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Break (music)

In popular music, a break is an instrumental or percussion section during a song derived from or related to stop-time – being a "break" from the main parts of the song or piece. A break is usually interpolated between sections of a song, to provide a sense of anticipation, signal the start of a new section, or create variety in the arrangement.

Jazz
A solo break in jazz occurs when the rhythm section (piano, bass, drums) stops playing behind a soloist for a brief period, usually two or four bars leading into the soloist's first improvised solo chorus (at which point the rhythm section resumes playing). A notable recorded example is sax player Charlie Parker's solo break at the beginning of his solo on "A Night in Tunisia". While the solo break is a break for the rhythm section, for the soloist, it is a solo cadenza, where they are expected to improvise an interesting and engaging melodic line.

DJing and dance music
In DJ parlance, in disco, hip hop and electronic dance music, a break is where all the elements of a song (e.g., synth pads, basslines, vocals), except for percussion, disappear; as such, the break is also called a "percussion break".

This is distinguished from a breakdown, a section where the composition is deliberately deconstructed to minimal elements (usually the percussion or rhythm section with the vocal re-introduced over the minimal backing), all other parts having been gradually or suddenly cut out. The distinction between breaks and breakdowns may be described as, "Breaks are for the drummer; breakdowns are for electronic producers". In hip hop music and electronica, a short break is also known as a "cut", and the reintroduction of the full bass line and drums is known as a "drop", which is sometimes accented by cutting off everything, even the percussion right before the full music is dropped back in.

Hip hop
Old-school hip-hop DJs have described the relationship between breaks, early hip-hop music, and disco. According to Afrika Bambaataa: "Now he took the music of like Mandrill, like 'Fencewalk', certain disco records that had funky percussion breaks like the Incredible Bongo Band when they came out with 'Apache' and he just kept that beat going. It might be that certain part of the record that everybody waits for—they just let their inner self go and get wild. The next thing you know the singer comes back in and you'd be mad."

Musicologist David Toop, based on interviews with DJ Grandmaster Flash, Kool DJ Herc, and others, has written: "Break-beat music and hip-hop culture were happening at the same time as the emergence of disco (in 1974 known as party music). Disco was also created by DJs in its initial phase, though these tended to be club jocks rather than mobile party jocks – records by Barry White, Eddie Kendricks and others became dancefloor hits in New York clubs like Tamberlane and Sanctuary and were crossed over onto radio by Frankie Crocker at station WBLS. There were many parallels in the techniques used by Kool DJ Herc and a pioneering disco DJ like Francis Grasso, who worked at Sanctuary, as they used similar mixtures and superimpositions of drumbeats, rock music, funk and African records For less creative disco DJs, however, the ideal was to slip-cute smoothly from the end of one record into the beginning of the next. They also created a context for breaks rather than foregrounding them, and the disco records which emerged out of the influence of this type of mixing tended to feature long introductions, anthemic choruses and extended vamp sections, all creating a tension which was released by the break. Break-beat music simply ate the cherry off the top of the cake and threw the rest away. In the words of DJ Grandmaster Flash, 'Disco was brand new then and there were a few jocks that had monstrous sound systems but they wouldn't dare play this kind of music. They would never play a record where only two minutes of the song was all it was worth. They wouldn't buy those types of records. The type of mixing that was out then was blending from one record to the next or waiting for the record to go off and wait for the jock to put the needle back on.'"

Hip hop, disco, and eroticism
DJ Kool Herc's innovative use of the break-beat came about through his observations of dancers and desire to give them what they wanted. In this case the who was b-boys (otherwise known as break-boys or breakdancers) and what they wanted was an opportunity to move explosively, express themselves, and peacock to women (Brester and Broughton 167). This grounds the conception of the innovation both in the embodied movements of the dancers and in the eroticism and sexuality of the b-boys themselves. As hip-hop used a number of disco tracks, and a number of Afro-American and Latin American tracks popularized by disco record pools, the eroticism brought out by these tracks can be presumed to be replicated in these hip-hops mixes, albeit altered through the emphasis and repetition of the break-beat. This suggests strong ties between hip-hop and disco so far as their vibrations, in that both are dancer focused and as such the corporeal vibrations between the embodied sensual movements of the dancers and the sounding of the DJ are resonating off each other to create a space for expression and eroticism in the club.

Break
A break may be described as when the song takes a "breather, drops down to some exciting percussion, and then comes storming back again" and compared to a false ending. Breaks usually occur two-thirds to three-quarters of the way through a song. According to Peter van der Merwe a break "occurs when the voice stops at the end of a phrase and is answered by a snatch of accompaniment", and originated from the bass runs of marches of the "Sousa school". In this case it would be a "break" from the vocal part. In bluegrass and other old-time music, a break is "when an instrument plays the melody to a song idiomatically, i.e. the back-up played on the banjo for a mandolin 'break' may differ from that played for a dobro 'break' in the same song".

According to David Toop, "the word break or breaking is a music and dance term, as well as a proverb, that goes back a long way. Some tunes, like 'Buck Dancer's Lament' from early in the nineteenth century, featured a two-bar silence in every eight bars for the break—a quick showcase of improvised dance steps. Others used the same device for a solo instrumental break; a well-known example being the four-bar break taken by Charlie Parker in Dizzy Gillespie's tune 'Night in Tunisia'."

However, in hip hop today, the term break refers to segment of music (usually four measures or less) that could be sampled and repeated. A break is any expanse of music that is by a producer. In the words of DJ Jazzy Jay: "Maybe those records [whose breaks are sampled] were ahead of their time. Maybe they were made specifically for the rap era; these people didn't know what they were making at that time. They thought, 'Oh, we want to make a jazz record. Like the song Stereo World By Feeder and Upon This Rock by Newsboys are example that have a break and use this technique.

Breakbeat (element of music)
A break beat is the sampling of breaks as (drum loop) beats, (originally found in soul or funk tracks) and their subsequent use as the rhythmic basis for hip hop and rap. It was invented by DJ Kool Herc, a Jamaican who emigrated to New York. He is usually credited with being a pioneer of the technique of using two copies of one record so as to be able to mix between the same break, or, as Bronx DJ Afrika Bambaataa describes, "that certain part of the record that everybody waits for—they just let their inner self go and get wild", extending its length through repetition. However, it is likely that there were a number of like-minded DJs developing the technique at the same time; for example, Walter Gibbons was noted in first-hand accounts by his peers for cutting two copies of the same record in his discothèque gigs of the mid-1970s.

A particularly innovative style of street dance was created to accompany break beat-based music, and was hence referred to as "The Break", or breaking. In the 1980s, charismatic dancers like Crazy Legs, Frosty Freeze, and the Rock Steady Crew revived the breaking movement.

More recently, electronic artists have created "break beats" from other electronic music, resulting in a broad style classification itself called breakbeat. Hip-hop break beat compilations include Hardcore Break Beats and Break Beats, and Drum Drops. It was during the break beats of the song that break dancers and b-boys and girls would become the focus of attention and demonstrate their personal flair. DJ Kool Herc inspired local dancers to dance on the break beats, creating new sounds by combining the breakbeats from various songs.

Notable examples
Musical ensembles which are notable for their use of breaks include the Meters, Creative Source, the J.B.'s, the Blackbyrds, and the Last Poets.

Notable breaks include:
 * The Amen break from "Amen, Brother" (1969) by the Winstons The Amen break is quite often used as a second-hand sample from "Straight Outta Compton" by N.W.A, which sampled the original.
 * "Apache" by the Incredible Bongo Band, sampled from the intro. Used by DJ Kool Herc, the Sugarhill Gang in "Apache", West Street Mob in "Break Dancin' – Electric Boogie".
 * "Ashley's Roachclip" by Chuck Brown and the Soul Searchers. Used by Eric B & Rakim, PM Dawn, Milli Vanilli, LL Cool J and many others.
 * "Funky Drummer" by James Brown, sampled roughly at 5:34. Used by Public Enemy, Run-D.M.C., LL Cool J, Ice Cube, etc.
 * "Fencewalk" by Mandrill, used by DJ Kool Herc
 * "Think (About It)" by Lyn Collins
 * "The Bottle" by Gil Scott-Heron
 * "Mardi Gras" by Bob James, cover of Paul Simon's "Take Me to the Mardi Gras", sampled from the intro. Used by the Crash Crew on "Breaking Bells (Take Me to the Mardi Gras)" and by Run DMC on "Peter Piper".
 * "Sesame Street" by Blowfly, interesting testimony of breakbeat science as the breakbeat is reconstructed from various places with solo drums in the song. Also known as "Helicopter" break after "The Helicopter Tune" by Deep Blue, which is the common second-hand source of the reconstructed sample.
 * "Scorpio" by Dennis Coffey
 * "Scratchin by Magic Disco Machine
 * "Soul Makossa" by Manu Dibango
 * "Super Sporm" by Captain Sky
 * "Move On Up" by Curtis Mayfield
 * "It's a New Day" by Skull Snaps
 * "Synthetic Substitution" by Melvin Bliss
 * "Impeach the President" by the Honey Drippers
 * "N.T." by Kool and the Gang
 * "Tighten Up" by James Brown
 * "Cold Sweat" by James Brown

title: Break (music)


