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Piano Sonata No. 5 (Scriabin)

The Piano Sonata No. 5, Op. 53, is a work written by Alexander Scriabin in 1907. This was his first sonata to be written in one movement, a format he retained from then on. A typical performance lasts from 11 to 12 minutes. The work is considered to be one of Scriabin's most difficult compositions, both technically and musically.

Composition

After finishing his symphonic poem Le Poème de l'Extase, Op.54, Scriabin did not feel comfortable living in Paris. In early September 1907 he wrote: Life is fearfully expensive, and the climate is rotten. The air in the areas where we could find an apartment big enough for us at a reasonable price is frightful ... you cannot make any noise. You have to wear house slippers after 10 at night.

Scriabin decided to go to live in Lausanne with his pregnant wife Tatyana, since he found the place to be cheaper, quieter, and healthier, and only 7 hours away from Paris. Also, he had his music being printed there, as he had recently broken his long-term partnership with publisher M.P. Belaieff due to financial discrepancies.

In his new peaceful household in Edifice C Place de la Harpe, Scriabin could play the piano without fear of complaints from neighbours, and soon began to compose again, alongside the revisions he was making to the score of Le Poème. On 8 December, Tatyana wrote to a friend: We go out a little, having caught up on our sleep. We begin to look normal again. Sasha even has begun to compose – 5th Sonata!!! I cannot believe my ears. It is incredible! That sonata pours from him like a fountain. Everything you have heard up to now is as nothing. You cannot even tell it is a sonata. Nothing compares to it. He has played it through several times, and all he has to do is to write it down ...

In late December, Scriabin wrote to Morozova about the imminent completion of his new work: "The Poem of Ecstasy took much of my strength and taxed my patience. ... Today I have almost finished my 5th Sonata. It is a big poem for piano and I deem it the best composition I have ever written. I do not know by what miracle I accomplished it ..."

Although the actual writing took only six days, from 8 to 14 December 1907, some ideas had been conceived much earlier. The initial nine bars of the first theme of the exposition, Presto con allegrezza (mm. 47 ff.), can be found in a notebook from 1905 to 1906, when Scriabin was in Chicago. Another notebook from 1906 contains the Imperioso theme (mm. 96 ff.), while elements from the Meno vivo (mm. 120 ff.) can also be made out, as well as sketched-out passages for a few other sections.

Scriabin included an epigraph to this piano sonata, extracted from his essay Le Poème de l'Extase: Original Russian text Я к жизни призываю вас, скрытые стремленья! Вы, утонувшие в темных глубинах Духа творящего, вы, боязливые Жизни зародыши, вам дерзновенье приношу! Original French translation Je vous appelle à la vie, ô forces mysterieuses! Noyées dans les obscures profondeurs De l'esprit créateur, craintives Ebauches de vie, à vous j'apporte l'audace! English translation I call you to life, O mysterious forces!'' Drowned in the obscure depths'' Of the creative spirit, timid'' Shadows of life, to you I bring audacity!

Five months after its completion, Scriabin published the work himself in Lausanne, producing an edition with 300 copies. He later gave the autograph as a present to his pupil Alfred La Liberté. In 1971 the pianist's widow gave the manuscript, along with various other documents, to the Scriabin Museum.

The work was premiered on 18 November 1908 in Moscow by pianist Mark Meitschik.

Structure
The piece is written in sonata form with an introduction. The structure of the work is described in the table below:

Harmonic language
According to Samson, unlike his later sonatas, the sonata-form of this work still has some meaning to the work's tonal structure. That means the sonata is arguably in F-sharp major (owing to the initial key signature of six sharps), but the sonata could also be said to be atonal due to its lack of a definite tonal center.

The work does not contain any perfect cadence, nor any consonant chord.

The work features one of the strange occurrences of the complete mystic chord spelled in fourths (mm. 264 and 268). Jim Samson points out that it fits in well with Scriabin's predominantly dominant quality sonorities and harmony as it may take on a dominant quality on C or F♯. This tritone relationship between possible resolutions is important to Scriabin's harmonic language, and it is a property shared by the French sixth (also prominent in his work).

The piece also contains an incipient instance of the mystic chord which helps illuminate its origins in tonal language; first appearing at m. 122, the set [0 2 4 6 T] is presented as a dominant chord with the flat fifth degree in the bass, later revealed to be an extended appoggiatura to the tonic (m. 134), over which the same notes form a major 13th chord in root position. Compare this presentation with the 'mature' mystic chord, [0 1 3 5 7 9].

Recordings
This is Scriabin's most recorded sonata. Pianist Sviatoslav Richter described it as the most difficult piece in the entire piano repertory.

