Uploaded November 2019 | Updated September 2026, 4 days ago
donnamariegentile.com
When Donna Gentile escaped from a home for delinquent girls and made her way to San Diego she had big dreams. She worked in security for a while and even dreamed of joining the police department. But things didn’t work out as she planned, and she found that the only way to survive was by turning to prostitution. Donna allowed herself to be befriended by several police officers thinking that this would afford her some protection in her dangerous life on the streets. Instead she was harassed and ultimately victimized by some of the same police to whom she had turned for help. But Donna was a fighter. Rather than taking the abuse, which included sexual harassment, she reported it to the San Diego Police Department. She testified against two officers, one of whom lost his job on account of her testimony. Her life became further complicated when the Internal Affairs Division exploited and coerced her into becoming a police corruption informant .
Donna was scared. She left a voice recording with her attorney beginning with the words, “In case I disappear,” and going on to state that “someone wearing a badge may turn out to be a serious criminal.”
In March 1985 while she was serving a sentence in Las Colinas jail the 22-year-old Philadelphia native wrote “My life is in danger when I get out.” Then three months later her brutally murdered body turned up on Mt. Laguna in the rural part of San Diego county. Gravel was stuffed in her mouth, something the mob does when it wants to warn others against being a “snitch.” Donna’s autopsy was sealed – the first and only autopsy ever to be sealed in the city of San Diego.
Someone wanted to silence Donna. But who? “The Donna Gentile Story,” written by Donna’s first cousin Anita DeFrancesco, lets you decide, and it gives voice to future runaways forced to survive on the streets as sex workers. It shows how Donna Gentile was a trailblazer who carved a path for women by not remaining silent in the face of harassment and abuse. In this way she was an early pioneer of the “Me Too” movement which, at long last, is telling women that not only can they speak out, but that they can also act.
This high profile story exploded in the media and was nationally televised. Artists unveiled a billboard with the logo NHI, “No Humans Involved,” bearing Donna’s picture and facing toward the SDPD headquarters. We believe her murder was a “cover-up,” perhaps of police incompetence, or perhaps of something much more sinister.
No one should be both a criminal and a victim! Read the story behind Donna Marie Gentile’s murder as told by her first cousin, author, sex and relationship counselor, teacher and activist Anita DeFrancesco.
donnamariegentile.com
When Donna Gentile escaped from a home for delinquent girls and made her way to San Diego she had big dreams. She worked in security for a while and even dreamed of joining the police department. But things didn’t work out as she planned, and she found that the only way to survive was by turning to prostitution. Donna allowed herself to be befriended by several police officers thinking that this would afford her some protection in her dangerous life on the streets. Instead she was harassed and ultimately victimized by some of the same police to whom she had turned for help. But Donna was a fighter. Rather than taking the abuse, which included sexual harassment, she reported it to the San Diego Police Department. She testified against two officers, one of whom lost his job on account of her testimony. Her life became further complicated when the Internal Affairs Division exploited and coerced her into becoming a police corruption informant .
Donna was scared. She left a voice recording with her attorney beginning with the words, “In case I disappear,” and going on to state that “someone wearing a badge may turn out to be a serious criminal.”
In March 1985 while she was serving a sentence in Las Colinas jail the 22-year-old Philadelphia native wrote “My life is in danger when I get out.” Then three months later her brutally murdered body turned up on Mt. Laguna in the rural part of San Diego county. Gravel was stuffed in her mouth, something the mob does when it wants to warn others against being a “snitch.” Donna’s autopsy was sealed – the first and only autopsy ever to be sealed in the city of San Diego.
Someone wanted to silence Donna. But who? “The Donna Gentile Story,” written by Donna’s first cousin Anita DeFrancesco, lets you decide, and it gives voice to future runaways forced to survive on the streets as sex workers. It shows how Donna Gentile was a trailblazer who carved a path for women by not remaining silent in the face of harassment and abuse. In this way she was an early pioneer of the “Me Too” movement which, at long last, is telling women that not only can they speak out, but that they can also act.
This high profile story exploded in the media and was nationally televised. Artists unveiled a billboard with the logo NHI, “No Humans Involved,” bearing Donna’s picture and facing toward the SDPD headquarters. We believe her murder was a “cover-up,” perhaps of police incompetence, or perhaps of something much more sinister.
No one should be both a criminal and a victim! Read the story behind Donna Marie Gentile’s murder as told by her first cousin, author, sex and relationship counselor, teacher and activist Anita DeFrancesco.


![Villa-Lobos, String Quartet No. 5 (1931), ii. Vivo e energico, Lento, Tempo Primo
I love to write quartets. One would say that it is a mania. Heitor Villa-Lobos made this confession, quoted by Pierre Vidal, in Paris in the spring of 1958. He had completed his seventeenth and final quartet the year before and had begun to sketch an eighteenth. Villa-Lobos attributed his knowledge of the string quartet to his study of Haydn.
