text:
Atlantic City Expressway

The Atlantic City Expressway, officially numbered, but unsigned, as Route 446 and abbreviated A.C. Expressway, ACE, or ACX, and known locally as the Expressway, is a 44.19 mi controlled-access toll road in the U.S. state of New Jersey, managed and operated by the South Jersey Transportation Authority (SJTA). It serves as an extension of the freeway part of Route 42 from Turnersville (which is itself an extension of Interstate 76) southeast to Atlantic City. The Atlantic City Expressway is signed as east-west, though the mileage and exits decrease as if one is travelling north-south. It connects Philadelphia and the surrounding Delaware Valley metropolitan area with Atlantic City and other Jersey Shore resorts, and also serves other South Jersey communities, including Hammonton and Mays Landing. The expressway intersects many major roads, including Route 73 in Winslow Township, Route 54 in Hammonton, Route 50 in Hamilton Township, the Garden State Parkway in Egg Harbor Township, U.S. Route 9 (US 9) in Pleasantville, and the Atlantic City–Brigantine Connector near the eastern terminus in Atlantic City.

The Atlantic City Expressway uses a barrier toll system, with two mainline toll plazas (Egg Harbor in Hamilton Township and Pleasantville) and ramp tolls at seven interchanges. Tolls can be paid using cash or the E-ZPass electronic toll collection system. The total cost to travel the length of the Atlantic City Expressway for passenger vehicles is currently $5.90. The expressway features one service plaza, the Frank S. Farley Service Plaza, in Hamilton Township a short distance west of the Egg Harbor Toll Plaza, as well as a gas station and mini-mart in Pleasantville.

Plans for the highway began in the 1930s when a parkway was proposed between Camden and Atlantic City that was never built. Plans resurfaced for the road in the 1950s when a group of officials led by State Senator Frank S. Farley pushed for a road to help the area economy. The New Jersey Expressway Authority was created in 1962, tasked with building an expressway. The Atlantic City Expressway was built between 1962 and 1965 at a total cost of $48.2 million. The SJTA assumed control of the road in 1991 from the New Jersey Expressway Authority.

Route description
The Atlantic City Expressway begins at an interchange with Route 42 in Turnersville in Washington Township, Gloucester County, where the freeway right-of-way continues north as the North–South Freeway, a part of Route 42. Here, Route 42 continues south on the Black Horse Pike and Route 168 continues north on the Black Horse Pike. A westbound exit provides a connection to CR 705 and northbound Route 168. The expressway then heads southeast as a four-lane road, straddling between Washington Township and Gloucester Township, Camden County. On the border between Gloucester Township and Winslow Township, the Atlantic City Expressway features a diamond interchange with County Route 689 (CR 689). Past this interchange, there is a diamond interchange with CR 536 Spur. The expressway passes under CR 536 and then features a partial interchange with CR 723, with an eastbound exit and a westbound entrance. It then meets Route 73 at another partial interchange, with a westbound exit and an eastbound entrance, where the roadway widens to six lanes. Past this interchange, the highway passes over the Southern Railroad of New Jersey's Southern Running Track line.

The expressway crosses into the town of Hammonton in Atlantic County. Continuing to the southeast, it passes over the Beesleys Point Secondary railroad line operated by the Cape May Seashore Lines railroad before it encounters Route 54 at a partial cloverleaf interchange. It then enters Hamilton Township and passes under CR 559. The lanes of the Atlantic City Expressway in both directions split for the Frank S. Farley Service Plaza, which is located in the median of the expressway and accessible from both directions. Named for New Jersey State Senator Frank S. Farley and run by Applegreen, it has a building containing multiple fast-food restaurants, a Sunoco gas station, a mini-mart and gift shop with New Jersey Lottery sales, a seasonal farm market, an ATM, tourist information, and an electric vehicle charging station. The service plaza is also the site of the SJTA administrative offices and a New Jersey State Police barracks. Past the service plaza, the Atlantic City Expressway meets the mainline Egg Harbor Toll Plaza. It then features a partial cloverleaf interchange with Route 50, with the westbound exit and eastbound entrance being E-ZPass only. It meets CR 670, with another partial interchange featuring an eastbound off-ramp and a westbound on-ramp. Next, it has an eastbound exit and westbound entrance for CR 575, which provides access to US 40/US 322 and the Hamilton Mall near Mays Landing. To and from the east, a ramp runs from the Atlantic City Expressway to the US 40/US 322 split.

The expressway then enters Egg Harbor Township. It has an interchange with CR 646, which provides access to the Atlantic City International Airport, and passes under CR 563. It then features a cloverleaf interchange with the Garden State Parkway and crosses into the city of Pleasantville. In Pleasantville, the expressway meets US 9 at a diamond interchange. It passes under CR 585 and features a partial interchange with North Franklin Boulevard, with a westbound exit and eastbound entrance.

The expressway then continues to the Pleasantville Toll Plaza. Past the toll plaza, the travel lanes separate and a park and ride lot, used by Atlantic City casino employees, lies within the median of the expressway. It then encounters the former Atlantic City Visitor Welcome Center and a Sunoco gas station/7-Eleven mini-mart in the median before it enters the city of Atlantic City. Upon entering Atlantic City, the expressway passes under the Southern Railroad of New Jersey's Pleasantville Industrial Track line and features an eastbound exit and westbound entrance with US 40/US 322. It then continues southeast, crossing the Beach Thorofare, and soon after encounters an eastbound exit and westbound entrance for the Atlantic City–Brigantine Connector, which provides access to the Atlantic City Convention Center, the Marina district, and the city of Brigantine. The Atlantic City Expressway ends at a traffic light at the intersection with Baltic Avenue/Fairmount Avenue near Tanger Outlets The Walk, where the road becomes the one-way pair of Missouri Avenue eastbound (also known as Christopher Columbus Boulevard and CR 692 ) and Arkansas Avenue westbound (CR 694).

In 2019, the Atlantic City Expressway counted over 54 million toll-paying vehicles. The speed limit on the Atlantic City Expressway is 65 mi/h for most of the route. The Emergency Services Patrol provides motorist assistance along the expressway. Motorists needing assistance can dial #ACE or 609-965-7200 on their mobile phones. The entire length of the highway is part of the National Highway System, a network of roads important to the country's economy, defense, and mobility.

Tolls
The Atlantic City Expressway uses a barrier toll system, with mainline toll plazas and ramp tolls. As of January 1, 2024, all passenger vehicles currently must pay a $4.70 toll at the Egg Harbor Toll Plaza, which is located east of the Farley Service Plaza at milepost 17.5, and a $1.40 toll near Pleasantville. Both mainline toll plazas have Express E-ZPass lanes through the center of the plaza. Tolls are also collected at seven entrances and exits. A $1.40 toll for cars is charged at the eastbound exits and westbound entrances at exits 5, 28, and 33, the westbound exit and eastbound entrance at exit 12, and all ramps at exit 9; in addition, a $0.75 toll for cars is charged at the eastbound exits and westbound entrances at exits 38 and 41.