Notable recordings include those by Alexei Sultanov, Vladimir Ashkenazy, Vladimir Horowitz, Sviatoslav Richter, Vladimir Sofronitsky, Michael Ponti, Samuil Feinberg, Glenn Gould, Garrick Ohlsson, Marc-André Hamelin, Bernd Glemser, Maria Lettberg, Igor Zhukov and Pietro Scarpini.

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

title: Piano Sonata No. 5 (Scriabin)


text: Category:Douglas County, Nevada

title: Category:Douglas County, Nevada


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Acre-foot

The acre-foot is a non-SI unit of volume equal to about 1 acre ft commonly used in the United States in reference to large-scale water resources, such as reservoirs, aqueducts, canals, sewer flow capacity, irrigation water, and river flows.

An acre-foot equals approximately an eight-lane swimming pool, 25 m long, 16 m wide and 3 m deep.

Definitions
As the name suggests, an acre-foot is defined as the volume of one acre of surface area to a depth of one foot.

Since an acre is defined as a chain by a furlong (i.e. 66 ×), an acre-foot is 43,560 cuft.

There are two definitions of an acre-foot (differing by about 0.0006%), depending on whether the "foot" used is an "international foot" or a "U.S. survey foot".

Application
As a rule of thumb in US water management, one acre-foot is taken to be the planned annual water usage of a suburban family household. In some areas of the desert Southwest, where water conservation is followed and often enforced, a typical family uses only about 0.25 acre-foot of water per year. One acre-foot/year is approximately 3.38 m3/d.

The acre-foot per year has been used historically in the US in many water-management agreements, for example the Colorado River Compact, which divides 15 e6acre-ft/year among seven western US states.

Water reservoir capacities in the US are commonly given in thousands of acre-feet, abbreviated TAF or KAF.

In most other countries except the US, the metric system is in common use and water volumes are normally expressed in liter, cubic meter or cubic kilometer. One acre-foot is approximately equivalent to 1.233 megaliters. Large bodies of water may be measured in cubic kilometers (1,000,000,000 m$325,851 3/7$, or 1000 gigaliter), with 1 million acre-feet approximately equalling 1.233 km$3$.

title: Acre-foot


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Wikipedia:Articles for deletion/Unhexennium

Stub about an element that has not yet been discovered, and probably will not be for a long, long time. (It's in period 9 and has an atomic number over 50 greater than that of the highest discovered element.) Eric119 05:05, Aug 14, 2004 (UTC)
 * Delete. The element doesn't even exist, and it's doubtful it ever will. --Slowking Man 05:18, Aug 14, 2004 (UTC)
 * Delete: Obviously, this is the stuff you need in your pocket to remove VfD tags and to get rid of political double standards on Michael Moore films. Geogre 14:31, 14 Aug 2004 (UTC)
 * For curiosity, what is the atomic number of the largest chemical element it is possible to produce?? Has this atomic number been proven to be impossible?? 66.245.111.32 18:30, 14 Aug 2004 (UTC)
 * Delete. Google pulls up zero hits for this nomenclature. I would be cautious of statements such as "it's doubtful it ever will" (be created) - nuclear physics has nowhere near exhausted its capacity to produce heavy elements, but there is some distance to go to reach element 169. To answer 66.245, there is no theoretical limit to the largest atomic number it is possible to create. Higher-numbered elements (those above lead) become increasingly unstable with size, and one of the requisite measures of whether a particle exists is was it possible to measure a lifetime before the particle decayed into lighter elements. There is certainly a practical limit, based on current technology, but I have never heard discussion of any sort of theoretical limit. Denni ☯ 19:36, 2004 Aug 14 (UTC)
 * Strong keep. See Periodic table (extended) - the names for upcoming, yet-to-be-discovered elements are official and have gone forward to much further than this.  Unless you want to delete all of them.  RickK 19:39, Aug 14, 2004 (UTC)
 * Er, "delete all of them"? This is the only one higher than 120 that has a page. So, I say delete unless you want to create all of them. I agree the names are official but we can go arbitrarily high with them (e.g., septunnilenntrisepthexium). Eric119 19:59, Aug 14, 2004 (UTC)
 * Delete all of them if any others do exist. Delete all articles for what doesn't yet exist, so far as is known. unless there is a strong reason to keep a particular article because what it references is mentioned reasonably often in speculative writing. I imagine a bot working to create articles on all yet-to-be-discovered elements. :-( Jallan 21:09, 14 Aug 2004 (UTC)
 * Does a "strong keep" mean more than a normal one? If so, I vote for a strong delete since this name is just an extension of a system that has the capacity to name non-existent elements of any atomic number.
 * Delete - it's a dicdef at best. -- Cyrius|✎ 06:34, 16 Aug 2004 (UTC)
 * Delete the placeholder unless there is something concrete to say about it now. When the element is discovered, it will be renamed (likely for the discoverer).  Any article about the element will have to be created at that new name. Rossami 23:31, 17 Aug 2004 (UTC)
 * Delete - Keeping interesting undiscovered elements should be a no brainer. id est Island of stability elements, elements whose discovery was retracted or remains controversial or those which have pop culture references. This one fails any reasonable test. As an additional note - naming can take a long time - decades - between first possible discovery and final confirmation. This means that placeholder names could be in use for a long time, and have significant literature associated with them. Retracted discoveries have occured since the early 20th century. Stirling Newberry 01:35, 19 Aug 2004 (UTC)
 * Keep. --Dittaeva 10:16, 19 Aug 2004 (UTC)
 * Delete this one, unless someone can come up with something notable about it that distinguishes it from similar not-yet-created transuranics. I think it's reasonable to have articles on such elements if they are in some way notable- e.g. if there's an active project to look for/create them, or they have some theoretical significance or predicted properties, or (as Jallan suggested) literary references. This has none of the above.-FZ 18:02, 19 Aug 2004 (UTC)