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Target

Target may refer to:

Physical items

 * Shooting target, used in marksmanship training and various shooting sports
 * Bullseye (target), the goal one for which one aims in many of these sports
 * Aiming point, in field artillery, fixed at a specific target
 * Category:Targeting (warfare), lists various military targets
 * Color chart (or reference card), the reference target used in digital imaging for accurate color reproduction

Places

 * Target, Allier, France
 * Target Lake, a lake in Minnesota

Terms

 * Target market, marketing strategy
 * Target audience, intended audience or readership of a publication, advertisement, or type of message
 * In mathematics, the target of a function is also called the codomain; more generally, a morphism has a target
 * Target (cricket), the total number of runs a team needs to win

People

 * Target (rapper), stage name of Croatian hip-hop artist Nenad Šimun
 * DJ Target, stage name of English grime DJ Darren Joseph, member of Roll Deep
 * Gui-Jean-Baptiste Target (1733–1807), French lawyer

Art and media

 * The Target, a comic book character, one of the trio Target and the Targeteers

Film

 * Target (1952 film), a Western starring Tim Holt
 * Target (1979 film), a crime film starring Luc Merenda
 * Target (1985 film), a thriller starring Gene Hackman
 * Target (1995 film), a drama directed by Sandip Ray
 * Target (2004 film), an action film starring Stephen Baldwin
 * Target (2010 film), a Bengali-language Indian film
 * Target (2011 film), a Russian drama directed by Alexander Zeldovich
 * Target (2014 film), an action suspense crime film directed by Yang Jiang
 * The Target (film), a 2014 action film starring Ryu Seung-ryong

Games and sport

 * Target (video game), a c. 1977 microcomputer game
 * Target (word puzzle)
 * Target Center, an indoor sports arena
 * Target Field, a baseball park

Music

 * Target (American band), American band from the 1970s
 * Target (South Korean band), South Korean band debuting 2018
 * Target (album), an album by Gerald Walker
 * The Target (EP), a 2002 EP by Hoobastank
 * "Target" (Embrace song), 2006
 * "Target" (T-ara song), 2013
 * "Target", a song by Shenseea from Alpha, 2022

Publications

 * Target (journal), an academic journal of translation studies
 * Target (magazine), an Indian children's magazine
 * Target: 2006, a Transformers comic book story arc
 * The Target (novel), a 2014 novel by David Baldacci
 * Target, the magazine of the British Productivity Council
 * Target, an Lao news magazine

Series

 * Target (American TV series), a short-lived American 1958 syndicated anthology television series
 * Target (Australian TV series), Australian magazine style television show (1974-76)
 * Target (New Zealand TV series), a consumer affairs program
 * Target (British TV series), a 1970s British police drama

Episodes

 * "The Target" (The Office)
 * "The Target" (The Wire)
 * "The Target", the second episode of the first season of Dollhouse

Brands, enterprises, and organizations

 * Aeros Target, hang glider
 * Target Apparel, a former Canadian clothing brand unrelated to any of the below
 * Target Australia, an Australian retail chain similar to, but not associated with, Target Corporation
 * Target Books, a publishing imprint
 * Target Corporation, an American retail chain
 * Target Canada, its defunct Canadian subsidiary
 * TARGET (NGO), a human rights organization founded by Rüdiger Nehberg
 * Target Video, a San Francisco-based video and film studio
 * TechTarget, an American company

Computing and technology

 * A debugger term referring to the subject of testing or debugging
 * TARGET2, a Eurozone interbank payment system which succeeded TARGET
 * TARGET 3001!, a computer-aided design (CAD) program
 * The file that a symbolic link refers to
 * Target (project), a collaborative research project in the Netherlands

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

title: Target


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East Coker

East Coker is a village and civil parish in the South Somerset district of Somerset, England. Its nearest town is Yeovil, 2 mi to the north. The village has a population of 1,667. The parish includes the hamlets and areas of North Coker, Burton, Holywell, Coker Marsh, Darvole, Nash, Keyford as well as the southern end of the Wraxhill area.

History
A Roman villa was discovered in East Coker in the 18th century and subsequent excavation has discovered artefacts including a mosaic; however, further work is needed to fully identify the plan of the building.

In the Domesday Survey of 1086 the villages of West and East Coker were known as Cocre.

The parish was part of the hundred of Houndsborough.

The Manor of East Coker was held by the Courtenay family of Powderham from 1306 until 1591. They built Coker Court as the manor house which was eventually sold to Edward Phelips, a wealthy landowner in the region. Upon Edward's death, the manor was left to his trustee, William Helyar, whose family it descended into for the next 300 years. After the last Helyar heir died in the first half of the 20th century, the lordship was acquired by a descendant of the Courtenay family who is the current lord of the manor.

In 1645, soon after the English Civil War, 70 people in the village died of the plague.

In 2011 South Somerset Council published a plan for local housing which included a proposal for the construction of 3,700 new houses on land between East Coker and Yeovil. Local opposition has been vocal. It included an application, supported by Andrew Motion, for World Heritage Site listing based on associations with T.   S. Eliot, who wrote the poem East Coker, the second of his "Four Quartets" in 1940 after a visit to the village.

Governance
The parish council has responsibility for local issues, including setting an annual precept (local rate) to cover the council's operating costs and producing annual accounts for public scrutiny. The parish council evaluates local planning applications and works with the local police, district council officers, and neighbourhood watch groups on matters of crime, security, and traffic. The parish council's role also includes initiating projects for the maintenance and repair of parish facilities, as well as consulting with the district council on the maintenance, repair, and improvement of highways, drainage, footpaths, public transport, and street cleaning. Conservation matters (including trees and listed buildings) and environmental issues are also the responsibility of the council.

The village falls within the Non-metropolitan district of South Somerset, which was formed on 1 April 1974 under the Local Government Act 1972, having previously been part of Yeovil Rural District. The district council is responsible for local planning and building control, local roads, council housing, environmental health, markets and fairs, refuse collection and recycling, cemeteries and crematoria, leisure services, parks, and tourism.

Somerset County Council is responsible for running the largest and most expensive local services such as education, social services, libraries, main roads, public transport, policing and fire services, Trading Standards, waste disposal and strategic planning.

It is also part of the Yeovil county constituency represented in the House of Commons of the Parliament of the United Kingdom. It elects one Member of Parliament (MP) by the first past the post system of election. Prior to Brexit in 2020, it was part of the South West England constituency of the European Parliament.

Landmarks
Coker Court was built as a 15th-century manor house, and is now divided into several properties. The 18th-century portion was built by Sir William Chambers. It was used as Clare School at one time. It is listed Grade I.

Helyar Almshouses built between 1640 and 1660.

Hymerford House (also known as Grove Farmhouse) dates from the 15th century and is listed Grade I.

Naish Priory listed Grade I contains extant portions of a substantial and important establishment that was part of the manor of Coker and dates from the 14th century.

Transport
The parish has no railway station, the nearest being Yeovil Junction railway station on the Exeter-London Waterloo line which passes through the parish. Previously the village was served by Sutton Bingham Station which was about one kilometre south of the village and closed to all traffic on 31 December 1962. There are a few bus routes, these are Route N8 (Nippy Bus) West Coker-Yeovil which operates hourly Monday to Friday Daytime between 8am and 5pm Route X37 (Sureline) Yeovil-Dorchester operates one journey in this direction only Monday to Friday Yeovil College Term time Only at 0927 arriving at Dorchester at 1020 in combination with a return service Route 212 (Sureline) Dorchester-Yeovil operates one journey in this direction only Monday to Friday Yeovil College Term  time Only leaving Dorchester at 1200 arriving back in East Coker at 1314. The parish also has some innovative demand responsive transport provided by Nippy Bus, the N8 can be booked to pick up passengers off route in the parish after first registering and calling the company an hour before travel and will arrange a convenient time within the hours of operation to pick people up. There is also a night bus service Route N4 Crewkerne-Yeovil which operates on a demand responsive basis Wednesday-Saturday Nights, last journey from Yeovil Thursday-Saturday Nights is at 0250 in the early hours of the morning arriving in the parish around 0330.

Industry
Coker Canvas. Samuel Hutchings of East Coker, sail cloth manufacturer in 1828. Sail cloth manufacturing in the 18th and 19th century. John Bullock of East Coker, sail cloth manufacturer 1740's - 1780's (father and son).

Religious sites
The church of St Michael in East Coker dates from the 12th century and has been designated by English Heritage as a Grade II* listed building. The church is the final resting place of the ashes of T. S. Eliot, whose ancestors came from the village.

Notable residents

 * William Dampier (1651- 1715), buccaneer, sea captain, explorer, author and scientific observer.
 * Gerald Basil Edwards (1899–1976), Guernsey-born author of The Book of Ebenezer Le Page.
 * James Bree (1923–2008), actor.
 * David Foot (1929–2021), a British journalist and historian
 * Trevor Peacock (1931–2021), actor (who played Jim Trott in the BBC sitcom The Vicar of Dibley) lived in the village.
 * Marcus Fysh (born 1970), politician and MP for Yeovil from 2015 to 2024, lives in Naish Priory

Notable trees
A superb specimen of the narrow-leaved (or smooth-leaved) elm Ulmus minor subsp. minor survives, unscathed by Dutch elm disease, in a pasture to the south-east of the village. Measured in 2008, it was more than 30 m in height, with a d.b.h. of 85 cm. Almost certainly planted as one of many ornamentals by the Helyar dynasty, the tree is a TROBI UK Champion, and has been adjudged the finest freestanding specimen in Europe.