Every year since 2013, with the exception of 2020 and 2021, eastbound tolls are waived at the Egg Harbor Toll Plaza for one hour in the late afternoon on the Friday before Memorial Day to promote the unofficial beginning of the summer tourist season at the Jersey Shore. Chickie's & Pete's, a local sports bar chain, pays for the tolls collected during this hour. In October 2014, eastbound tolls were waived at the Egg Harbor and Pleasantville toll plazas on Tuesdays between noon and midnight to encourage midweek tourism to Atlantic City.

History
The road was planned as a parkway in 1932, running from the Benjamin Franklin Bridge in Camden southeast to Atlantic City, but it never materialized. The idea for a limited-access road between the Philadelphia area and Atlantic City resurfaced in the 1950s when South Jersey officials, led by State Senator Frank S. Farley, pushed for an expressway between the two areas to help the economy of Southern New Jersey. The New Jersey State Highway Department authorized traffic studies for a toll road between Turnersville and Atlantic City in 1958 and 1959, and the New Jersey Expressway Authority Act in 1962 called for a five-member agency (the New Jersey Expressway Authority) with representatives from four Southern New Jersey counties to be responsible for issuing bonds to build and maintain the Atlantic City Expressway.

Construction of the Atlantic City Expressway started in the middle of 1962. The design was to feature a 300- to 400-foot-wide roadway with 12-foot-wide travel lanes and right shoulders as well as 3-foot-wide left shoulders. The part between Route 42 in Turnersville and the Garden State Parkway in Egg Harbor Township was completed on July 31, 1964, and the part between the Garden State Parkway and Atlantic City was finished in July 1965. Construction of the Atlantic City Expressway cost a total of $48.2 million. With the completion of the road, it was anticipated that it would increase tourism to Atlantic City. However, the opening of the expressway did not initially increase tourism to Atlantic City, and toll projections were below expectations. The opening of the Atlantic City Expressway, along with the connecting Garden State Parkway, provided a shorter route to Jersey Shore resort towns in Cape May County and Long Beach Island; travel times to Cape May County were reduced by 30 to 45 minutes. Prior to the completion of the expressway, traffic had to use Black Horse Pike or White Horse Pike to reach the Jersey Shore. With the legalization of casino gambling in Atlantic City in 1978, traffic along the Atlantic City Expressway increased. The construction of the expressway also led to development near the interchange serving Mays Landing, including the Hamilton Mall.

Tolls on the Atlantic City Expressway initially cost $0.75 at the Egg Harbor Toll Plaza and $0.15 at the Pleasantville Toll Plaza. In 1969, tolls increased to $1.00 at the Egg Harbor Toll Plaza and to $0.25 at the Pleasantville Toll Plaza. In 1991, the SJTA was created by the New Jersey Legislature to operate the Atlantic City Expressway, the Atlantic City International Airport, and operations of the Atlantic County Transportation Authority. On November 11, 1998, the Atlantic City Expressway started accepting E-ZPass for the payment of tolls; the expressway was the first toll road in New Jersey to use the electronic toll collection system. Tolls along the expressway increased on November 30, 1998, in order to fund a capital improvements plan, with the Egg Harbor Toll Plaza increasing to $2.00.

In 2000, the Atlantic City Visitor Welcome Center opened in the median of the expressway near Atlantic City. Construction of the welcome center cost $3.5 million. The welcome center offered amenities including tourist information, T-shirts, restrooms, and E-ZPass sales. The Atlantic City Visitor Welcome Center closed on May 1, 2019, due to a lack of visitors.

Many improvements have been made to the Atlantic City Expressway over the years. In the 1980s, a third eastbound lane was added between the Route 73 interchange and the Pleasantville Toll Plaza, while the number of lanes was increased at both the Egg Harbor and Pleasantville toll plazas. A new interchange with CR 689 on the border of Gloucester Township and Winslow Township was completed in 2000 for $5 million. The completion of this interchange led to the increase of adjacent retail development. The Atlantic City–Brigantine Connector was completed on July 31, 2001, to connect the Atlantic City Expressway to the Marina district and Brigantine. Traffic along the expressway peaked in 2008 with over 66.9 million vehicles; however, traffic volumes started to decline as Atlantic City was affected by the Great Recession and increased competition following the legalization of casino gambling in Pennsylvania. Tolls along the Atlantic City Expressway increased in 2009, with the Egg Harbor Toll Plaza toll increasing to $3.00.

On November 21, 2008, work began on the reconstruction of Interchange 17, with completion on June 18, 2010. As a result of reconstructing this interchange, the SJTA approved raising the interchange toll to $3.00. This new rate is charged to motorists heading to or from the east along the Atlantic City Expressway at Route 50. The proposal drew opposition from area officials who felt the proposed rate was too high. The westbound exit and eastbound entrance at Interchange 17 were designed to be E-ZPass only, the first such interchange on the Atlantic City Expressway.

In 2007, it was announced that the Atlantic City Expressway from milepost 7.0–31.0 would be widened in the westbound direction to accommodate a third lane from north of the Garden State Parkway to Route 73. Interchange 17 (Route 50) would be reconstructed to form a full movement interchange (completed June 18, 2010), and the Egg Harbor Toll Plaza would receive Express E-ZPass lanes to allow traffic to maintain highway speed. Construction on these three projects was financed by a $25 million bond. The first phase was completed in the middle of 2010 and the Express E-ZPass was completed in May 2011.

The work under the widening project also included improvements to bridges, lighting, and guide signs. Also, intelligent transportation system (ITS) technology, such as traffic cameras and variable-message signs, were added to the Atlantic City Expressway to enhance safety and aid in monitoring traffic. The first phase widened the road from the Garden State Parkway to the Egg Harbor Toll Plaza. The second phase widened the road from the Egg Harbor Toll Plaza to milepost 24.5. The third phase widened the road west to Route 73. The ITS components were installed along these sections of the roadway through the course of each phase. The widening work was completed in May 2014 and the third lane opened in its entirety by Memorial Day 2014. The fourth phase added ITS technology to the parts of the road that are not being widened.