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Talk:The East Is Red (song)

As I understand it, the correct characters for the onomatopoeia in the refrain are 呼尔嗨哟 (hu er hei yo). According to CPOC's news agency, the characters are 呼儿咳呀 (hu er ke ya), but I'll have to listen to some newer renditions of the song to verify this. --Taoster 05:06, 14 Aug 2004 (UTC)

 * You're probably right, I've never heard anyone sing "hu er hai yue", nor is that a normal-sounding interjection. I've changed it. -- ran (talk) 01:44, May 9, 2005 (UTC)

I just corrected one thing. Grammatically that is. It was "Because of its associations" or something along those lines. Anyway, the point is a sentence can't begin with a "because". So yeah, something really petty, but I changed it anyway. Rkeys 19:58, May 1, 2006 (AEST)

"...replaced by a revised version the "March of the Volunteers""? Riveised version? The current version of the national anthem "March of the Volunteers" is exactly the original version. Sinolonghai 21:18, 27 April 2007 (UTC)

Other East Is Red uses
We should have a mention of the Cultural Revolution "East is Red" red guard faction, of Beijiing Geological Institute. DOR (HK) (talk) 02:23, 25 April 2008 (UTC)

Fair use rationale for Image:The East Is Red.jpg
Image:The East Is Red.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 04:29, 21 January 2008 (UTC)

Cover version
Should mention the altered version by Holger Czukay, Jaki Liebezeit, and Jah Wobble (no, I'm not making that up).... AnonMoos (talk) 22:22, 25 August 2008 (UTC)

Sheets
Does anyone have the sheets of Dongfang Hong (I mean the Maoist anthem itself)? —Preceding unsigned comment added by 90.190.194.119 (talk) 17:54, 10 October 2010 (UTC)

Lyrics Translation
I want to express some concerns on this part, 他是人民大救, which is currently translated to "he is the people's great savior!" Using the word savior goes against the concept there are no savior of the word as in "从来就没有什么救世主，也不靠神仙皇帝", meaning "There has never been any saviour of the world, Nor deities, nor emperors on which to depend." I am well aware that this reference to the Internationale might not be valid bc of the period difference but I think it's nice to have some consistency between these two very important songs. The direct translation "the people's saving star" might be more appropriate or rather I would suggest "the people's liberator" as I think liberate might convey more a meaning of allowing the people to help themselves.

Jingsk (talk) 04:28, 20 July 2016 (UTC)

A Commons file used on this page has been nominated for deletion
The following Wikimedia Commons file used on this page has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 23:06, 9 June 2019 (UTC)
 * The East Is Red (1964).webm

Copyright problem removed
Prior content in this article duplicated one or more previously published sources. Copied or closely paraphrased material has been rewritten or removed and must not be restored, unless it is duly released under a compatible license. (For more information, please see "using copyrighted works from others" if you are not the copyright holder of this material, or "donating copyrighted materials" if you are.)