The tree has been cloned at Le Pépinière Forestière de L'etat, Guémené-Penfao, France, as part of the Euforgen genetic resources conservation programme.

title: East Coker


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Constance Garnett

Constance Clara Garnett (19 December 1861 – 17 December 1946) was an English translator of nineteenth-century Russian literature. She was the first English translator to render numerous volumes of Anton Chekhov's work into English and the first to translate almost all of Fyodor Dostoevsky's fiction into English. She also rendered works by Ivan Turgenev, Leo Tolstoy, Nikolai Gogol, Ivan Goncharov, Alexander Ostrovsky, and Alexander Herzen into English. Altogether, she translated 71 volumes of Russian literature, many of which are still in print today.

Life
Garnett was born in Brighton, England, the sixth of the eight children of the solicitor David Black (1817–1892), afterwards town clerk and coroner, and his wife, Clara Maria Patten (1825–1875), daughter of painter George Patten. Her brother was the mathematician Arthur Black, and her sister was the labour organiser and novelist Clementina Black. Her father became paralysed in 1873, and two years later her mother died from a heart attack after lifting him from his chair to his bed.

She was initially educated at Brighton and Hove High School. Afterwards she studied Latin and Greek at Newnham College, Cambridge, on a government scholarship. In 1883 she moved to London, where she started work as a governess, and then as the librarian at the People's Palace Library. Through her sister, Clementina, she met Dr. Richard Garnett, then the Keeper of Printed Materials at the British Museum, and his son Edward Garnett, whom she married in Brighton on 31 August 1889. Edward, after working as a publisher's reader for T. Fisher Unwin, William Heinemann, and Duckworth, went on to become a reader for the publisher Jonathan Cape. In the summer of 1891, then pregnant with her only child, she was introduced by Edward to the Russian exile Feliks Volkhovsky, who began teaching her Russian. He also introduced her to his fellow exile and colleague Sergius Stepniak and his wife Fanny. Soon after, Garnett began working with Stepniak, translating Russian works for publication; her first published translations were A Common Story by Ivan Goncharov, and The Kingdom of God is Within You by Leo Tolstoy. The latter was published while she was making her first trip to Russia in early 1894. After visits to Moscow and Saint Petersburg, she travelled to Yasnaya Polyana where she met Tolstoy; although the latter expressed interest in having her translate more of his religious works, she had already begun working on the novels of Turgenev and continued with that on her return home. Initially she worked with Stepniak on her translations; after his untimely death in 1895, Stepniak's wife Fanny worked with her. From 1906, her favourite amanuensis was a young Russian woman, Natalie Duddington whom she had met in Russia and in whom she found "real intellectual companionship".

Over the next four decades, Garnett produced English-language versions of dozens of volumes by Tolstoy, Gogol, Goncharov, Dostoyevsky, Turgenev, Ostrovsky, Herzen and Chekhov.

Her son and only child, David Garnett, trained as a biologist and later wrote novels, including the popular Lady into Fox (1922).

By the late 1920s, Garnett was frail and half-blind. She retired from translating after the publication in 1934 of Three Plays by Turgenev. After her husband's death in 1937, she became reclusive. She developed a heart condition, with attendant breathlessness, and in her last years had to walk with crutches. She died at The Cearne, Crockham Hill, Kent, at the age of 84.

Reception and legacy
Constance Garnett translated 71 volumes of Russian literary works, and her translations received acclaim from numerous critics and authors, including Joseph Conrad and D. H. Lawrence. Ernest Hemingway admired her translations of Fyodor Dostoevsky and once told a friend that he was unable to read through Leo Tolstoy's War and Peace "until I got the Constance Garnett translation." Despite some complaints about being outdated, her translations are still being reprinted today (most are now in the public domain).

However, Garnett also has had critics, notably Russian authors Vladimir Nabokov and Joseph Brodsky. Nabokov said that Garnett's translations were "dry and flat, and always unbearably demure." Commenting on a letter of Joseph Conrad to Edward Garnett, in which Conrad had written that "[Constance's] translation of Karenina is splendid. Of the thing itself [i.e. Anna Karenina] I think but little, so that her merit shines with the greater luster", Nabokov wrote "I shall never forgive Conrad this crack. Actually the Garnett translation is very poor". (Nabokov's criticism of Garnett, however, should be viewed in light of his publicly stated ideal that the translator must be male. ) Brodsky criticised Garnett for blurring the distinctive authorial voices of different Russian authors:

"The reason English-speaking readers can barely tell the difference between Tolstoy and Dostoyevsky is that they aren't reading the prose of either one. They're reading Constance Garnett."

Ronald Hingley criticized Garnett's translations of colloquial speech in Chekhov's stories, stating "These are not very convincing samples of country speech ... or of a Russian village in the 1890s."

David Foster Wallace criticized Garnett's translations as 'excruciatingly Victorianish'.

In her translations, she worked quickly, and smoothed over certain small portions for "readability", particularly in her translations of Dostoyevsky.

Her translations of Ivan Turgenev and Anton Chekhov were well regarded by Rachel May in her study on translating Russian classics, The Translator in the Text: On Reading Russian Literature in English. However, May's study also critiqued Garnett for her tendency of "stylistic homogenizing" that "eras[ed] those idiosyncrasies of narrative voice and dialogue that different authors possessed" and for making prudish word choices that "tamed [the Russian classics] further." May also analyzed how for decades, Garnett's translations were unquestioningly acclaimed by critics because "she suited the needs of her time so well, that no one knew what questions to ask."

Kornei Chukovsky respected Garnett for introducing millions of English readers to Russian literature, and praised her translations of Turgenev, stating that they "fully correspond to the originals in tonality," but condemned her other translations, writing that she had reduced Dostoevsky's style into "a safe blandscript: not a volcano, but a smooth lawn mowed in the English manner—which is to say a complete distortion of the original" and that the same criticisms applied to her translation of Tolstoy's The Death of Ivan Ilyich. He concluded that: "[H]er translations of the works of Gogol, Dostoyevsky, and Chekhov have to be done over. All of her translations seem insipid, pale, and—worst of all—trivial... [H]er translations would have been considerably better if they had been submitted at the time to the intense scrutiny of critics... But there was no criticism'"

In 1994 Donald Rayfield compared Garnett's translations with the most recent scholarly versions of Chekhov's stories and concluded: "While she makes elementary blunders, her care in unravelling difficult syntactical knots and her research on the right terms for Chekhov's many plants, birds and fish are impressive... Her English is not only nearly contemporaneous to Chekhov's, it is often comparable."

Later translators such as Rosemary Edmonds and David Magarshack continued to use Garnett's translations as models for their own work.

For his Norton Critical Edition of The Brothers Karamazov, Ralph Matlaw based his revised version on her translation. This is the basis for the influential A Karamazov Companion by Victor Terras. Matlaw published an earlier revision of Garnett's translation of the Grand Inquisitor chapter in a volume paired with Notes from Underground.

Anton Chekhov (was originally transliterated as "Anton Tchehov")

 * The Darling and Other Stories London: Chatto & Windus (1916)
 * The Darling
 * Critique of The Darling by Leo Tolstoy
 * Ariadne
 * Polinka
 * Anyuta
 * The Two Volodyas
 * The Trousseau
 * The Helpmate
 * Talent
 * An Artist's Story
 * Three Years
 * The Duel and Other Stories London: Chatto & Windus (1916)
 * The Duel
 * Excellent People
 * Mire
 * Neighbours
 * At Home
 * Expensive Lessons
 * The Princess
 * The Chemist's Wife
 * The Lady with the Dog and Other Stories London: Chatto & Windus (1917)
 * The Lady with the Dog
 * A Doctor's Visit
 * An Upheaval
 * Ionitch
 * The Head of the Family
 * The Black Monk
 * Volodya
 * An Anonymous Story
 * The Husband
 * The Party and Other Stories London: Chatto & Windus (1917)
 * The Party
 * Terror
 * A Woman's Kingdom
 * A Problem
 * The Kiss
 * Anna on the Neck
 * The Teacher of Literature
 * Not Wanted
 * Typhus
 * A Misfortune
 * A Trifle from Life
 * The Wife and Other Stories London: Chatto & Windus (1918)
 * The Wife
 * Difficult People
 * The Grasshopper
 * A Dreary Story
 * The Privy Councillor
 * The Man in a Case
 * Gooseberries
 * About Love
 * The Lottery Ticket
 * The Witch and Other Stories London: Chatto & Windus (1918)
 * The Witch
 * Peasant Wives
 * The Post
 * The New Villa
 * Dreams
 * The Pipe
 * Agafya
 * At Christmas Time
 * Gusev
 * The Student
 * In the Ravine
 * The Huntsman
 * Happiness
 * A Malefactor
 * Peasants
 * The Bishop and Other Stories London: Chatto & Windus (1919)
 * The Bishop
 * The Letter
 * Easter Eve
 * A Nightmare
 * The Murder
 * The Steppe
 * The Chorus Girl and Other Stories London: Chatto & Windus (1920)
 * The Chorus Girl
 * Verotchka
 * My Life
 * At a Country House
 * A Father
 * On the Road
 * Rothschild's Fiddle
 * Ivan Matveyitch
 * Zinotchka
 * Bad Weather
 * A Gentleman Friend
 * A Trivial Incident
 * Letters of Anton Tchehov to his Family and Friends London: Chatto & Windus (1920)
 * The Cherry Orchard and Other Plays London: Chatto & Windus (1923)
 * The Cherry Orchard
 * Uncle Vanya
 * The Sea-Gull
 * The Bear
 * The Proposal
 * Three Sisters and Other Plays London: Chatto & Windus (1923)
 * Three Sisters
 * Ivanov
 * A Swan-Song
 * An Unwilling Martyr
 * The Anniversary
 * On the High Road
 * The Wedding

