IN: William Henry "Lone Star" Dietz (August 17, 1884 - July 20, 1964) was an American football player and coach. He served as the head football coach at Washington State University (1915-1917), Purdue University (1921), Louisiana Tech University (1922-1923), University of Wyoming (1924-1926), Haskell Institute--now Haskell Indian Nations University (1929-1932), and Albright College (1937-1942). From 1933 to 1934, Dietz was the head coach of the National Football League's Boston Redskins, where he tallied a mark of 11-11-2. He was inducted into the College Football Hall of Fame as a coach in 2012.

Dietz's Indian heritage was first contested in 1916 after former neighbors who settled on the Pacific Coast heard he was posing as an Indian. In December 1918 the Federal Bureau of Investigation looked into his heritage after he fraudulently registered for the draft as a "Non-Citizen Indian" with an allotment. The Bureau found he had taken on the identity of James One Star, an Oglala man of the Pine Ridge Indian Reservation 12 years his senior who had disappeared in Cuba in 1894. Dietz also claimed he was the head of an American film company that produced propaganda films for the war.  Dietz divorced De Cora in November 1918, charging her with abandonment. It is not clear how much she knew about his true identity. She died six days after his indictment.  Dietz was tried in Spokane, Washington in June 1919 for the first offense. One Star's sister, Sallie Eaglehorse, testified after seeing him for the first time at the trial that Dietz was definitely not her brother. Still, the judge instructed the jury to determine whether Dietz "believed" he was an Indian, not whether it was true. Despite that others had witnessed his birth in the summer of 1884 or had seen him the following day, Dietz's mother Leanna claimed he was the Indian son of her husband who had been switched a week or more after she had a stillbirth. Dietz's acting ability along with his mother's fallacious testimony (to protect him from prison) resulted in a hung jury, but Dietz was immediately re-indicted. The second trial resulted in a sentence of 30 days in the Spokane County Jail after he pleaded "no contest".
QUESTION: Where was the trial for his fraud held?
IN: La Monte Thornton Young (born October 14, 1935) is an American avant-garde composer, musician, and artist generally recognized as the first minimalist composer. His works are cited as prominent examples of post-war experimental and contemporary music, and were tied to New York's downtown music and Fluxus art scenes. Initially inspired by sources such as Indian classical music, serialism, and jazz, Young is perhaps best known for his pioneering work in Western drone music (originally referred to as "dream music"), prominently explored in the 1960s with the experimental music collective the Theatre of Eternal Music. He has engaged in musical and multimedia collaborations with a wide range of artists, including Tony Conrad, Pandit Pran Nath, John Cale, Terry Riley, and visual artist Marian Zazeela, with whom he developed the Dream House sound and light installation.

Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds--human-made as well as natural--fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern.  Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music.  La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Bela Bartok, Igor Stravinsky, Perotin, Leonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern.  Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject:  These tools can be used to your advantage if you're a master of [them]... If used wisely - the correct tool for the correct job - they can play an important role... It allows you to go within yourself and focus on certain frequency relationships and memory relationships in a very, very interesting way.
QUESTION:
Are there any other interesting aspects about this article?