For legal reasons, we cannot accept copyrighted text or images borrowed from other web sites or published material; such additions will be deleted. Contributors may use copyrighted publications as a source of information, and, if allowed under fair use, may copy sentences and phrases, provided they are included in quotation marks and referenced properly. The material may also be rewritten, providing it does not infringe on the copyright of the original or plagiarize from that source. Therefore, such paraphrased portions must provide their source. Please see our guideline on non-free text for how to properly implement limited quotations of copyrighted text. Wikipedia takes copyright violations very seriously, and persistent violators will be blocked from editing. While we appreciate contributions, we must require all contributors to understand and comply with these policies. Thank you. MER-C 14:40, 23 March 2022 (UTC)

 * Hi, I'm not sure why you removed the melody and lyrics for the song "The East Is Red" as copyright infringement. According to Intellectual property in China there was no copyright in the PRC between 1949 and 1991, and the law before that (from 1928 to 1949) was only 30 years after the author's death.  Li Youyuan died in 1955, therefore, under the law in effect at the time he wrote the lyrics, they become public domain in 1985.  When China signed the Berne Convention in 1991, that probably didn't bring already public-domain works back into copyright, but even if it did, the Berne's 50-year rule would have run out in 2005 (and there is no need to apply a longer 70-year rule if that is not done by the originating country).  The melody was a folk song and out of copyright.  Therefore neither the melody nor the lyrics is in copyright now in 2022, so would it be possible to reinstate them?  Thanks. 79.64.223.212 (talk) 12:44, 24 March 2022 (UTC)
 * URAA. The US copyright must have been restored in 1996 when the song's PRC copyright was intact at that time. Also, Wikimedia servers are located in Virginia, making the projects subject to US law. Even when the song is out of copyright in China, the US copyright lasts until 2038. Want me to ping admins who removed the lyrics and hid revisions? --George Ho (talk) 18:18, 24 March 2022 (UTC)
 * How is the 2038 date calculated? I can't see how it could possibly have been in copyright later than 2005, counting 50 years after 1955.  URAA does not extend copyrights beyond the duration of that of their source countries or 50 years whichever is longer. 62.64.228.116 (talk) 00:25, 1 April 2022 (UTC)
 * I was using the Cornell charts and this one. Also, the US doesn't fully recognize or have clearer rule of the shorter term. Rather it needs proof that the non-US work is in the public domain in the source country or that such work was published within thirty days after the said work's first overseas publication. The former is easier to research, but the latter is harder. To put this another way, the US law would extend US copyright, even when the said work is out of copyright in the source country, as long as the US copyright was restored on the URAA date. --George Ho (talk) 01:58, 1 April 2022 (UTC)
 * Hmm... the 1990 China copyright law doesn't provide Schedule or Appendix clarifying the matter about older works published between 1949 and 1991. As I can assumed, the law implicitly restored copyright of those works even without saying anything else about those such works. I can stand corrected about this. --George Ho (talk) 18:42, 24 March 2022 (UTC)

title: Talk:The East Is Red (song)


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Mount Timpanogos

Mount Timpanogos, often referred to as Timp, is the second-highest mountain in Utah's Wasatch Range. Timpanogos rises to an elevation of 11752 ft above sea level in the Uinta-Wasatch-Cache National Forest. With 5270 ft of topographic prominence, Timpanogos is the 47th-most prominent mountain in the contiguous United States.

The mountain towers about 7000 ft over Utah Valley, including the cities of Lehi, Provo, Orem, Pleasant Grove, American Fork, Lindon and others. The exposed massif of the mountain is made up entirely of limestone and dolomite from the Pennsylvanian period, and is about 300 million years old. Heavy winter snowfall is characteristic of this portion of the Wasatch Range, and avalanche activity is common in winter and spring. The mountain is also home to Timpanogos Cave National Monument, a series of decorated caves in the north end of the mountain that have guided ranger tours open daily to the public during the warmer months.

Etymology
The word Timpanogos comes from the Timpanogos tribe who lived in the surrounding valleys from AD 1400. The name translates as "rock" (tumpi-), and "water mouth" or "canyon" (panogos).

Glacial activity
Mount Timpanogos displays many examples of various glacial processes and the sculpting power of moving ice. Ice Age glaciers mantled the peak until relatively recently and dramatically shaped the mountain into an Alpine tableau of knife-edge ridges and yawning, U-shaped amphitheaters. A remnant of these glaciers persists in the deeply recessed hanging valley below the main summit. Timpanogos Glacier is a rock-covered mass found on a long, north-facing slope and usually has patches of snow the entire year. Although an above-ground cirque glacier was present before the Dust Bowl Drought of the 1930s, no glacial ice is visible today. However, in 1994, a large crevasse opened up, revealing that there still is a glacier buried beneath the talus. Flowing water can occasionally be heard beneath the rocks. Emerald Lake, a small proglacial lake at the bottom of the cirque, often exhibits a blue color, indicating that the glacier is probably still moving, although perhaps too slowly to be noticeable. The locally unique ice is a relic of the region's formerly colder climate and has long been a major attraction to hikers and climbers on the mountain, who often slide down its permanent snowfield as a shorter descent route. Its precise classification remains the subject of ongoing debate, whether "real" or not.