Fyodor Dostoyevsky

 * The Brothers Karamazov London: Heinemann (1912)
 * The Idiot London: Heinemann (1913)
 * The Possessed London: Heinemann (1913; revised to incorporate "Stavrogin's Confession" [the censored chapter "At Tikhon's"], 1923)
 * Crime and Punishment London: Heinemann (1914)
 * The Gambler and Other Stories London: Heinemann (1914)
 * The Gambler
 * Poor People
 * The Landlady
 * The House of the Dead London: Heinemann (1915)
 * The Insulted and Injured London: Heinemann (1915)
 * A Raw Youth London: Heinemann (1916)
 * The Eternal Husband and Other Stories London: Heinemann (1917)
 * The Eternal Husband
 * The Double
 * A Gentle Spirit
 * White Nights and Other Stories London: Heinemann (1918)
 * White Nights
 * Notes from Underground
 * A Faint Heart
 * A Christmas Tree and a Wedding
 * Polzunkov
 * A Little Hero
 * Mr. Prohartchin
 * An Honest Thief and Other Stories London: Heinemann (1919)
 * An Honest Thief
 * Uncle's Dream
 * A Novel in Nine Letters
 * An Unpleasant Predicament
 * Another Man's Wife
 * The Heavenly Christmas Tree
 * The Peasant Marey
 * The Crocodile
 * Bobok
 * The Dream of a Ridiculous Man
 * The Friend of the Family; or, Stepanchikovo and Its Inhabitants and Another Story London: Heinemann (1920)
 * The Friend of the Family
 * Nyetochka Nyezvanov

Nikolai Gogol

 * Dead Souls London: Chatto & Windus (1922)
 * The Overcoat and Other Stories London: Chatto & Windus (1923)
 * The Overcoat
 * The Carriage
 * The Nevsky Prospect
 * A Madman's Diary
 * The Prisoner
 * The Nose
 * The Portrait
 * Evenings on a Farm Near Dikanka London: Chatto & Windus (1926)
 * The Government Inspector and Other Plays London: Chatto & Windus (1926)
 * The Government Inspector
 * Marriage
 * The Gamblers
 * An Official's Morning
 * A Lawsuit
 * The Servant's Hall
 * A Fragment
 * Mirgorod London: Chatto & Windus (1928)

Ivan Goncharov

 * A Common Story London: Heinemann (1894)

Alexander Herzen

 * My Past and Thoughts: The Memoirs of Alexander Herzen London: Chatto & Windus (published in six volumes; 1924–1927)

Alexander Ostrovsky

 * The Storm London: Duckworth (1899)

Leo Tolstoy

 * The Kingdom of God Is Within You London: Heinemann (1894)
 * Anna Karenina (1901)
 * The Death of Ivan Ilyitch and Other Stories (1902)
 * The Death of Ivan Ilyitch
 * Family Happiness
 * Polikushka
 * Two Hussars
 * The Snowstorm
 * Three Deaths
 * War and Peace London: Heinemann (1904)

Ivan Turgenev

 * A Nest of Gentlefolk London: Heinemann (1894)
 * Rudin London: Heinemann (1894)
 * The Diary of a Superfluous Man and Other Stories London: Heinemann (1894)
 * The Diary of a Superfluous Man
 * A Tour in the Forest
 * Yakov Pasinkov
 * Andrei Kolosov
 * A Correspondence
 * A Sportsman's Sketches London: Heinemann (1895)
 * Fathers and Children London: Heinemann (1895)
 * On the Eve London: Heinemann (1895)
 * Smoke London: Heinemann (1896)
 * Virgin Soil London: Heinemann (1896)
 * Torrents of Spring London: Heinemann (1897)
 * A Desperate Character and Other Stories London: Heinemann (1899)
 * A Desperate Character
 * A Strange Story
 * Punin and Baburin
 * Old Portraits
 * The Brigadier
 * Pyetushkov
 * The Jew and Other Stories London: Heinemann (1899)
 * The Jew
 * An Unhappy Girl
 * The Duellist
 * Three Portraits
 * Enough
 * Three Plays London: Cassell & Company (1934)
 * A Month in the Country
 * A Provincial Lady
 * A Poor Gentleman

title: Constance Garnett


text:
Remote Desktop Protocol

Remote Desktop Protocol (RDP) is a proprietary protocol developed by Microsoft Corporation which provides a user with a graphical interface to connect to another computer over a network connection. The user employs RDP client software for this purpose, while the other computer must run RDP server software.

Several clients exist for most versions of Microsoft Windows (including Windows Mobile but the support has ended), Linux (for example Remmina), Unix, macOS, iOS, Android, and other operating systems. RDP servers are built into the server and professional editions of Windows operating systems but not home editions; an RDP server for Unix and OS X also exists (for example xrdp). By default, the server listens on TCP port 3389 and UDP port 3389.

Microsoft currently refers to their official RDP client software as Remote Desktop Connection, formerly "Terminal Services Client".

The protocol is an extension of the ITU-T T.128 application sharing protocol. Microsoft makes some specifications public on their website.

History
Every server and professional version of Microsoft Windows from Windows XP onward includes an installed Remote Desktop Connection (RDC) ("Terminal Services") client (mstsc.exe) whose version is determined by that of the operating system or by the last applied Windows Service Pack. The Terminal Services server is supported as an official feature on Windows NT 4.0 Terminal Server Edition, released in 1998, Windows 2000 Server, all editions of Windows XP except Windows XP Home Edition, Windows Server 2003, Windows Home Server, on Windows Fundamentals for Legacy PCs, in Windows Vista Ultimate, Enterprise and Business editions, Windows Server 2008 and Windows Server 2008 R2 and on Windows 7 Professional and above. The home versions of Windows do not support RDP.

Microsoft provides the client required for connecting to newer RDP versions for downlevel operating systems. Since the server improvements are not available downlevel, the features introduced with each newer RDP version only work on downlevel operating systems when connecting to a higher version RDP server from these older operating systems, and not when using the RDP server in the older operating system.

Version 4.0
Based on the ITU-T T.128 application sharing protocol (during draft also known as "T.share") from the T.120 recommendation series, the first version of RDP (named version 4.0) was introduced by Microsoft with "Terminal Services", as a part of their product Windows NT 4.0 Server, Terminal Server Edition. The Terminal Services Edition of NT 4.0 relied on Citrix's MultiWin technology, previously provided as a part of Citrix WinFrame atop Windows NT 3.51, in order to support multiple users and login sessions simultaneously. Microsoft required Citrix to license their MultiWin technology to Microsoft in order to be allowed to continue offering their own terminal-services product, then named Citrix MetaFrame, atop Windows NT 4.0. The Citrix-provided DLLs included in Windows NT 4.0 Terminal Services Edition still carry a Citrix copyright rather than a Microsoft copyright. Later versions of Windows integrated the necessary support directly. The T.128 application sharing technology was acquired by Microsoft from UK software developer Data Connection Limited.

Version 5.0
This version was introduced with Windows 2000 Server, added support for a number of features, including printing to local printers, and aimed to improve network bandwidth usage.

Version 5.1
This version was introduced with Windows XP Professional and included support for 24-bit color and sound. It is supported on Windows 2000, Windows 9x, and Windows NT 4.0. With this version, the name of the client was changed from Terminal Services Client to Remote Desktop Connection; the heritage remains to this day, however, as the underlying executable is still named mstsc.exe.

Version 5.2
This version was introduced with Windows Server 2003, included support for console mode connections, a session directory, and local resource mapping. It also introduces Transport Layer Security (TLS) 1.0 for server authentication, and to encrypt terminal server communications. This version is built into Windows XP Professional x64 Edition and Windows Server 2003 x64 & x86 Editions, and also available for Windows XP as a download.

Version 6.0
This version was introduced with Windows Vista and incorporated support for Windows Presentation Foundation applications, Network Level Authentication, multi-monitor spanning and large desktop support, and TLS 1.0 connections. The RDP 6.0 client is available on Windows XP SP2, Windows Server 2003 SP1/SP2 (x86 and x64 editions) and Windows XP Professional x64 Edition through KB925876. Microsoft Remote Desktop Connection Client for Macintosh OS X is also available with support for Intel and PowerPC Mac OS versions 10.4.9 and greater.