On March 24, 2020, the SJTA suspended cash tolls along the Atlantic City Expressway due to the COVID-19 pandemic, with all tolls collected either electronically or by using coins in exact change lanes. Collection of cash tolls along the expressway resumed on May 19, 2020. On September 13, 2020, tolls at the Egg Harbor Toll Plaza increased from $3.00 to $4.25 and the $0.75 tolls at the Pleasantville Toll Plaza and several interchanges increased to $1.25. On January 1, 2022, tolls along the Atlantic City Expressway increased 3 percent, with the Egg Harbor Toll Plaza increasing to $4.40 and the Pleasantville Toll Plaza and several interchanges increasing to $1.30. Another toll hike occurred on January 1, 2023, which increased tolls to $4.55 at the Egg Harbor Toll Plaza and to $1.35 at the Pleasantville Toll Plaza and several interchanges. On January 1, 2024, tolls increased to $4.70 at the Egg Harbor Toll Plaza and to $1.40 at the Pleasantville Toll Plaza and several interchanges.

Future
The SJTA revealed plans for a major road improvement project that would link the Atlantic City International Airport to the Atlantic City Expressway, with construction beginning as early as 2013. The plan includes new ramps with two overpasses over the expressway. The road would connect Amelia Earhart Boulevard with an overpass above Airport Circle. Plans also call for building a service road with another overpass that would provide access to Delilah Road. Another project involves the installation of an overpass at the end of Amelia Earhart Boulevard next to the entrance to the FAA tech center. The proposed roadway would intrude upon a small section of a mobile home park and land owned by Egg Harbor Township. In 2020, the interchange's cost was projected at $60 million.

The 2019 Statewide Transportation Improvement Plan included a project that would add a flyover ramp from the Garden State Parkway northbound to the Atlantic City Expressway westbound. Construction was estimated to cost $20 million.

In April 2020, as part of a plan to raise tolls by 37% on the Atlantic City Expressway, the SJTA announced a $150 million plan to widen the expressway to three lanes in each direction from Exit 31 to the western terminus with Route 42. The project would also replace the current tolling system with an all-electronic tolling system using E-ZPass or toll-by-plate, a tolling system which mails an invoice to license plates without E-ZPass. In 2022, a request for bids was issued to implement all-electronic tolling along the Atlantic City Expressway, which would serve as a pilot program for all-electronic tolling on toll roads in New Jersey. Groundbreaking for the all-electronic toll system took place on October 30, 2023. The system is planned to be implemented along the roadway by May 2025. The widening of the Atlantic City Expressway to six lanes between Exit 31 and the western terminus, which will build new bridges and reconstruct the interchange with Route 42, is expected to begin in 2024 with completion in 2025.

Exit list
Mileposts run from east to west.

title: Atlantic City Expressway


text:
Heartbreaker (Ryan Adams album)

Heartbreaker is the debut solo studio album by American singer-songwriter Ryan Adams, released September 5, 2000, by Bloodshot Records. The album was recorded over fourteen days at Woodland Studios in Nashville, Tennessee. It was nominated for the 2001 Shortlist Music Prize. The album is said to be inspired by Adams' break-up with music industry publicist Amy Lombardi.

According to Adams, the album's title originates from a poster of Mariah Carey: "My manager called and said, 'You have 15 seconds to name this record,' "My eyes focused on this poster of Mariah wearing a T-shirt that said HEARTBREAKER. I just shouted, 'Heartbreaker!'"

A Deluxe Edition, featuring bonus recording session takes and pre-album demos, was released on May 6, 2016 on PAX-AM records.

Critical reception
Heartbreaker was considered by critics to be a fresh start for Ryan Adams after the demise of his previous band Whiskeytown. AllMusic's Mark Derning wrote that the album "is loose, open, and heartfelt in a way Whiskeytown's admittedly fine albums never were, and makes as strong a case for Adams' gifts as anything his band ever released", concluding that "the strength of the material and the performances suggest Adams is finally gaining some much-needed maturity, and his music is all the better for it." The A.V. Club's Keith Phipps wrote: "Adams has recorded an intimate, largely quiet record that indisputably establishes his identity as an independent singer-songwriter". Pitchfork's Steven Byrd called it "an album of astonishing musical proficiency, complete honesty and severe beauty." Rolling Stone's Anthony DeCurtis was less enthusiastic, stating that Adams' songs "too often fail to rise above their plain-spoken details to take on the symbolic power he yearns for". Robert Christgau of The Village Voice selected "To Be Young (Is to Be Sad, Is to Be High)" as a "choice cut", indicating a "good song on an album that isn't worth your time or money."

The album was included in the book 1001 Albums You Must Hear Before You Die and was placed at #23 on Paste Magazine's "The 50 Best Albums of the Decade" list.

Track listing

 * $undefined$ A brief recording of Adams and Rawlings arguing about which album the track "Suedehead" appears on.

Musicians

 * Ryan Adams - vocals, acoustic guitar, electric guitar, harmonica, piano, banjo
 * Ethan Johns - drums, bass, Chamberlain, glockenspiel, B-3, vibes
 * David Rawlings - backing vocals, acoustic guitar, electric guitar, banjo, tambourine
 * Gillian Welch - backing vocals, banjo, acoustic guitar, electric bass, "voice of Lucy"
 * Pat Sansone - piano (5, 9, 11), Chamberlin and organ (6), backing vocals (2)
 * Emmylou Harris - backing vocals (5)
 * Kim Richey - backing vocals (9)
 * Allison Pierce - backing vocals (11)

Production

 * Ethan Johns – producer, engineer, mixer
 * Patrick Himes – assistant engineer
 * Doug Sax – mastering
 * David McClister – photography
 * Gina Binkley – design

Other information
"Shakedown on 9th Street" was covered on the Red Dirt band No Justice's Live at Billy Bob's album in 2007.

"Oh My Sweet Carolina" has been covered at least twice. The song can be heard on the deluxe edition of Zac Brown Band's 2010 album You Get What You Give, as well as on the 2008 Portastatic release Some Small History. Contestant Paul McDonald sang "Come Pick Me Up" on American Idol.

English DJ Mark Ronson remixed the song "Amy" for his 2007 album Version, of which singer Kenna provides vocals. The song "To Be Young (Is To Be Sad, Is To Be High)" is featured in the 2006 film Accepted, the 2002 film The Slaughter Rule, and the 2003 film Old School. A version of this song was also released in 2009 by David Rawlings on the Dave Rawlings Machine album A Friend of a Friend. "Come Pick Me Up" is featured in the film Elizabethtown (which also featured two other Ryan Adams songs) and in a Series 2 episode of Skins. It was also named #285 on Pitchfork Media's "Top 500 songs of the 2000s". Joan Baez would cover "In My Time of Need" in 2003.