Hiking

Mount Timpanogos is one of Utah's most popular hiking/climbing destinations and is climbed year-round. Winter climbing requires advanced mountaineering ability. In spring, undercutting of deeply drifted snow by streams creates a hazard that has proven fatal on several occasions. Climbers can fall through the undermined snow 50 ft or more into the icy stream underneath. Although it is a 14 mi round-trip hike, with almost 1 mi of elevation gain, Timpangos's summit is one of the most frequently visited in the Rocky Mountains. There are two main trails to the top: the first starts at Aspen Grove with a trailhead elevation of 6910 ft, and the second starts at the Timpooneke campground in American Fork Canyon at 7,370 ft. The two trails are nearly the same length. Hikers on the trails climb through montane forest, subalpine and alpine zones. The hike is marked by waterfalls, conifers, rocky slopes and ridges, mountain goats, and a small lake, Emerald Lake, at 10,380 ft. A short diversion will lead hikers past a World War II bomber crash site. Other climbing routes exist on the mountain, but they are more technically demanding and require special skills and mountaineering gear. Prior to 1970, an annual Provo event called the "Timp Hike" sent thousands of people up the mountain's slopes. From 1911 to 1970 this one-day event (which took place generally on the third or fourth weekend in July) attracted thousands of people to the mountain. It also created the need for infrastructure, such as the stone shelter built in 1959 near Emerald Lake and a smaller metal shack on the summit (this was used as an observation deck complete with brass rods etched with notches aligned with various landmarks). The hike caused environmental damage to the mountain, and was finally canceled to help preserve the delicate mountain ecosystem. Despite the presence of the existing structures, the mountain was designated a wilderness area by the U.S. Congress in 1984.

Geology
The rock which forms the visible surface of Mount Timpanogos is primarily limestone composed of compacted sediment laid down onto an ancient seafloor over millions of years during the late Carboniferous Period (roughly 300 million years ago). Older rock exists beneath the limestone on the surface. The limestone was subsequently lifted high above sea level and the mountain itself became prominent as the Western valley sunk due to basin and range faulting. The most contemporary features of the mountain were formed through recent glacial and water erosion.

Hazards
Since 1982 the Timpanogos Emergency Response Team ("TERT") has been established on the mountain on weekends to provide first aid, rescue and communication.

The Timpanogos Glacier is one of the major sources of injury or death to hikers on Timpanogos, particularly when some attempt to "glissade" (or slide rapidly) down the snowfield's surface with the assistance of a shovel or other device to save time descending. There have been many cases of injuries from buried rocks under the snow as well. There have been numerous life flight rescues on the mountain, often caused by this activity. The frequency of these rescues, however, greatly diminished once TERT was established.

Folklore
In the early 1900s Eugene Lusk "Timp" Roberts, a professor at Brigham Young University, initiated an annual hike and pageant intended to "sell Timpanogos to the world." One way was to craft his take on native people's folklore. Some observers believe the ridgeline of Mount Timpanogos superficially resembles a sleeping woman. Roberts wrote his folk tale of the maiden Utahna and her sacrifice to her gods with this as the launch point, with one version the basis for a ballet.

title: Mount Timpanogos


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"A" Device

The "A" Device is a miniature bronze $1/4$ inch letter "A" which comes with and without serifs, that is authorized for wear by the United States Armed Forces as a medal and ribbon device for two military awards. It is added to overseas service ribbons to indicate the theatre of action.

The Arctic "A" Device (with serifs), if authorized, may be attached to the center of the Air Force Overseas Ribbon - Short Tour, for service beginning February 10, 2002. If an oak leaf cluster is also authorized for wear on the ribbon, the "A" device is worn to the wearer's right of any oak leaf clusters on the ribbon.

The Atlantic "A" Device (without serifs), if authorized, may be attached to the center of the suspension and service ribbon of the American Defense Service Medal for service from June 22 to December 7, 1941. The "A" device is worn in lieu of any authorized $3/16$ inch bronze star that is worn on the medal and service ribbon.

History
The "A" Device is only authorized for the currently in use Air Force Overseas Ribbon - Short Tour, and the American Defense Service Medal which is no longer in use. The two representations of the "A" device are different. The Arctic Device has serifs while the Atlantic Device ("Axis Device") does not have "feet" (sans-serif).

Atlantic Device (World War II)
The American Defense Service Medal was the first military award to use the "A" device which was named the "Atlantic Device" (sometimes was referred to as the "Axis Device"). The "A" device was authorized for wear (in lieu of a $3/16$ inch bronze star that was worn in lieu of a service clasp on the award) on the medal and service ribbon by any member of the United States Navy, United States Marine Corps, or United States Coast Guard who served on certain vessels in the Atlantic Ocean between June 22 and December 7, 1941 which engaged in armed conflict, or potential armed conflict, with Axis forces in the Atlantic (naval forces of Nazi Germany's Kriegsmarine). Such personnel were awarded the American Defense Service Medal with the "Atlantic Device" (Atlantic Fleet service), the intent being to recognize those who had participated in the "undeclared war" when the U.S. was assisting Britain with war convoys and German U-boat interdiction.