Version 6.1
This version was released in February 2008 and is first included with Windows Server 2008 and Windows Vista with Service Pack 1 and later backported to Windows XP with Service Pack 3. The RDP 6.1 client is available on Windows XP SP2, Windows Server 2003 SP1/SP2 (x86 and x64 editions) and Windows XP Professional x64 Edition through KB952155. In addition to changes related to how a remote administrator connects to the "console", this version has new functionality introduced in Windows Server 2008, such as connecting remotely to individual programs and a new client-side printer redirection system that makes the client's print capabilities available to applications running on the server, without having to install print drivers on the server also on the other hand, remote administrator can freely install, add/remove any software or setting at the client's end. However, to start a remote administration session, one must be a member of the Administrators group on the server to which one is trying to get connected.

Version 7.0
This version was released to manufacturing in July 2009 and is included with Windows Server 2008 R2, as well as with Windows 7. With this release, also changed from Terminal Services to Remote Desktop Services. This version has new functions such as Windows Media Player redirection, bidirectional audio, multi-monitor support, Aero glass support, enhanced bitmap acceleration, Easy Print redirection, Language Bar docking. The RDP 7.0 client is available on Windows XP SP3 and Windows Vista SP1/SP2 through KB969084, and is not officially supported on Windows Server 2003 x86 and Windows Server 2003 / Windows XP Professional x64 editions. It is also not officially supported on Windows Server 2008.

Most RDP 7.0 features like Aero glass remote use, bidirectional audio, Windows Media Player redirection, multiple monitor support and Remote Desktop Easy Print are only available in Windows 7 Enterprise or Ultimate editions.

Version 7.1
Release 7.1 of RDP was included with Windows 7 Service Pack 1 and Windows Server 2008 R2 SP1 in 2010. It introduced RemoteFX, which provides virtualized GPU support and host-side encoding.

Version 8.0
This version was released in Windows 8 and Windows Server 2012. This version has new functions such as Adaptive Graphics (progressive rendering and related techniques), automatic selection of TCP or UDP as transport protocol, multi touch support, DirectX 11 support for vGPU, USB redirection supported independently of vGPU support, etc. A "connection quality" button is displayed in the RDP client connection bar for RDP 8.0 connections; clicking on it provides further information about connection, including whether UDP is in use or not.

The RDP 8.0 client and server components are available on Windows 7 SP1 and Windows Server 2008 R2 SP1 through KB2592687. The RDP 8.0 client is also available for Windows Server 2008 R2 SP1, but the server components are not. The add-on requires the DTLS protocol to be installed as prerequisite. After installing the updates, for the RDP 8.0 protocol to be enabled between Windows 7 machines, an extra configuration step is needed using the Group Policy editor.

A new feature in RDP 8.0 is limited support for RDP session nesting; it only works for Windows 8 and Server 2012 though, Windows 7 and Server 2008 R2 (even with the RDP 8.0 update) do not support this feature.

The "shadow" feature from RDP 7, which allowed an administrator to monitor (snoop) on a RDP connection has been removed in RDP 8. The Aero Glass remoting feature (applicable to Windows 7 machines connecting to each other) has also been removed in RDP 8.

Version 8.1
This version was released with Windows 8.1 and Windows Server 2012 R2. The RDP 8.1 client, like the RDP 8.0 client, is available on Windows 7 SP1 and Windows Server 2008 R2 SP1 through KB2923545 but unlike the RDP 8.0 update for Windows 7, it does not add a RDP 8.1 server component to Windows 7. Furthermore, if RDP 8.0 server function is desired on Windows 7, the KB 2592687 (RDP 8.0 client and server components) update must be installed before installing the RDP 8.1 update.

Support for session shadowing was added back in RDP version 8.1. This version also fixes some visual glitches with Microsoft Office 2013 when running as a RemoteApp.

Version 8.1 of the RDP also enables a "restricted admin" mode. Logging into this mode only requires knowledge of the hashed password, rather than of its plaintext, therefore making a pass the hash attack possible. Microsoft has released an 82-page document explaining how to mitigate this type of attack.

Version 10.0
Version 10.0 of the RDP was introduced with Windows 10 and includes the following new features: AutoSize zoom (useful for HiDPI clients). In addition graphics compression improvements were included utilizing H.264/AVC.

Features

 * 32-bit color support. 8-, 15-, 16-, and 24-bit color are also supported.
 * Encryption: option of legacy 56-bit or 128-bit RC4 and modern MITM-resistant TLS since version 5.2
 * Audio Redirection allows users to process audio on a remote desktop and have the sound redirected to their local computer.
 * File System Redirection allows users to use their local files on a remote desktop within the terminal session.
 * Printer Redirection allows users to use their local printer within the terminal session as they would with a locally- or network-shared printer.
 * Port Redirection allows applications running within the terminal session to access local serial and parallel ports directly.
 * The remote computer and the local computer can share the clipboard.
 * Compression goes beyond a framebuffer and takes advantage of font knowledge and tracking of window states (inherited from T.128); later extensions add more content-aware features (e.g MS-RDPCR2).

Microsoft introduced the following features with the release of RDP 6.0 in 2006:
 * Seamless Windows: remote applications can run on a client machine that is served by a Remote Desktop connection. It is available since RDP 6.
 * Remote Programs: application publishing with client-side file-type associations.
 * Terminal Services Gateway: enables the ability to use a front-end IIS server to accept connections (over port 443) for back-end Terminal Services servers via an https connection, similar to how RPC over https allows Outlook clients to connect to a back-end Exchange 2003 server. Requires Windows Server 2008.
 * Network Level Authentication
 * Support for remoting the Aero Glass Theme (or Composed Desktop), including ClearType font-smoothing technology.
 * Support for remoting Windows Presentation Foundation applications: compatible clients that have .NET Framework 3.0 support can display full Windows Presentation Foundation effects on a local machine.
 * Rewrite of device redirection to be more general-purpose, allowing a greater variety of devices to be accessed.
 * Fully configurable and scriptable via Windows Management Instrumentation.
 * Improved bandwidth tuning for RDP clients.
 * Support for Transport Layer Security (TLS) 1.0 on both server and client ends (can be negotiated if both parties agree, but not mandatory in a default configuration of any version of Windows).
 * Multiple monitor support for allowing one session to use multiple monitors on the client (disables desktop composition)

Release 7.1 of RDP in 2010 introduced the following feature:
 * RemoteFX: RemoteFX provides virtualized GPU support and host-side encoding; it ships as part of Windows Server 2008 R2 SP1.

Security issues
Version 5.2 of the RDP in its default configuration is vulnerable to a man-in-the-middle attack. Administrators can enable transport layer encryption to mitigate this risk.

RDP sessions are also susceptible to in-memory credential harvesting, which can be used to launch pass the hash attacks.

In March 2012, Microsoft released an update for a critical security vulnerability in the RDP. The vulnerability allowed a Windows computer to be compromised by unauthenticated clients and computer worms.

RDP client version 6.1 can be used to reveal the names and pictures of all users on the RDP Server (no matter which Windows version) in order to pick one, if no username is specified for the RDP connection.

In March 2018 Microsoft released a patch for, a remote code execution vulnerability in CredSSP, which is a Security Support Provider involved in the Microsoft Remote Desktop and Windows Remote Management, discovered by Preempt.

In May 2019 Microsoft issued a security patch for ("BlueKeep"), a vulnerability which allows for the possibility of remote code execution and which Microsoft warned was "wormable", with the potential to cause widespread disruption. Unusually, patches were also made available for several versions of Windows that had reached their end-of-life, such as Windows XP. No immediate malicious exploitation followed, but experts were unanimous that this was likely, and could cause widespread harm based on the number of systems that appeared to have remained exposed and unpatched.

In July 2019, Microsoft issued a security patch for, a RDP vulnerability that affects Hyper-V.

Clients
Since the release of Remote Desktop Connection, there have been several additional Remote Desktop Protocol clients created by both Microsoft and other parties including Microsoft Remote Desktop, rdesktop, and FreeRDP.

Servers
In addition to the Microsoft-created Remote Desktop Services, open-source RDP servers on Unix include FreeRDP (see above), ogon project and xrdp. The Windows Remote Desktop Connection client can be used to connect to such a server. There is also Azure Virtual Desktop which makes use of RDP and is a part of the Microsoft Azure platform.

There is also a VirtualBox Remote Display Protocol (VRDP) used in the VirtualBox virtual machine implementation by Oracle. This protocol is compatible with all RDP clients, such as that provided with Windows but, unlike the original RDP, can be configured to accept unencrypted and password unprotected connections, which may be useful in secure and trusted networks, such as home or office LANs. By default, Microsoft's RDP server refuses connections to user accounts with empty passwords (but this can be changed with the Group Policy Editor ). External and guest authorization options are provided by VRDP as well. It does not matter which operating system is installed as a guest because VRDP is implemented on the virtual machine (host) level, not in the guest system. The proprietary VirtualBox Extension Pack is required.