Elton John has famously credited the Heartbreaker album as helping to regenerate his career and in 2002 he performed songs from it with Ryan Adams and did a joint interview with him where he thanked Ryan.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Heartbreaker (Ryan Adams album)


text:
Gold (Ryan Adams album)

Gold is the second studio album by American musician Ryan Adams. It was released September 25, 2001, by Lost Highway Records. The album remains Adams' best-selling album, certifying gold in the UK and going on to sell 364,000 copies in the U.S. and 812,000 worldwide. Adams noted that "with Gold, I was trying to prove something to myself. I wanted to invent a modern classic."

Adams intended for the album to be a double album, but his record label, Lost Highway, condensed the album into a single disc. According to Adams, the label "took the last five songs, made it a bonus disc and put it on the first hundred and fifty thousand copies. Fucking my fans over and making them pay extra for a record I wanted to be a double album. They counted that as one record." This bonus disc is known as Side Four; the disc's title reflects the fact that the bonus material makes up the fourth side of the double LP edition of the album.

The album includes "When the Stars Go Blue", which has been covered by artists such as The Corrs and Bono, Tyler Hilton, Bethany Joy Galeotti, Tim McGraw and as a duo by Kurt Nilsen featuring Venke Knutson. "New York, New York" became a notable MTV and VH1 favorite following the September 11 attacks. "The Rescue Blues" was featured in the end credits of the 2001 film Behind Enemy Lines.

Adams' friend and former roommate Adam Duritz (lead singer of Counting Crows) lends background vocals to several tracks.

Adams received three Grammy Award nominations in 2002: Best Rock Album, Best Male Rock Vocal Performance for "New York, New York", and Best Male Country Vocal Performance for "Lovesick Blues", a song recorded for the Hank Williams tribute album, "Timeless".

Stephen King's 2006 book Lisey's Story includes part of the lyrics to "When the Stars Go Blue". Also, the song "The Rescue Blues" was featured in an episode of Scrubs. In 2011, "Answering Bell" was featured in the film and on the soundtrack to Bridesmaids. "La Cienega Just Smiled" was featured in the Angel episode Unleashed.

Critical reception
Q listed Gold as one of the best 50 albums of 2001. Kludge included it on their list of the 25 best albums of 2001. Rolling Stone ranked "Gold" the 81st best record of the 2000s. NME ranked Gold at number 193 on its list of The 500 Greatest Albums of All Time.

Personnel
Notes: D1 indicates Disk 1; S4 indicates Side 4

 * Ryan Adams – vocals (all tracks) acoustic guitar (D1: tracks 1-8, 11-13; S4: tracks 2, 3, 5) . electric guitar (D:1 tracks 8, 10, 14, 15; S4: track 1), banjo (D1: track 3), piano (D1: track 3; S4: tracks 3, 4)
 * Bucky Baxter – Steel guitar (D1: tracks 3, 13)
 * Andre Carter – trumpet (D1: track 14; S4: track 4)
 * Richard Causon – piano (D1: tracks 1, 4, 6, 7, 9, 16)
 * Jennifer Condos – bass (D1: tracks 2, 3, 4, 10, 12, 14; S4: tracks 1, 2, 4)
 * Milo De Cruz – bass (D1: tracks 8, 11, 15)
 * Adam Duritz – choir (D1: tracks 5, 14), background vocals (D1: track 3; S4: track 1)
 * Keith Hunter – choir (D1: tracks 5, 14)
 * Rami Jaffi – accordion (D1: track 13)
 * Ethan Johns – Drums (D1: 1-15; S4: tracks 1, 4), electric guitar (D1: tracks 1, 2, 5, 6; S4: track 1) , guitar (D1: track 3) , chamberlain strings (D1: tracks 4, 7, 12, 13) , lead guitar (D1: tracks 8, 13, 15) , Hammond B-3 (D1: tracks 1, 6, 8; S4: track 5), background vocals (D1: tracks 6, 15; S4: track 3), acoustic guitar (D1: tracks 2, 6, 8; S4: track 5) , 12-string guitar (D1: tracks 5, 7) mandocello (D1: tracks 6, 7; S4: track 2) , vibes (D1: tracks 4, 12), string arrangement (D1: tracks 9, 16), slide guitar (D1: track 15) , mandolin (D1: track 13; S4: track 2) , bass (D1: track 5), electric piano (D1: track 7), celeste (D1: track 12) , harmonium (D1: track 7; S4: track 2) , congas (D1: track 1) , banjo (S4: track 3)
 * Jim Keltner – drums (S4: track 4)
 * Rob McDonald – choir (D1: tracks 5, 14)
 * Sid Paige – concert master (D1: tracks 9, 16)
 * Julianna Raye – background vocals (D1: track 7), choir (D1: tracks 5, 14)
 * Chris Stills – background vocals (D1: tracks 2, 6, 8, 13), electric guitar (D1: tracks 8, 11, 15), bass (D1: tracks 1, 13) , acoustic guitar (D1: track 4) , acoustic 12-string guitar (D1: track 12), guitar (S4: track 1)
 * Benmont Tench – Hammond B-3 (D1: tracks 2, 3, 5, 14), piano (D1: tracks 2, 15)
 * Kamasi Washington – saxophone (D1: tracks 1, 14; S4: track 4)
 * C.C. White – background vocals (D1: tracks 8, 15), choir (D1: tracks 5, 14), solo vocals (D1: track 15)

title: Gold (Ryan Adams album)


text:
Supreme command of the armed forces in the People's Republic of China

In the People's Republic of China (PRC), supreme command of the armed forces is exercised by the Central Military Commission (CMC) of the Chinese Communist Party (CCP). A parallel state CMC (PRC CMC) exists. Legally the two CMCs have separate responsibilities, but the distinction is practically irrelevant because the bodies typically have the same members. Since the 2000s, the CCP General Secretary chairs the CMC, and represents the armed forces in the Politburo Standing Committee, the country's ruling body.

History
When the PRC was founded in 1949, command of the People's Liberation Army (PLA) was transferred to the People's Revolutionary Military Council, a state body, with the CCP leading the coalition government. The CCP CMC was abolished. The 1954 PRC constitution designated the president as the supreme commander, and also as the chair of the National Defense Council (NDC). At the same time, the CCP CMC was reestablished and became the primary policy-making body for the armed forces. The separation of command and policy-making between the state and the party was bridged by the shared memberships of the state and party bodies; for example, Mao Zedong was president and CMC chairman. In the late-1970s and the end of the Cultural Revolution, revisions to the PRC and CCP constitutions made the CCP chairman the supreme commander.

Deng Xiaoping's political reforms again divided responsibilities for the armed forces between the party and the state. The 1982 PRC constitution created the PRC CMC to formally exercise supreme command, with the National People's Congress selecting the chairman, and handle all matters except political work. The CCP CMC — as defined in the 1982 CCP constitution — was responsible for political work. Again, conflicts between the CMCs were eliminated by shared membership.