Arctic Device (USAF)
The "A" device became obsolete after the Second World War and did not appear again until the year 2002 (authorized on February 10, 2002). At that time, the United States Air Force declared that the "A" device, now known as the "Arctic Device", would be authorized for wear for those who had received the Air Force Overseas Ribbon - Short Tour, for tours of duty north of the Arctic Circle.

As of February 8, 2007, only those airmen and guardians who were assigned to Pituffik Space Base (north-west Greenland) qualify for the "A" (Arctic) device. Although portions of Alaska are within the Arctic Circle, there are no American military bases within that region. The "A" is worn on the center of the ribbon except when worn with oak leaf clusters. Whenever oak leaf clusters are authorized for wear on the ribbon, the "A" is placed to the wearer's right of the oak leaf clusters on the ribbon. Only one "A" device may be worn on the ribbon.

title: "A" Device


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Melancthon Taylor Woolsey

Melancthon Taylor Woolsey (1782 – 18 May 1838) was an officer in the United States Navy during the War of 1812 and battles on the Great Lakes. He supervised warship construction at Navy Point in Sackets Harbor, New York, and later had a full career in the Navy.

Early life
Woolsey was born near Plattsburgh, New York. He was a son of Melancthon Lloyd Woolsey (1758–1819), a Maj.-Gen. of the New York Militia during the Revolutionary War and Alida ( Livingston) Woolsey (1758–1843), a daughter of the Rev. Henry Gilbert Livingston (a grandson of Robert Livingston, 1st Lord of Livingston Manor).

His paternal grandparents were Col. Melancthon Taylor Woolsey and Rebecca Lloyd. Through his father he was a descendant of George Jarvis Woolsey, an emigrant from England who was one of the earliest settlers of New Amsterdam and married Rebecca Cornell (a daughter of Thomas Cornell), Through his mother, he was a descendant of the Livingston, Schuyler, and Van Rensselaer families.

Career
After studying law for a time, Woolsey entered the Navy as a midshipman on April 9, 1800. His first assignment was the frigate USS Adams (1799), on which he made a cruise to the West Indies in 1800 and 1801. He served briefly in the First Barbary War just before its end in 1805. In 1807, the newly promoted Woolsey received orders to Washington, D.C., where he developed a code of signals for the Navy.

From there, he was ordered to the shores of Lake Ontario in 1808 to supervise the construction of USS Oneida (1810). Given the buildup of tensions with Great Britain, the US Navy established a shipyard for warships and rapidly built eleven ships at the facility, employing 3,000 men at the yard, many recruited from New York City. At the same time, Woolsey received a concurrent assignment as the commanding officer of the shore facilities located there. When the United States went to war with Great Britain in 1812, he was still in command of Oneida and the shore station at Sackett's Harbor. On July 19, 1812, a British squadron of five ships appeared. Woolsey attempted to escape to open water with Oneida, but the enemy squadron sealed off that avenue. Instead, he returned to Sackett's Harbor, landed half his battery, and repelled the British convincingly after a sharp two-hour exchange.

Early in October, Commodore Isaac Chauncey arrived on the scene and assumed overall command of American naval activities on the Great Lakes. Woolsey stayed on as second in command and remained commanding officer of Oneida. During the fall of 1812, Woolsey concentrated upon the construction, purchase, and outfitting of additional war vessels. Throughout the entire war, a construction race caused naval dominance on Lake Ontario to alternate between the British and Americans. Woolsey enabled America to grab the lead in the fall of 1812 by acquiring eight schooners to augment Oneida and the three-gun USS Julia (1812). On November 8, he commanded Oneida when the 19-gun warship and four of the newly acquired schooners encountered HMS Royal George (1809) —a large, 24-gun, ship-rigged sloop-of-war off Kingston and chased her into that port. Later, they followed her in and subjected her to bombardment. In May 1813, Woolsey commanded Oneida as her guns supported the capture of York (Toronto) and the assault on Fort George.

Woolsey was promoted to master commandant in July 1813 and, by August, was in the new schooner USS Sylph (1813). Late in September 1813, he commanded his ship in a running fight between the American lake flotilla and Commodore James Lucas Yeo's British force. That series of skirmishes resulted in another period of American dominance of Lake Ontario. On 5 October, his ship participated in the capture of the enemy cutter HMS Drummond and the sloops-of-war HMS Elizabeth (1807), HMS Mary Ann, and HMS Lady Gore off False Duck Island.