Patents
Microsoft requires third-party implementations to license the relevant RDP patents. , the extent to which open-source clients meet this requirement remains unknown.

Use in cybercrime
Security researchers reported in 2016-17 that cybercriminals were selling compromised RDP servers on underground forums as well as specialized illicit RDP shops. These compromised RDPs may be used as a "staging ground" for conducting other types of fraud or to access sensitive personal or corporate data. Researchers further report instances of cybercriminals using RDPs to directly drop malware on computers.

title: Remote Desktop Protocol


text:
User:Druidgnome

I've done a whole three wikipedia entries, back in roughly the 14th century.

http://en.wikipedia.org/wiki/Blues_Magoos http://en.wikipedia.org/wiki/Nuggets:_Original_Artyfacts_from_the_First_Psychedelic_Era%2C_1965-1968 http://en.wikipedia.org/wiki/Lonnie_Frisbee

Can you dig it?

title: User:Druidgnome


text:
Ambassador Hotel (Los Angeles)

The Ambassador Hotel was a hotel in Los Angeles, California. Designed by architect Myron Hunt, the Ambassador Hotel formally opened to the public on January 1, 1921. Later renovations by architect Paul Williams were made to the hotel in the late 1940s. It was also home to the Cocoanut Grove nightclub, a premier Los Angeles night spot for decades; host to six Oscar ceremonies and to every United States President from Herbert Hoover to Richard Nixon.

Prominent figures such as Frank Sinatra, Judy Garland, Sammy Davis, Nat King Cole, Lena Horne, Barbra Streisand, Bing Crosby, John Wayne, Lucille Ball, Marilyn Monroe, Yma Sumac, Ray Charles, and The Supremes were some of the many entertainers who attended and performed at the Cocoanut Grove.

The hotel was the site of the assassination of United States Senator Robert F. Kennedy on June 5, 1968. Due to the decline of the hotel and the surrounding area, the Ambassador Hotel was closed to guests in 1989. In 2001, the Los Angeles Unified School District (LAUSD) purchased the property with the intent of constructing three new schools within the area. After subsequent litigations to preserve the hotel as a historic site, a settlement allowed the Ambassador Hotel to be demolished in 2005, completed by early 2006.

Background
Located at 3400 Wilshire Boulevard, between Catalina Street and Mariposa Avenue in present-day Koreatown, The Ambassador was set back from Wilshire Boulevard on 24 acres, which included the main hotel structure, a garage and numerous detached bungalows.

The Ambassador was built as part of the Ambassador Hotels System. At the time the hotel opened, on New Year's Day 1921, the chain consisted of The Ambassador in Los Angeles, the Hotel Alexandria in Los Angeles, The Ambassador in Santa Barbara, The Ambassador in Atlantic City and The Ambassador in New York. The Santa Barbara property burned down soon after on April 13, 1921, the Alexandria left the chain in 1925, while the Ambassador Palm Beach joined in 1929. The Schine Family owned The Ambassador from its opening in 1921 until 1971.

The Ambassador Hotel was frequented by celebrities, some of whom, such as Pola Negri, resided there. From 1930 to 1943, six Academy Awards ceremonies were hosted at the hotel. Perhaps as many as seven U.S. presidents stayed at the Ambassador, from Hoover to Nixon, along with chiefs of state from around the world. For decades, the hotel's famed Cocoanut Grove nightclub hosted well-known entertainers, such as Frank Sinatra, Barbra Streisand, Judy Garland, Shep Fields, Veloz & Yolanda, Lena Horne, Nancy Wilson, Bing Crosby, Nat King Cole, Liza Minnelli, Martin and Lewis, The Supremes, Merv Griffin, Dorothy Dandridge, Vikki Carr, Evelyn Knight, Vivian Vance, Dick Haymes, Sergio Franchi, Perry Como, Dizzy Gillespie, Benny Goodman, Sammy Davis Jr., Little Richard, Liberace, Natalie Cole, Richard Pryor and Shirley Bassey.

Early history
Designed by American architect Myron Hunt, the Ambassador Hotel opened for business at the stroke of midnight on January 1, 1921, and quickly established a new standard of hotel luxury. Guests were greeted by a grand lobby upon arrival, with an oversized Italian fireplace, crystal chandeliers, oriental carpets and luxurious draperies adorning the lobby, along with a choice of 1,000 guestrooms and bungalows. The hotel occupied 23.7 acres at 3400 Wilshire Boulevard, bordered by Wilshire Boulevard at the north, 8th Street at the south, Catalina Street at the east, and nearly to Mariposa Avenue at the west. When the hotel's Cocoanut Grove nightclub opened on April 21, 1921, it had officially solidified the hotel's social scene. In the 1980 book, Are the Stars Out Tonight?, former Ambassador PR Director, Margaret Tante Burk, recalls the Grove's opening night:

"'...on the night of April 21, 1921… the new club officially opened its Moroccan style, gold leaf and etched palm tree doors... The Cocoanut Grove was aptly named, guests agreed as they were escorted by the maître de and captains down the wide plush grand staircase... Overhead, soaring about the room were cocoanut trees of papier mache, cocoanuts and palm fronds which had been rescued from the sandy beaches of Oxnard where they had served as atmosphere of the 1921 classic, The Sheik. Swinging from their branches were stuffed monkeys blinking at the revelers with their electrified amber eyes. Stars twinkled in the blue ceiling sky, and on the southernmost wall hung a full Hawaiian moon presiding over a painted landscape and splashing waterfall.'"

The Cocoanut Grove was frequented by celebrities such as Louis B. Mayer, Charlie Chaplin, Douglas Fairbanks, Mary Pickford, Howard Hughes, Clara Bow, Rudolph Valentino, Gloria Swanson, Anna May Wong, Norma Talmadge and others. According to Photoplay, Joan Crawford and Carole Lombard were frequent competitors in the Charleston contests held on Friday nights; Lombard was discovered at the Grove. The famous artificial palm trees that adorned the Cocoanut Grove were left from Rudolph Valentino's 1921 silent romantic drama film The Sheik. The names of the hotel and its nightclub quickly became synonymous with glamour. As a result, “Cocoanut Grove" would become a trendy name for bars and clubs across the United States.

Beginning in 1928, Gus Arnheim led the Cocoanut Grove Orchestra, in which six to seven songs were sung each night. At one point, there was a two-hour broadcast of the orchestra on radio. By the 1930s, the Cocoanut Grove was frequented by cinema stars like Norma Shearer, Irving Thalberg, Clark Gable, Katharine Hepburn, Spencer Tracy, Cary Grant, John Wayne, Henry Fonda, Loretta Young, Lucille Ball, Ginger Rogers and many others. On February 29, 1940, the 1939 Academy Awards Ceremony was held in the Cocoanut Grove, with Bob Hope hosting the awards. The 1953 Golden Globe awards were presented at the hotel.

During World War II, servicemen from the U.S. military mingled with movie stars at the hotel during numerous galas and fundraising events to help with war efforts.

Loyce Whiteman, singer for the Cocoanut Grove Orchestra, recalled, "the most beautiful thing about the Grove is that they stood in front of you when you sang and just swayed to the music. Joan Crawford would stand at the stand and sing a couple of choruses with the band. It was a house full of stars."

Assassination of Robert F. Kennedy
On June 5, 1968, the winner of the California Democratic presidential primary election, United States Senator Robert F. Kennedy, gave a victory speech at the Ambassador Hotel to supporters. After the speech in the Embassy Room, Kennedy was shot three times along with five other people in the pantry area of the hotel's main kitchen soon after midnight. Palestinian immigrant Sirhan Sirhan was arrested at the scene and later convicted of the murder. Kennedy died the following day at Good Samaritan Hospital; the other victims all survived. During the demolition of the Ambassador Hotel in late 2005 and early 2006, portions of the area where the 1968 shooting occurred were eliminated from the site. The section of Wilshire Boulevard in front of the hotel has been signed the "Robert F. Kennedy Parkway".

Decline and closure
The death of Robert F. Kennedy marked the demise of the hotel coinciding with the decline of the surrounding neighborhood during the late 1960s and 1970s. The area also saw a surge of illegal drugs, poverty, and gang activity infiltrating the Wilshire corridor. Under the direction of Sammy Davis, Jr., the “Now Grove” replaced the classic Cocoanut Grove in 1970 in order to appeal to a modern nightclub crowd. However, patrons lost interest in both the hotel and the neighborhood surrounding it, which caused the Ambassador Hotel to fall into disrepair throughout the years. The Ambassador Hotel closed to guests in 1989, but it remained opened for filming and hosting private events. In 1991, Donald Trump, who had bought the hotel in hopes of tearing it down to build a 125-story building, sold off silver serving platters with the hotel's eagle-topped crest, tiki-style soup bowls from the famed Cocoanut Grove nightclub, and beds and nightstands from the rooms.

Preservation efforts
From 2004 and 2005, the Ambassador Hotel became the topic of a legal struggle between the Los Angeles Unified School District (LAUSD), which planned to clear the site and construct a school on the property, and the Los Angeles Conservancy and the Art Deco Society of Los Angeles, who wanted the hotel and its various elements preserved and integrated into the future school.