The relationship between the CMCs and various state and party bodies can make the exercise of supreme command legally ambiguous. The ambiguity may have caused the CCP's regular demands for loyalty from the armed forces since the 1989 Tiananmen Square protests and massacre.


text:
Demolition (Ryan Adams album)

Demolition is the third studio album by alt-country singer-songwriter Ryan Adams, released on September 24, 2002, on Lost Highway. The album comprises tracks from Adams' unreleased studio albums, The Suicide Handbook, The Pinkheart Sessions and 48 Hours, as well as "You Will Always Be The Same" from The Stockholm Sessions. In 2009, Adams stated: "I don’t much care for this record. The rock songs are plodding and the quiet songs belonged to better records [...] to make Gold as a compromise then to have to watch those records get broken up for Demolition was heartbreaking."

Personnel

 * Ryan Adams – Vocals (all tracks), Guitar (tracks 2,3,4,5,7,9,11,12,13), Electric guitar (tracks 1,6,8,10), Harmonica (tracks 2,4), Bass (tracks 5,13), Piano (tracks 5,8), Synth (track 13), Drum Machine (track 13)
 * Mikael Nord Andersson – Dobro (track 3)
 * Bucky Baxter – Pedal Steel Guitar (tracks 1,6,8,10), Background vocals (tracks 5,7), Guitar (tracks 5,9)
 * Michael Blair – Djembe Heartbeat (track 3)
 * Sheldon Gomberg – Bass (tracks 2,4)
 * Svante Henryson – Cello (track 3)
 * Ethan Johns – Drums (tracks 2,4,12), Background vocals (track 2), Electric guitar (track 2), Ukulele (track 4), Bass (track 12), B3 (track 2)
 * John Paul Keith – Guitar (tracks 6,10)
 * Greg Leisz – Steel Guitar (tracks 2,4,12), Dobro (track 12)
 * Billy Mercer – Bass (tracks 1,6,10)
 * Brad Pemberton – Drums (tracks 1,6,8,10)
 * David Rawlings – Guitar (track 11)
 * Julianna Raye – Background vocals (track 4)
 * Brad Rice – Electric guitar (tracks 1,8)
 * Chris Stills – Background vocals (track 2), 12-String Acoustic Guitar (track 2), B3 (track 4)
 * Gillian Welch – Background vocals (track 11)

title: Demolition (Ryan Adams album)


text:
User:Desertphile

I've been a civil rights and human rights activist most of my life. Starting in 1995 I focused my human rights activism on Scientology Inc.'s crimes and human rights abuses.

title: User:Desertphile


text:
David E. Kelley

David Edward Kelley (born April 4, 1956) is an American television writer, producer, and former attorney. He has created and/or produced a number of television series including Doogie Howser, M.D., Picket Fences, Chicago Hope, The Practice and its spin-off Boston Legal, Ally McBeal, Boston Public, Goliath, Big Little Lies, and Big Sky. Kelley is one of very few screenwriters to have created shows that have aired on all four top commercial U.S. television networks (ABC, CBS, Fox, and NBC) as well as cable giant HBO.

Early life
David Edward Kelley was born on April 4, 1956 in Waterville, Maine, raised in Belmont, Massachusetts, and attended the Belmont Hill School. His father is Jack Kelley, a member of the United States Ice Hockey Hall of Fame. Kelley was a stick boy for the New England Whalers of the World Hockey Association in their inaugural season of 1972–1973 when his father coached the team. Kelley was captain of the Princeton Tigers men's ice hockey team at Princeton University, where he graduated in 1979 with a bachelor's degree in political science.

Demonstrating early on a creative and quirky bent, in his junior year at Princeton, Kelley submitted a paper for a political science class about John F. Kennedy's plot to kill Fidel Castro, written as a poem. For his senior thesis, he turned the Bill of Rights into a play. "I made each amendment into a character", he said. "The First Amendment is a loudmouth guy who won't shut up. The Second Amendment guy, all he wanted to talk about was his gun collection. Then the 10th Amendment, the one where they say leave the rest for the states to decide, he was a guy with no self-esteem." Also while at Princeton, he was a member of the Princeton Triangle Club.

Kelley received his Juris Doctor (J.D.) from Boston University School of Law, where he wrote for the Legal Follies, a sketch comedy group composed of Boston University law students which still holds annual performances. He began working for a Boston law firm, mostly dealing with real estate and minor criminal cases.

In 1983, while considering it only a hobby, Kelley began writing a screenplay, a legal thriller, which was optioned in 1986 and later became the Judd Nelson feature film From the Hip in 1987.

L.A. Law (1986–1994)
In 1986, Steven Bochco was searching for writers with a law background for his new NBC legal series, L.A. Law. His agent sent him Kelley's movie script for From the Hip. Enthusiastic, Bochco made him a writer and story editor for the show. During this first year, Kelley kept his law office in Boston as a hedge. However, his involvement in the show only expanded. In the second year, he became executive story editor and co-producer. Finally, in 1989, Bochco stepped away from the series, making Kelley the executive producer. While executive producer, Kelley received two Emmys for Outstanding Writing in a Dramatic Series and the show received the award for Outstanding Drama Series for both years. For the first five seasons that he was involved with the show, he wrote or co-wrote two out of three episodes. Kelley left after the fifth season in 1991 and ratings began to fall. As Newsday ' s TV critic wrote, "The difference between good and bad L.A. Law ... was David Kelley." Midway through the sixth season, both Bochco and Kelley were brought in as creative consultants after the show received bad press about its decline in quality.

Picket Fences (1992–1996)
In 1992, after co-creating Doogie Howser, M.D. with his mentor Steven Bochco, Kelley formed his own production company, David E. Kelley Productions, making a three-series deal with CBS. Its first creation, Picket Fences, airing in 1992 and influenced by Twin Peaks and Northern Exposure, focused on the police department in the fictional quirky town of Rome, Wisconsin. Kelley wrote most of the episodes for the first three years. The show was critically acclaimed but never found a sizable audience. Picket Fences went on for four years, receiving a total of 14 Emmy awards including consecutive Emmys for Outstanding Drama Series for its first and second seasons.

In 1995, the fourth and final season, Kelley wrote only two episodes. "We had almost 10 writers try to come in and take over for this one man", said Picket Fences actress Holly Marie Combs. "The quality was not nearly what it was."

