing up and down in the saddle as he urged his mounts on at the final finishes, but was undeniably effective. Frenchie Nicholson said that he regretted the fact that his protegee abandoned the "quiet, refined" style he had been taught but admitted that the young jockey stood out as being "in total harmony" with the horses he rode. Eddery rode for the Newmarket trainer Geoffrey Barling in 1972 before taking over as the stable jockey for Peter Walwyn later that year. For Walwyn he won his first two classic races on Polygamy and Grundy and was Champion Jockey in four consecutive seasons from 1974 to 1977. While under retainer with Walwyn, he clinched his first title at the record young age of 22. In 1975 he rode Grundy to victory over Bustino for the King George VI and Queen Elizabeth Diamond Stakes at Ascot Racecourse in what became known as Britain's "Race of the Century".Well known for riding champion horses like Sadler's Wells, Danehill (the grand sires on the sire and dam side of Frankel), etc., Eddery was also famed for riding for big owners as well as champion trainers. Apart from the later illustrious associations with Robert Sangster, Arab giant owners Prince Khalid bin Abdullah, Wafic Saïd and Maktoum al-Maktoum, he rode to winners in the then Colony of Hong Kong on the first ever race horse to be owned by tycoon Li Ka Shing, called 'Golden Victory' and trained by English trainer John Brown to whom Eddery rode for many seasons in winter in Hong Kong since 10 November 1973. In the following decade, Eddery became associated with the Irish Ballydoyle stable of Vincent O'Brien and gained further classic success on Kings Lake, Lomond, Golden Fleece, Assert and El Gran Senor. In 1986, on the choice of the horse's owner, he took over from Greville Starkey as the rider of Dancing Brave. He partnered Dancing Brave to victory in the King George VI and Queen Elizabeth Stakes and the Prix de l'Arc de Triomphe and became the worldwide retained jockey of the colt's owner, Khalid Abdullah. While the press played up in the course of years the controversy between Starkey and Eddery, Eddery had been most reticent and underplayed the apparent falling out. Major winners in the Abdullah colours included Zafonic, Quest for Fame, Warning and Toulon.He was Champion Jockey a further seven times in eleven years between 1986 and 1996. His epic battle for championship in 1987 with American Steve Cauthen was particularly intense, with Cauthen winning the title with 197 and Eddery coming close at 195, and but for an objection from the third horse after the last definitive race in which Eddery won against Cauthen making the Championship a tie, the title would have been a shared one. In the year 1988, Eddery completed 183 winners from 480 odd rides – which was a great strike rate, and regained the title. Eddery also rode several major winners outside Europe including Jupiter Island in the 1986 Japan Cup and Pebbles in the 1985 Breeders' Cup Turf In North America he also won the Arlington Million on Tolomeo, the Canadian International Stakes on French Glory and the Breeders' Cup Sprint on Sheikh Albadou. An active racing ambassador overseas since his early years, Eddery joined forces with Lester Piggott, Joe Mercer and French champion Freddie Head and Yves Saint-Martin in a group of riders to take part in a series of challenge races under the 'Ritz Club Challenge Trophy' at Singapore and other Asian cities starting in 1983 for several years. Eddery's overseas winners, tallying with his British winners, exceeded well over 6,000. In 1990 he was the winner of the inaugural Lester Award for Flat Jockey of the Year, which he again won in 1991 and 1996, sharing on the latter occasion with Frankie Dettori.He also received two Flat Jockey Special Recognition awards in 2002 and 2003. He retired from the saddle at the end of the 2003 flat season and stated that he had no intention of becoming a trainer. For the most part of his ultra-successful riding career, and spanning a quarter of a century, <mask>'s booking agent was his brother-in-law Terry Ellis, from the time Eddery was under retainer with Peter Walwyn until 1999 when he was riding as freelance. They parted ways after Eddery underwent a slipped-disc operation in 1999, with Ellis helping out the other riding members of the Eddery family. Eddery summed up his attitude to the sport by saying, "That's all part of the game, going to the Folkestones and the smaller tracks, because it's not Royal Ascot every day. You've got to be out there every day working those muscles, riding in every race if you want to be at your best. There may be more money for a Derby than a seller but that doesn't make you try any harder.A winner is a winner." In his autobiography, he admitted that his primary and sole motive as jockey was to ride winners, and any one saying that he does not wish to win is either a liar or a fool

Training career
Despite his earlier statements and on the suggestion of wife Carolyn, in July 2005, Eddery was granted a training licence and set up a stable of 40 horses at Musk Hill Stud in Nether Winchendon, near Aylesbury. His brother, <mask>, was Assistant Trainer and his Racing Manager was Simon Double who also co-founded Pat Eddery Racing, the racehorse syndication company which provided the opportunity for people to own shares in racehorses. Eddery's first runner as a trainer was Perez, who finished second in an all-weather maiden race at Wolverhampton in December 2005. His first training success was with the horse Visionist in a handicap race at Kempton Park in April 2006. His first winner on turf was the two-year-old filly Cavort in a maiden 6 furlong race at Goodwood. His trainer career culminated with Hearts Of Fire winning Italy's Group 1 Gran Criterium in 2009.He sent out his final runner in the week before his death. In 2005, he was awarded an honorary OBE, which he described as "a great honour". In 2012, he acted as a judge in the Godolphin Stud and Stable Staff Awards, giving up his free time generously in support of the industry he was so successful in. Family
One of the twelve living children of <mask> and Josephine Moylan, the other four of the five male siblings of <mask>y are horse-riders in one way or the other: Michael, Robert, Paul and David. His uncle Robert Moylan also rode successfully. <mask> married in November 1978 Carolyn, the daughter of flat jockey Manny Mercer, niece of jockey Joe Mercer, and granddaughter of jockey Harry Wragg. They had two daughters, Nichola and Natasha, and a son Harry.Eddery had another son, Toby Atkinson, who also became a jockey. The marriage broke down in 2008 and the couple formally divorced in 2009. Death
<mask> died on 10 November 2015, aged 63 at Stoke Mandeville Hospital due to a heart attack, but suffered a long battle with alcoholism. His funeral was held on 8 December 2015 and he was cremated at Oxford after the funeral, with his ashes to be scattered on his family compound according to his last wishes.

masks:
Patrick James John Eddery
Eddery
Jimmy Eddery
Pat Eddery
Pat
Pat Eddery
Paul Eddery
Jimmy Eddery
Pat Edder
Pat Eddery
Eddery