The Location Managers Guild organized an event together with the Jefferson High School Academy of Film and Television in March 2005, entitled Last Looks: The Ambassador Hotel. They mentored students in script breakdown and location scouting, using the hotel as a potential location to be scouted, documenting the property one last time. The images taken by both the students and the professionals were then exhibited side by side at Los Angeles City Hall.

After much litigation, a settlement was attained at the end of August 2005, allowing the demolition to begin in exchange for the establishment of a $4.9 million fund, reserved for saving historic school buildings in the Los Angeles Unified School District.

Demolition
On September 10, 2005, a final public auction was held for the remaining fittings in the hotel's parking lot, with demolition commencing soon afterwards. On January 16, 2006, the last section of the Ambassador Hotel fell, leaving only the annex that housed the hotel's entrance, shopping arcade, coffee shop, and the Cocoanut Grove, which were promised to be preserved in some manner and integrated within the new school. A ceremony commemorating the demolition of the hotel was held across the street on February 2, 2006, at the H.M.S. Bounty restaurant, located on the ground floor of the Gaylord Apartments.

The Cocoanut Grove was renovated several times before, which destroyed much of its architectural integrity. It was promised that it would undergo yet another major transformation before becoming the auditorium for the new school. Also promised was preservation of the attached ground floor coffee shop, designed by architect Paul Williams. Studies by the LAUSD determined that the integrity of the Cocoanut Grove was weaker than anticipated and that they could neither use it within the planned school nor move it without risking its destruction. In 2004, the LAUSD board voted in favor of demolishing most of the Cocoanut Grove, retaining only the hotel entrance and east wall of the Grove. Litigation between the district and the Los Angeles Conservancy, which had sought to preserve the Ambassador Hotel, was settled out of court on December 18, 2007; demolition began on January 22, 2008.

New school
The Central Los Angeles New Learning Center #1 K–3, and Central Los Angeles New Learning Center #1 4–8/HS, along with the Robert F. Kennedy Inspiration Park, were built on the site.

The six schools were named as the Robert F. Kennedy Community Schools. The K–3 facility opened on September 9, 2009, and the 4–8 and high school facility began operation on September 14, 2010. The north side of the new school has a slightly similar appearance to the original facade of the hotel and north lawns will remain much the same, as seen from Wilshire Boulevard.

In popular culture
The Ambassador Hotel was a filming location and backdrop for movies and television programs, starting with Jean Harlow's 1933 film Bombshell. An early MGM color short film, Starlit Days at the Lido (1935), was filmed in the Lido Spa at the Ambassador Hotel. In the 1980s and early 2000s, the hotel was filmed in Forrest Gump; Murder, She Wrote; Beverly Hills, 90210; S.W.A.T.; The Italian Job; Blow; Mafia!; and much more. It was also used in period films such as Almost Famous, Apollo 13, Catch Me If You Can, Hoffa, and That Thing You Do.

The interactive movie/game based on the 1995 film Johnny Mnemonic was filmed here with a $3 million budget.

The last project filmed in the Ambassador Hotel's kitchen was "Spin the Bottle", a 2004 episode of the TV series Angel. The 2006 film Bobby was the last project to film on the hotel property, gaining access in late 2005 to film crucial establishing shots even while portions of the hotel were already in the process of being demolished.

The Ambassador Hotel itself has also been depicted in films. The Cocoanut Grove was recreated in the films The Thirteenth Floor and The Aviator.

The Cocoanut Grove hosted musician Roy Orbison and several performers on September 30, 1987, for the television special Roy Orbison and Friends: A Black and White Night, first shown on Cinemax on January 3, 1988. Rock band Linkin Park held their press photo shoot for their 2003 album Meteora at the hotel. Guns N' Roses filmed the music video for their song, "Patience", in the hotel in 1989. R&B singer Chuckii Booker filmed the music video for his song "Games" from the album Niice 'n Wiild at the hotel in 1992. The hotel also served as the filming location for the music video of the 1997 Marilyn Manson single "Long Hard Road Out of Hell" off the soundtrack for the Todd McFarlane motion picture Spawn. Rock band 311 used the lobby of hotel as the backdrop for a photo shoot of the album cover of their 2003 album Evolver. In November 1997, punk-rock band Green Day filmed the music video to the song "Good Riddance (Time of Your Life)" in the hotel.

title: Ambassador Hotel (Los Angeles)


text:
Otto Robert Frisch

Otto Robert Frisch (1 October 1904 – 22 September 1979) was an Austrian-born British physicist who worked on nuclear physics. With Otto Stern and Immanuel Estermann he first measured the magnetic moment of the proton. With Lise Meitner he advanced the first theoretical explanation of nuclear fission (coining the term) and first experimentally detected the fission by-products. Later, with his collaborator Rudolf Peierls he designed the first theoretical mechanism for the detonation of an atomic bomb in 1940.

Early life
Frisch was born in Vienna in 1904 to a Jewish family, the son of Justinian Frisch, a painter, and Auguste Meitner Frisch, a concert pianist. He himself was talented at both but also shared his aunt Lise Meitner's love of physics and commenced a period of study at the University of Vienna, graduating in 1926 with some work on the effect of the newly discovered electron on salts.

Nuclear physics
After some years working in relatively obscure laboratories in Germany, Frisch obtained a position in Hamburg under the Nobel Prize-winning scientist Otto Stern. Here he produced work on the diffraction of atoms (using crystal surfaces) and also proved that the magnetic moment of the proton was much larger than had been previously supposed.

The accession of Adolf Hitler to the chancellorship of Germany in 1933 caused Otto Robert Frisch to make the decision to move to London, where he joined the staff at Birkbeck College and worked with the physicist Patrick Maynard Stuart Blackett on cloud chamber technology and artificial radioactivity. He followed this with a five-year stint in Copenhagen with Niels Bohr where he increasingly specialised in nuclear physics, particularly in neutron physics.

Nuclear fission
During the Christmas holiday in 1938, he visited his aunt Lise Meitner in Kungälv. While there she received the news that Otto Hahn and Fritz Strassmann in Berlin had discovered that the collision of a neutron with a uranium nucleus produced the element barium as one of its byproducts. Hahn, in a letter to Meitner, called this new reaction a "bursting" of the uranium nucleus. Frisch and Meitner hypothesized that the uranium nucleus had split in two, explained the process, and estimated the energy released, and Frisch coined the term fission, adopted from a process in biology, to describe it.

Political restraints of the Nazi era forced the teams of Hahn and Strassmann and that of Frisch and Meitner (both of whom were Jewish) to publish separately. Hahn's paper described the experiment and the finding of the barium byproduct. Meitner's and Frisch's paper explained the physics behind the phenomenon.

Frisch went back to Copenhagen, where he was quickly able to isolate the pieces produced by fission reactions. As Frisch himself later recalled, a fundamental idea of the direct experimental proof of the nuclear fission was suggested to him by George Placzek. Many feel that Meitner and Frisch deserved Nobel Prize recognition for their contributions to understanding fission.

In mid-1939 Frisch left Denmark for what he anticipated would be a short trip to Birmingham, but the outbreak of World War II precluded his return. With war on his mind, he and the physicist Rudolf Peierls produced the Frisch–Peierls memorandum at the University of Birmingham, which was the first document to set out a process by which an atomic explosion could be generated. Their process would use separated uranium-235, which would require a fairly small critical mass and could be made to achieve criticality using conventional explosives to create an immensely powerful detonation. The memorandum went on to predict the effects of such an explosion—from the initial blast to the resulting fallout. This memorandum was the basis of British work on building an atomic device (the Tube Alloys project) and also that of the Manhattan Project on which Frisch worked as part of the British delegation. Frisch and Rudolf Peierls worked together in the Physics Department at the University of Birmingham 1939–40. He went to America in 1943 having been hurriedly made a British citizen.

Manhattan Project
In 1944 at Los Alamos, one of Frisch's tasks as the leader of the Critical Assemblies group was to accurately determine the exact amount of enriched uranium which would be required to create the critical mass, the mass of uranium which would sustain a nuclear chain reaction. He did this by stacking several dozen 3 cm bars of enriched uranium hydride at a time and measuring rising neutron activity as the critical mass was approached. The hydrogen in the metal bars increased the time that the reaction required to accelerate. One day Frisch almost caused a runaway reaction by leaning over the stack, which he termed the "Lady Godiva assembly". His body reflected neutrons back into the stack. Out of the corner of his eye he saw that the red lamps that flickered intermittently when neutrons were being emitted, were 'glowing continuously'. Realizing what was happening, Frisch quickly scattered the bars with his hand. Later he calculated that the radiation dose was "quite harmless" but that if he "had hesitated for another two seconds before removing the material ... the dose would have been fatal". "In two seconds he received, by the generous standards of the time, a full day's permissible dose of neutron radiation." In this way his experiments determined the exact masses of uranium required to fire the Little Boy bomb over Hiroshima.