Chicago Hope (1994–2000)
Under pressure from CBS to develop a second series even though he didn't feel ready to produce two shows simultaneously, Kelley launched the medical drama Chicago Hope, starring Mandy Patinkin and Adam Arkin, which premiered in 1994. Airing at the same time as the season's other new medical drama, NBC's ER, the ultimate ratings leader, Chicago Hope plotted "upscale medicine in a high-tech world run by high-priced doctors". During its six-year run, it won seven Emmys and generally high critical praise, but only middling ratings.

Originally intending to write only the first several episodes in order to return full-time to Picket Fences, Kelley eventually wrote most of the material for both shows, a total of roughly 40 scripts. Expressing a desire to focus more on his production company and upcoming projects, Kelley ceased day-to-day involvement with both series in 1995, allowing others to write and produce. Towards the end of the fifth season in 1999, facing cancellation, Kelley fired most of the cast members added since he had left the show, brought back Mandy Patinkin and began writing episodes again.

The Practice (1997–2004)
In 1995, Kelley entered into a five-year deal with 20th Century Fox Television to produce shows for both the ABC and FOX television networks, each agreeing to take two series. If one network passed on a project, the other got first refusal. Kelley retained full creative control. Ally McBeal on FOX and The Practice on ABC were the first two projects to come from this deal.

Premiering as a midseason replacement for the 1996–1997 season, The Practice was Kelley's chance to write another courtroom drama but one focusing on the less-glamorous realities of a small law firm. The Practice would be the first of four successful series by Kelley that were set in Boston, proximal to his hometown of Belmont, Massachusetts. Receiving critical applause (along with two Emmys for Outstanding Drama Series) but low ratings in its starting seasons, it eventually became a popular top 10 program. The New York Times described the show as "the profoundly realistic, unending battle between soul-searching and ambition". Full-time writers on the first season of The Practice included David Shore, later the creator of House, Stephen Gaghan, a future Oscar winner for Traffic, Michael R. Perry, the creator of the 2011–12 series The River, and Ed Redlich, co-creator of the 2011–12 series Unforgettable. Later the writing staff would grow to 10, most with law degrees. By the fifth season, he would usually only edit the final script and was generally not on the set during filming.

In 2003, due to sagging ratings, ABC cut Kelley's budget in half for the eighth and final season. He responded by firing most of the cast and hiring James Spader for the role of Alan Shore, whom The New York Times described as "a lecherous, twisted antitrust lawyer with a breezy disregard for ethics." The final episodes of The Practice were focused on introducing the new characters from his next show, Boston Legal.

Ally McBeal (1997–2002)
When Ally McBeal premiered in 1997 on FOX, Kelley was also shepherding his other two shows, Chicago Hope and The Practice, although he was not actively participating in Chicago Hope at the time. The title character Ally is a young, attractive, impulsive, Harvard-educated lawyer described by a New York Times journalist as "stylish, sexy, smart, opinionated, and an emotional wreck." In contrast to The Practice and its idealistic lawyers, the law firm in Ally McBeal was founded only to make money.

The New York Times felt that the show uniquely emphasised "character and caricature". The show lasted five seasons, seven Emmys (one for Outstanding Comedy Series for its second season), mostly positive reviews and a barrage of criticism for its portrayal of women, with many journalists saying that the character Ally was a giant step backwards.

Parallel to The Practice, Kelley penned all the scripts for the first season, then brought in other writers in subsequent years, although he continued to write many episodes himself.

Portrayal of the Ally McBeal character
When the program Ally McBeal first ran, many women lauded its portrayal of the lead character. Sharon Waxman, writing for The Washington Post, commented that Kelley had a keen insight into the human nature of both men and women. She quoted Dyan Cannon: "This man understands the way a woman thinks, ... the complex ways we've found to hide our fears." A New York Times writer used the character as an example of a strong television woman's role, another saw herself, at times, in the character's portrayal of self-absorption and reflection, her crafted neuroses, her vulnerabilities.

Later, however, much press coverage was spent on the controversial nature of women in Ally McBeal. Time featured a cover story about the decline of feminism with a picture of Ally (among a pantheon of feminist heroines) on the cover. In the article, Ginia Bellafante used the McBeal character as a modern exemplar proving that "[M]uch of feminism has devolved into the silly." In response, author Erica Jong felt that the Time journalist diminished her argument by using only pop-cultural references and ignoring the majority of real-world women who have made significant progress.

Writing in Salon.com, Joyce Millman disputed that Ally McBeal should even be described as a "women's show"—that its representations of women were, in fact, a male fantasy. She felt that Kelley treated his female characters "sadistically" in general, beginning all the way back to L.A. Law, saving only The Practice for positive remarks.

Kelley's Ally McBeal was hugely successful in attracting the 18-to-34-year-old women audience demographic. The New York Times columnist, Maureen Dowd, quoted two young, professional women saying they liked shows with female characters like themselves, single, even obsessed. Dowd quoted the executive producer of Law & Order, Dick Wolf, "I think there is a wish-fulfillment factor when you put an attractive woman in a situation where she is doing real, adult stuff."

Boston Public (2000–2004)
In 2000, 20th Century Fox Television extended its arrangement with Kelley. The deal, which ran for six years, reportedly made Kelley the highest-paid producer in TV history—up to $40 million a year—in return for a first-look at his projects.

Premiering on FOX in 2000, Boston Public, which follows the lives of teachers and administrators at a Boston inner-city high school, joined The Practice and Ally McBeal for the season, meaning Kelley was responsible for writing or overseeing 67 episodes.

The program was initially considered a modest hit but received less than glowing reviews. The previous season, Kelley stumbled with both the short-lived Snoops, his first attempt at delegating most of the responsibilities to others, and with Ally, the experiment with 30-minute shortened episodes of Ally McBeal. The TV critic from the Fort Worth Star-Telegram opined that these failures and the weaknesses he saw in Boston Public were a sign that Kelley had lost the Midas touch. The show lasted four seasons, garnering one minor Emmy.

Boston Legal (2004–2008)
In addition to Snoops, Kelley continued to have a string of unsuccessful series: Girls Club in 2002, The Brotherhood of Poland, New Hampshire in 2003 and the reality show The Law Firm in 2005. All the while, he continued overseeing Boston Public and The Practice.

Boston Legal on ABC, premiering in 2004, gave continuity and success to the Kelley franchise. It was a spin-off of his long-running legal drama The Practice, and followed attorney Alan Shore (a character who became the star of The Practice in its final season, played by James Spader) to his new law firm, Crane, Poole & Schmidt. It also starred veteran television actors Candice Bergen and William Shatner. Critically popular with less than spectacular ratings (ranked 27th for the first season, 46th for the second), the show was an "Emmy darling" during its run, winning seven times and being nominated over 25 times. The show won the Peabody Award in 2005 for its signature political commentaries.