In May 1814, after a winter of feverish preparation for the third summer of campaigning, Woolsey went to the supply depot at Oswego to pick up guns, cables, and other supplies needed at Sackett's Harbor. While he was there, the British squadron appeared off Oswego. By spreading false intelligence about his destination, Woolsey was able to take advantage of a dark night and make good his escape. The British learned of their mistake and sought to overtake him, which they did at Sandy Creek. Woolsey had prepared an ambush in concert with Maj. Daniel Appling and his 150-man contingent of the United States Rifle Regiment. The British landing force was soundly trounced by Appling's riflemen and 200 Indian allies. Woolsey, in turn, brought his guns to bear on the squadron itself. The Americans defeated the enemy convincingly, killing 10, wounding 52, and capturing the rest. Woolsey proceeded to Sackett's Harbor with his ordnance and supplies. Soon thereafter, he assumed command of the new brig, USS Jones (1814), and retained that command until the end of the war in 1815.

Later life
Woolsey left Sacketts Harbor in 1824 to assume command of the frigate, USS Constellation (1797). He took it on a West Indies cruise until June 1827.

Late in 1827, he took command of the navy yard at Pensacola, Florida and moved his family there. He held the position until 1831. Between 1832 and 1834, Woolsey served as Commodore in command of the Brazilian Station.

His last active duty took him to the Chesapeake Bay, where he supervised surveys from 1836 until his health began to decline in 1837.

Personal life
After the war, Master Commandant Woolsey remained in command of the naval station at Sacketts Harbor. In 1816, he was promoted to captain and likely married Susan Cornelia Treadwell of Long Island, New York that year. Together, they were the parents of:

 * Melancthon Brooks Woolsey (1817–1874), who married Mary Louisa Morrison, a daughter of Joseph Morrison of Baltimore.
 * James Treadwell Woolsey (1820–1894).
 * Alida Livingston Woolsey (1822–1859), who married Rev. Isaac Pierson Stryker; their son, M. Woolsey Stryker, became a Presbyterian minister and President of Hamilton College.
 * Robert Henry Woolsey (1824–1886), who married Mary Ann Bush in 1869.
 * Susan Cornelia Woolsey (b. 1828), who married Russel W. R. Freeman in 1855.
 * Mary Elizabeth Woolsey (b. 1831), who married Samuel H. Cary; after his death she married Rev. Francis Windsor Brathwaite.
 * Richard Lansing Woolsey (1835–1910), who married Caroline Heming.
 * Henry Livingston Woolsey

Commodore Woolsey died May 18, 1838, at Utica, New York.

Honors
The United States Navy named two destroyers in his honor: USS Woolsey (DD-77) and USS Woolsey (DD-437) commemorating both him and his son, Commodore Melancthon Brooks Woolsey.

title: Melancthon Taylor Woolsey


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D3DX

In computing, D3DX (Direct3D Extension) is a high level API library which is written to supplement Microsoft's Direct3D graphics API. The D3DX library was introduced in Direct3D 7, and subsequently was improved in Direct3D 9. It provides classes for common calculations on vectors, matrices and colors, calculating look-at and projection matrices, spline interpolations, and several more complicated tasks, such as compiling or assembling shaders used for 3D graphic programming, compressed skeletal animation storage and matrix stacks. There are several functions that provide complex operations over 3D meshes like tangent-space computation, mesh simplification, precomputed radiance transfer, optimizing for vertex cache friendliness and strip reordering, and generators for 3D text meshes. 2D features include classes for drawing screen-space lines, text and sprite based particle systems. Spatial functions include various intersection routines, conversion from/to barycentric coordinates and bounding box and sphere generators.

The D3DX library contains pre-written routines for doing things common to most 2D/3D applications, such as games. Since the Direct3D API is relatively low-level, using the D3DX library is usually much simpler.

In 2012, Microsoft announced that D3DX 9, D3DX 10, and D3DX 11 would be deprecated in the Windows 8 SDK, along with other development frameworks such as XNA. Shader effects, texture management, geometry optimizations and mesh models are available as separate sources published through GitHub. The mathematical constructs of D3DX, like vectors and matrices, would be consolidated with XNAMath into a DirectXMath and spherical harmonics math is provided as separate source.

Interfaces
The D3DX library follows the COM object oriented programming model. Functionality is accessed using C++-like interfaces.

ID3DXEffect
The ID3DXEffect interface is used for compiling and binding FX shaders (.fx). It supports automatic mapping of named shader parameters to hardware constant registers, parameter pools, mapping textures to available samplers, specifying 'techniques' and modifying render states.