He also designed the "dragon's tail" or "guillotine" experiment in which a uranium slug was dropped through a hole in larger fixed mass of uranium, reaching just above critical mass (0.1%) for a fraction of a second. At the meeting to approve the experiment, Richard Feynman, commenting on the transient danger involved, said it was "just like tickling the tail of a sleeping dragon." In the period of about 3 milliseconds, the temperature rose at a rate of 2000 °C per sec and over 1015 excess neutrons were emitted.

Return to England
In 1946 he returned to England to take up the post of head of the nuclear physics division of the Atomic Energy Research Establishment at Harwell, though he also spent much of the next thirty years teaching at Cambridge where he was Jacksonian Professor of Natural Philosophy and a fellow of Trinity College.

Before he retired he designed a device, SWEEPNIK, that used a laser and computer to measure tracks in bubble chambers. Seeing that this had wider applications, he helped found a company, Laser-Scan Limited, now known as Laser-Scan Engineering Ltd., to exploit the idea.

Retirement
He retired from the chair in 1972 as required by University regulations. He died on 22 September 1979.

title: Otto Robert Frisch


text:
William Branch Giles

William Branch Giles (August 12, 1762 – December 4, 1830; the g is pronounced like a j) was an American statesman, long-term Senator from Virginia, and the 24th Governor of Virginia. He served in the House of Representatives from 1790 to 1798 and again from 1801 to 1803; in between, he was a member of the Virginia House of Delegates and was an Elector for Jefferson (and Aaron Burr) in 1800. He served as a United States Senator from 1804 to 1815 and then served briefly in the House of Delegates again. After a time in private life, he joined the opposition to John Quincy Adams and Henry Clay in 1824; he ran for the Senate again in 1825 and was defeated but appointed Governor for three one-year terms in 1827; he was succeeded by John Floyd, in the year of his death.

Biography
He was born and died in Amelia County, where he built his home, The Wigwam. Giles attended Prince Edward Academy, now Hampden–Sydney College, and the College of New Jersey, now Princeton University; he probably followed Samuel Stanhope Smith, who was teaching at Prince Edward Academy when he was appointed President of the College in 1779. He then went on to study law with Chancellor George Wythe and at the College of William and Mary; he was admitted to the bar in 1786. Giles supported the new Constitution during the ratification debates of 1788 but was not a member of the ratifying convention.

Giles was elected to the U.S. House of Representatives in a special election in 1790, taking the seat of Theodorick Bland, who had died in office on June 1; he is believed to be the first member of the United States Congress to be elected in a special election. He was to be re-elected three times; he resigned on October 2, 1798, on the grounds of ill health and in disgust at the Alien and Sedition Acts.

During this first period in Congress, he fervently supported his fellow Virginians James Madison and Thomas Jefferson against Alexander Hamilton and his ideas for a national bank preferring Jefferson's idea of an agrarian republic. Working with Jefferson and Madison, he introduced three sets of resolutions in 1793, which attempted to censure Hamilton's "administration of finances" as Secretary of the Treasury to the point of accusing him of maladministration in office under the Funding Act of 1790 to force the US to repay America's debts to France following the French Revolution. Per this goal, he opposed the pro-British Jay's Treaty and resisted naval appropriation to be used against France during the Quasi-War. In the same year, he voted for the Kentucky and Virginia Resolutions in the House of Delegates to declare the Alien and Sedition Acts unconstitutional.

After another term in the House, from 1801 to 1803, Giles was appointed as a Senator from Virginia after the resignation of Wilson Cary Nicholas in 1804. Giles served in the US Senate and was reappointed in 1810 until he resigned on March 3, 1815. Giles strongly advocated the removal of Justice Samuel Chase after his impeachment, urging the Senate to consider it as a political decision (as to whether the people of the United States should have confidence in Chase) rather than as a trial.

Giles was deeply disappointed by the acquittal of Chase. He supported the election of Madison as president in 1808, in preference to the Federalist candidate Charles Cotesworth Pinckney. Giles was Madison's chief advocate in Virginia.

After the election, however, he joined with Senator Samuel Smith of Maryland and his brother Robert Smith, the Secretary of State, in criticizing Madison; first as too weak on Britain and then, in 1812, as too precipitate in going to war; however, voted for the declaration of war. He disliked Albert Gallatin, the Secretary of the Treasury, who was primarily responsible for preventing his nomination as Secretary of State and defeating Gallatin's bill of 1811 for a new Bank of the United States.

Giles's refusal to accept the General Assembly's instructions led to his rejection at the next poll for a senator. (The state legislatures elected senators in those days.) Giles served one relatively uneventful term in the Virginia House of Delegates in 1816–1817 and then retired from political office for a time. He, however, published opinion pieces and columns, chiefly in the Richmond, Virginia, Enquirer, in which he deplored the Era of Good Feelings as false prosperity, given over to banks, tariffs, and fraudulent internal improvements; these would centralize and corrupt government, and ruin the farmers. He attacked John Quincy Adams and Henry Clay as he had attacked Hamilton, calling them corrupt Anglophiles.

Giles also published a criticism of the Jeffersonian program for public education. Giles argued that it was unjust to tax one man to educate another man's children, and the teachers that the government employed would constitute a special interest, always ready to vote for higher taxes and government spending. Besides, he said, giving every boy in Virginia three years of school would have limited practical utility, deprive farm families of much-needed labor power, and leave the typical "scholar" unfitted for the return to hard labor that awaited him.

When James Barbour left the Senate in 1825, Giles attempted to persuade the legislature to appoint him as a replacement; they appointed John Randolph instead. In 1826, Giles was again elected to the House of Delegates, and in 1827 he was elected Governor; Giles served as Governor of Virginia for three terms, from March 4, 1827, to March 4, 1830. From the governorship, Giles encouraged Virginia's Senator Littleton Waller Tazewell to organize a southern resistance to the American System of Henry Clay centered on a boycott on northern manufactures. Tazewell found little support for it among southern senators.

In Giles's last term, he was a member of the Virginia Constitutional Convention of 1829–1830 where he strongly supported the existing apportionment of the House of Delegates, giving the eastern counties of Virginia, with a minority of the voters, control of the legislature. He did favor reform of the suffrage requirements, however. Giles also opposed the movement in the convention to strengthen his own office, the governorship. Strong governorships in other states, such as New York, were at the center of political machines kept together by patronage and corruption, he said, and the reason that Virginia had not suffered from those ills was that the governorship in his state was too weak to be worth fighting for. Rather than follow the example of New York, with its party machine, it was better for Virginia to retain George Mason's executive model. Giles lost to some extent: while the governor's term remained short and was still accountable to the General Assembly, the Constitution of 1830 abolished the privy council, thus making the governorship a bit more independent.

Legacy
Giles married twice; first, Martha Peyton Tabb, in 1797; he built his 18-room house, "The Wigwam," for her. They had three children. After she died in 1808, he married Frances Ann Gwynn in 1810 and had three more children.

Counties in two states were named in his honor: Giles County, Virginia and Giles County, Tennessee. His name also graces a residence hall at the College of William and Mary.

The Wigwam was added to the National Register of Historic Places in 1969.

title: William Branch Giles


text:
Carlos García (baseball)

Carlos Jesús García Guerrero (born October 15, 1967) is a Venezuelan former professional baseball second baseman and right-handed batter who played for the Pittsburgh Pirates (1990–1996), Toronto Blue Jays (1997), Anaheim Angels (1998) and San Diego Padres (1999). He is a former Manager of the Pirates' Double-A affiliate, the Altoona Curve. In 2018, he became manager of the Acereros de Monclova of the Mexican League.

Playing career
García signed as an amateur free agent with the Pirates in 1987. He spent nearly three seasons at the Pirates' AAA Buffalo farm team. García had his best season yet at Buffalo in 1992, batting .303, with 13 home runs and 70 runs batted in. Originally a shortstop the Pirates' trade of José Lind offered García an opportunity at second base, as Jay Bell was entrenched at shortstop. He enjoyed his best seasons in 1995 and 1996, batting .294 and .285.

In a 610-game career, García hit for .266 (580 of 2178), with 33 homers, 197 RBI, 274 runs scored, 102 doubles, 17 triples and 73 stolen bases.

He was the Pirates lone representative at the 1994 All Star game; he singled in his only at bat.

In 1996, García was traded with Orlando Merced and Dan Plesac to the Toronto Blue Jays for José Silva, two minor leaguers, and players to be named later, who included Abraham Núñez and Craig Wilson. García finished his career with single seasons with the Blue Jays, Anaheim Angels and San Diego Padres.

Coaching career
García served as the first base and third base coaches for the Seattle Mariners from 2005 through 2007. He served as the first base coach and infield instructor for the Pittsburgh Pirates for the 2010 season.

Carlos was named the manager of the Bradenton Marauders, the Class High-A affiliate of the Pittsburgh Pirates, in December 2010. In 2013, he was promoted as manager of the Pirates' Double-A affiliate the Altoona Curve. It was announced on Sep 23, 2014 that he would be fired from his position with the Altoona Curve.

García was announced as the hitting coach for the Acereros de Monclova of the Mexican League for the Spring Tournament of the 2018 season. He was promoted to manager for the Fall Tournament of the 2018 season, but left the organization prematurely for personal reasons.

title: Carlos García (baseball)