In 2007, Boston Legal began to see a rise of viewership as a result of its following ABC's popular Dancing with the Stars series, mostly ranking either first or second most-watched program of the evening in its ten o'clock time period, beating out CBS and NBC's shows.

The fifth and final season began in 2008 with Kelley writing most of the episodes. The season only aired thirteen episodes, making a series run of 101 episodes. The two-hour series finale drew 11 million viewers. Still, the show drew over 15 million viewers much of its first season—and Kelley felt ABC's treatment of the show over the years ultimately killed it, saying to TV Guide that ABC always treated the show like its "bastard child". Boston Legal aired on four different nights (Sunday, Tuesday, Wednesday and Monday) in its five-season run, with the ratings slipping after each move. In the second-to-last episode of the series, Kelley blatantly wrote a show questioning the legitimacy of the Nielsen ratings and the network's treatment of the show by including a plot about a lawsuit against an unnamed television network.

In 2007, Kelley received the Justice in the Arts Award from Death Penalty Focus, an organization dedicated to the abolition of the death penalty. He previously received an award from this organization in 2000 for his work on the show The Practice.

2007–present
Kelley's The Wedding Bells premiered in fall 2007 and was canceled after seven episodes. Additionally, Kelley worked on an Americanized version of the BBC show Life on Mars for the 2007–2008 season on ABC and also worked on an adaptation of Joseph Wambaugh's Hollywood Station. He later handed production to another creative crew.

In May 2008, Kelley signed a deal with Warner Bros. Television and later penned a spec script for another legal drama entitled Legally Mad in a comic vein. NBC ultimately rejected the series. NBC would pay a two million dollar penalty to Warner Bros. for Kelley's scripts. Kelley was the creator and executive producer of Harry's Law, which premiered on NBC on January 17, 2011. The series starred Kathy Bates in the titular role. The show was cancelled in 2012 even though it was the network's second most-watched drama, because its audience skewed too old as the more desirable 18–49 demographic viewership was very low.

In 2011, Kelley wrote a script for the pilot episode of a new Wonder Woman TV series for Warner Bros. Television, but the pilot was rejected by NBC for its fall 2011 lineup.

A new medical series, Monday Mornings, co-created with Sanjay Gupta, premiered February 2013 on TNT, the cable television channel owned by Time Warner. Set in Portland, Oregon, the show stars Ving Rhames, Alfred Molina and Jamie Bamber. In May 2013, the show was canceled by TNT.

A new comedy series created by Kelley, The Crazy Ones, starring Robin Williams and Sarah Michelle Gellar, premiered on CBS on September 26, 2013. The show was cancelled after a season due to lukewarm reception.

In 2015, Kelley created the Amazon Studios series Goliath.

In 2017, Kelley spearheaded a new HBO series, Big Little Lies, which won the Primetime Emmy Award for Outstanding Limited Series. He was also a showrunner on the TV adaptation of the Stephen King novel Mr. Mercedes.

In March 2018, it was announced that HBO had given a series order for The Undoing, a miniseries based on the 2014 novel You Should Have Known by Jean Hanff Korelitz. The series was written by Kelley, who also served as executive producer with Nicole Kidman (who starred alongside Hugh Grant and Donald Sutherland), Per Saari, and Bruna Papandrea. Susanne Bier directed the miniseries. It premiered in October 2020, and was the most-watched show on HBO that year.

In June 2019, Kelley wrote a script for a CBS crime drama series, The Lincoln Lawyer, based from the 2005 novel of the same name by Michael Connelly. On May 2, 2020, CBS announced that the pilot would not be moving forward. However, on January 11, 2021, the series was picked up by Netflix.

Kelley was announced as the writer and showrunner on the ABC crime drama series Big Sky, based on the book The Highway by C. J. Box.

Kelley served as writer, executive producer and showrunner on The Calling, an American adaptation of Israeli television series Missing File on Peacock.

Writing
Kelley writes his first drafts longhand using a Bic ballpoint and yellow legal pad. He typically writes scripts in two to four days, initially working without collaboration, finding it faster and easier than trying to explain what he wants to others.

Kelley has been criticised for not delegating. A Picket Fences writer described his time on the show as "the most boring period of my life—you'd write a scene... [and Kelley would] rewrite it completely. Or he just cut you out completely—you learned nothing. Having a writing staff was a needless expense for the network." Kelley gradually became more comfortable bringing in writers for ideas and taking over writing responsibilities. Kelley described this as a natural evolution:

"There's a period at the beginning of a series [when] you're doing most of the writing and then you go through another period where you have the ideas and you're assigning those stories and ideas to other people and hopefully they execute them. Then if you're lucky you get a staff where they come into the room with their own ideas and specific takes on how to execute them and they do."

Story elements
Kelley structures his episodes with multiple storylines. An episode may include a self-contained subplot plus other story arcs that either began in a previous episode or will continue subsequently—some will continue the entire season. The viewer is thereby rarely sure whether what appears as a simple incident will blossom into a major plot point.

Kelley seeds his plots with political and social "hot-button" issues. One method is by introducing provocative legal cases. Episodes have covered the gamut of contemporary issues from the culpability of tobacco companies and gun makers to assisted-suicide crusaders. Another way is by undergirding the character's social interrelationships with serious explorations such as feminism, sexuality and divorce. Instead of lessons, Kelley strives to "raise moral and ethical questions without easy answers." He avoids a didactic narrative by not losing sight of the audience's desire to be entertained. He states:

"You've got to honor your relationship with your audience—that they sit down because they want to be entertained. And that doesn't mean you can't provoke them and antagonize them and challenge them in the course of the entertainment as long as you keep the entertainment part of the equation alive."

Instead of taking clear stands on issues, Kelley creates scenarios meant to challenge audience preconceptions. For example, an episode of Ally McBeal dealt with a female employee who sued for sexual harassment because she noticed that other prettier women were being promoted. There was deliberately no clear point of view.

Kelley uses humor and the surreal and mixes tragedy with farce. He describes his strategy as follows:

"Often we try to seduce the audience at the beginning that this is going to be fun, a romp or a ride, and then once the ride has begun, to reveal some serious subject matter for them to think about."

In Ally McBeal, Kelley utilized two techniques: a voiceover providing an interior monologue for the title character, and Walter Mitty fantasy sequences (ala Dream On as critics have noted) giving a humorous and often deeply honest (but sometimes ironic) explanation of the character's inner thoughts.

Crossover episodes
Kelley frequently crossed the cast of different shows. One crossover program event (which crossed networks also) involved characters from Kelley's Ally McBeal on the Fox network appearing on his ABC show, The Practice, and, in turn, The Practice characters appeared on Ally McBeal. This was done in spite of the two shows' different tones (one a comedy, the other a drama). This crossover was partially credited for raising ratings for The Practice, which it sustained after those episodes.