The period from 1917 to 1931 saw the creation of major orchestral works, among them Uirapu, Amazonas and the six orchestral Choros. Much of that time was spent in Paris, where Villa-Lobos came in contact with Ravel, Dukas, Falla, Schmitt, Honegger, Stravinsky, Prokofieff, Casella and Varèse. His return to the string quartet in 1931 produced one isolated example, the fifth, or Quartetto Popular No. 1, among the most immediately appealling of all Villa-Loboss quartets and at the same time one of the most inventive. Its firm tonal sense and clearly drawn melodies, some of popular origin, coexist with extraordinary creativity and imagination. Departing from the composers usual and simpler tenary pattern, the quartets first movement consists of seven parts, arranged to suggest an overall tripartite structure. The second movement (presented in this installment) borders on the miraculous [we agree]. To begin, it quotes the first part of a nursery tune, cai, cai baiao, in dazzling fashion with descending scales and polyrhythms. Modulation from F major to d minor brings a soulful melody (foreshadowed in the first movement right after the modinha), while fantastic sul ponticello effects and swirling figurations screate an air or profound mystery.
The Danubius Quartet was established in 1983 under the artistic direction of the distinguished violinst Vilmos Tatrai, and has won awards in Trapani, Evian and Graz. Villa-Lobos, String Quartet No. 5 (1931), ii. Vivo e energico, Lento, Tempo Primo](https://i.ytimg.com/vi/LsKZ4-0IyTk/mqdefault.jpg)





![Ernst Krenek, Drei Lieder op. 216
In the fall of 1972 Krenek wrote three Songs for Soprano and Piano op. 216, with lyrics by the Tylroean poet Lilly von Sauter. Krenek gently and discretely translates her images into flexible, transparent sound. The second poem (whose interior rhymes resemble the verses on peasant calendars) and the third text (with its explanatio of the nights astronomy) find their equivlent in the musics relaxed, clear part writing that nevertheless owes its simplicity to the multi-layered calculation. Due to the seemingly fleeting, but actually very elaborate mosaic-like way of composing, the vaguely remembered sounds of coherent motives dervied from tonal triades and dense twelve-tone figures never seem to take too much effort. Their search for the inexpressible is expressed insound at the threshhold of silence that circles through fields of silence.
Krenek was born in Vienna as the son of a Czech soldier in the Austro-Hungarian army. Throughout his life, however, he insisted that his name be written Krenek rather than his fathers Křenek, and that it should be pronounced as a German word. He studied there and in Berlin with Franz Schreker before working in a number of German opera houses as conductor. During World War I, Krenek was drafted into the Austrian army, but he was stationed in Vienna, allowing him to go on with his musical studies. In 1922 he met Alma Mahler, wife of the late Gustav Mahler, and her daughter, Anna, whom he married in March 1924. That marriage ended in divorce before its first anniversary.
At the time of his marriage to Anna Mahler, Krenek was completing his Violin Concerto No. 1, Op. 29. The Australian violinist Alma Moodie assisted Krenek, not with the scoring of the violin part, but with getting financial assistance from her Swiss patron Werner Reinhart at a time when there was hyper-inflation in Germany. In gratitude, Krenek dedicated the concerto to Moodie, and she premiered it on 5 January 1925, in Dessau. Kreneks divorce from Anna Mahler became final a few days after the premiere. Krenek did not attend the premiere, but he did have an affair with Moodie, which has been described as short-lived and complicated. He never managed to hear her play the concerto, but he did immortalize some aspects of her personality in the character of Anita in his opera Jonny spielt auf. In 1924, Krenek also dedicated his Sonata for Solo Violin, Op. 33 to Alma Moodie, and his Kleine Suite, Op. 28 (1924) to Reinhart.
His journalism was banned and his music was targeted in Germany by the Nazi Party beginning in 1933. On March 6, one day after elections in which the Nazis gained control of the Reichstag, Kreneks incidental music to Goethes Triumph der Empfindsamkeit was withdrawn in Mannheim, and eventually pressure was brought to bear on the Vienna State Opera, which cancelled the commissioned premiere of Karl V. The jazz imitations of Jonny spielt auf were included in the 1938 Degenerate art exhibition in Munich. Nonetheless, despite protests by conservatives and the fledgling Nazi party, that work was a great success in Kreneks lifetime, playing all over Europe and becoming so popular that even a brand of cigarettes, still on the market today in Austria, was named Jonny.
In 1938 Krenek moved to the United States of America, where he taught music at various universities, the first being Bassar College. He later taught at other institutions including Hamline University in Saint Paul, Minnesota from 1942-1947. There he met and married his third wife, his student and composer Gladys Nordenstrom. He became an American citizen in 1945. He later moved to Toronto, Canada where he taught at The Royal Conservatory of Music during the 1950s. His students included Milton Barnes, Lorne Betts, Samuel Dolin, Robert Erickson, Halim El-Dabh, Richard Maxfield, Will Ogdon, and George Perle. He died in Palm Springs, California. In 1998 Gladys Nordenstrom founded the Ernst Krenek Institute and in 2004 the private foundation Krems die Ernst Krenek in Vienna, Austria.
Krenek abandoned the neoromantic style in the late 1920s to embrace Arnold Schoenbergs twelve-tone technique,[8] the method exclusively employed in Kreneks opera Karl V (1931 33) and most of his later pieces. His most uncompromising use of the twelve-tone technique was in his Sixth String Quartet (1936) and his Piano Variations (1937). In the Lamentatio Jeremiae prophetae (1941 42) Krenek combined twelve-tone writing with techniques of modal counterpoint of the Middle Ages. Ernst Krenek, Drei Lieder op. 216](https://i.ytimg.com/vi/Mq4xAbU3Kio/mqdefault.jpg)