Kelley repeated this maneuver with his Boston Public, Ally McBeal, and Boston Legal shows. Thereafter, many other crossovers occurred including shows not created by Kelley.

Kelley's most elaborate crossover was only partially successful. He sought to crossover an episode of his Picket Fences with Chris Carter's The X-Files. Both shows aired Friday nights, but on different networks. The intent was to begin the story on one show, then hope viewers would switch channels to watch the conclusion on another network. CBS balked, and both scripts were rewritten, with The X-Files' Fox Mulder no longer set to appear on Picket Fences. Yet, both episodes deal with Wisconsin and cows, with Fences referencing an FBI investigation in a neighboring town. CBS blurred the connection further by postponing the Fences episode by one week.

Casting
Kelley often uses regular actors from older shows in newer shows. For example, Anthony Heald and René Auberjonois both played judges on The Practice, and both went on to be regular cast members in later shows (Heald on Boston Public as a vice-principal and Auberjonois on Boston Legal as a partner at a law firm). Both Kathy Baker and Justin Shenkarow (Picket Fences) have been used in Boston Public. Kathy Baker as Meredith "The Hook Lady" Peters and Justin Shenkarow as the student Warren Dickson. In addition many actors who either had the main roles or major roles in Kelley's previous shows would make at least one guest appearance in Boston Legal.

After the HBO series Big Little Lies, Kelley started a working relationship with Academy Award-winning actress Nicole Kidman. The pair have collaborated on several shows together, including Big Little Lies, The Undoing and Nine Perfect Strangers.

Legal profession
The Practice was considered more accurate in its portrayal of the law than L.A. Law or Ally McBeal . The importance of legal strategy, sometimes at the expense of the truth, rang true. One attorney said, "[I]t's really about the tactics and the mistakes that opposing counsel makes." Judges were represented as complex, less-than-perfect human beings, sometimes with emotional problems. Plots demonstrated how a defendant's personality would impact the adjudication of a case. Stuart Levine of Variety magazine said, "[The Practice] isn't afraid to paint the firm's clients as the dregs of society." Kelley said,

"One of the most fundamental questions people have about defense attorneys is, 'How can you do that? How can you go to bat every day for a person whom you may not know is guilty but you have a pretty good idea that he's not so innocent?"

Other aspects of the legal profession in Kelley's shows have been criticized as unrealistic. Attorneys have complained that:
 * Ex parte meetings (where lawyers meet in a judge's chambers without opposing counsel present) do not happen.
 * Judges would not allow attorneys to badger or attack witnesses.
 * Shows overplayed prosecutorial and law enforcement misconduct.
 * Time required to select and empanel a jury is not shown or in the story's timeline.
 * Many of the cases would never have made it to trial.

Public education
Samuel G. Freedman, a professor of journalism at Columbia University, writing in The New York Times, praises Kelley's series Boston Public as an attempt to both reflect and change public opinion about public education, particularly the urban, overcrowded, underfinanced variety. He liked the realism of the setting, the mixed ethnicity of the faculty and (oftentimes antipathetic) student body and the bureaucratic struggles. He criticized Kelley, though, for pandering to stereotypes of teachers and students and for failing to show successful teaching strategies.

Medicine
In The New York Times, Arthur Caplan, professor of bioethics at the University of Pennsylvania, felt that medical dramas such as Kelley's Chicago Hope do a good job of addressing bioethical issues such as who should receive a liver transplant or when should a patient be allowed to die. However, there is a lack of discussion concerning the primary money issue: "How do people pay for this?" The show has been criticized for presenting a one-sided view of managed care, portraying HMOs as dramatically evil while glossing over the complexities. Doctors are too often shown as selfless patient advocates ready to battle whatever the financial cost.

Catholicism
Kelley has incorporated religious subject matter from the beginning, including issues involving Protestantism, Judaism, Scientology and Catholicism among others. With the widespread media coverage of child sexual abuse cases in the Roman Catholic Church during the mid-to-late 1990s, Kelley began to introduce this controversy into his scripts. For instance, the character Bobby Donnell on The Practice, a Catholic, became personally estranged from the Church over the issue of sexually abusive priests. While the Catholic League did not object to this episode, they frequently complained of anti-Catholic bias in Kelley's shows because of his references to this subject.

Feature films
Besides his first film, From the Hip, which received poor reviews, Kelley wrote and produced three other films. 1996's To Gillian on Her 37th Birthday, a romance, co-starring his wife, Michelle Pfeiffer, received tepid critical and box office reception. In 1999, came two films: Lake Placid, a combination of suspense, horror and comedy, and Mystery, Alaska, about a fictional small-town ice hockey team that plays a game against the New York Rangers of the National Hockey League

Personal life
Although he is sometimes assumed to be a Catholic because his programs address Catholic issues, Kelley was raised a Protestant.

In January 1993, Kelley was set up on a blind date with actress Michelle Pfeiffer; he took her to see Bram Stoker's Dracula the following week and they began dating seriously.

Pfeiffer had entered into private adoption proceedings before she met Kelley. In March 1993, she adopted a newborn daughter Claudia Rose. They married on November 13, 1993, and christened Claudia the same day. In August 1994, Pfeiffer gave birth to a son, John Henry.

David's brother, Mark Kelley, is the former Director of Amateur Scouting for the Chicago Blackhawks.

David was drafted in the tenth round of the WHA World Hockey Association draft by the Cincinnati Stingers in 1977.

Television
Miniseries

Timeline
Note: The above timeline does not include the three additional episodes of Snoops and the final two episodes of Boston Public broadcast in non-U.S. markets nor the short-lived Ally.

Emmy winning actors and actresses in Kelley's series
Among the actors and actresses who have won Emmys for playing roles in Kelley's series are Peter MacNicol, Tracey Ullman, Sharon Stone, William Shatner, James Spader, Alfre Woodard, Charles S. Dutton, Michael Emerson, James Whitmore, Beah Richards, Edward Herrmann, Michael Badalucco, Holland Taylor, John Larroquette, Camryn Manheim, Christine Lahti, Héctor Elizondo, Mandy Patinkin, Kathy Baker, Ray Walston, Paul Winfield, Richard Kiley, Fyvush Finkel, Leigh Taylor-Young, Tom Skerritt, Richard Dysart, Paul McCrane, Christian Clemenson, Jimmy Smits, Larry Drake, Nicole Kidman, Alexander Skarsgård, and Laura Dern.

Peabody awards
The following information is from the Peabody Awards database.

Television Hall of Fame
In 2014, David E. Kelley was inducted into the Television Hall of Fame.

title: David E. Kelley