ID3DXFont
The ID3DXFont interface can be used to draw 2D text. See also D3DXCreateText that creates 3D meshes of text.

ID3DXLine
The ID3DXLine interface can be used for drawing anti-aliased screen-space lines with pattern.

ID3DXMesh
The ID3DXMesh interface is used for storage of meshes and mesh optimization for vertex cache friendliness and strip reordering. Some functions in D3DX operate on this interface. An example is D3DXComputeTangentFrame for creating a tangent-space frame for effects like normal and parallax mapping. A descendant of this class is ID3DXPMesh that can do geometry simplification.

ID3DXPRTEngine
It is used for Precomputed Radiance Transfer - a technique similar to spherical harmonics lighting that is used for precomputed global illumination and soft ambient lighting.

ID3DXSprite
The ID3DXSprite interface is a C++ class used for drawing a 2D image to the screen known as a sprite in computer graphics. In DirectX 7 this was typically done using the DirectDraw API, which is deprecated.

The programmer typically needs only to call the ID3DXSprite object's Begin method to set up the render state and world transform for 2D drawing, call the Draw method to add textures to the list to be drawn and finally call the End method to draw the images to the screen and restore the original graphics state.

A common criticism of the D3DXSprite was that it was slow but this issue has been addressed as of Direct3D 9.

D3DXComputeTangentFrame
It computes the tangent-space frame of a mesh that is used for effects like normal/bump mapping, parallax mapping and anisotropic lighting models. It handles vertices at tangent-space discontinuities by making duplicates, thus solving the hairy ball problem. It doesn't handle reversed UV winding of faces so models with mirrored texture mapping may run into lighting troubles because of this.

Direct3D10
The D3DX10 utility library for Direct3D 10 was similar to the D3DX for Direct3D 9 in functionality, and included the same D3DXMath library and Block Compression (BC1-BC5) software codecs. The key differences were that Effects for Direct3D 10 was made an OS component, the HLSL compiler was moved to a distinct D3DCompile DLL, and the texture image load & save code utilized the Windows Imaging Component. As a consequence of the shift to using WIC, D3DX10 did not support Truevision TGA, RGBE image format, or Portable PixMap file formats which were supported by D3DX. D3DX10 also did not include the UVAtlas isochart texture atlasing or Precomputed Radiance Transfer APIs.

All versions of D3DX10 are deprecated per Microsoft Docs.

Direct3D11
The D3DX11 utility library for Direct3D 11 was a trimmed down version of D3DX10. It included texture image load & save code using WIC, and the Block Compression (BC1-BC7) software codecs, but little else.

All versions of D3DX11 are deprecated per Microsoft Docs.

Most functionality from D3DX9, D3DX10, and D3DX11 has been moved to open source projects for Direct3D 11 or later: DirectXMath, DirectX Tool Kit, DirectXTex, DirectXMesh, and UVAtlas. There are also open source versions of DXUT and the Effects (FX11) runtime available.

Direct3D12
There is no DLL-based D3DX12 utility library. There is, however, a D3DX12 utility header (all inline C++ code) for some basic helpers for Direct3D 12 documented on Microsoft Docs and is published on GitHub. It does not include functionality such as math, sprites, font rendering, 3D shapes, meshes, or texture loading. There is a DirectX Tool Kit for Direct3D 12 which provides the missing functionality.

title: D3DX


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Swamp pop

Swamp pop is a music genre indigenous to the Acadiana region of south Louisiana and an adjoining section of southeast Texas. Created in the 1950s by young Cajuns and Creoles, it combines New Orleans–style rhythm and blues, country and western, and traditional French Louisiana musical influences. Although a fairly obscure genre, swamp pop maintains a large audience in its south Louisiana and southeast Texas homeland, and it has acquired a small but passionate cult following in the United Kingdom, and Northern Europe

Characteristics
The swamp pop sound is typified by highly emotional, lovelorn lyrics, tripleting honky-tonk pianos, undulating bass lines, bellowing horn sections, and a strong rhythm and blues backbeat. It is exemplified by slow ballads such as Cookie and his Cupcakes' "Mathilda" (recorded 1958), considered as the unofficial swamp pop anthem. But the genre has also produced many upbeat compositions, such as Bobby Charles' "See You Later, Alligator" (1955), popularly covered by Bill Haley & His Comets.

During the genre's heyday (1958–1964), several swamp pop songs appeared on national U.S. record charts. These included Jimmy Clanton's "Just A Dream" (1958), Warren Storm's "Prisoner's Song" (1958), Phil Phillips' "Sea Of Love" (1959), Rod Bernard's "This Should Go On Forever" (1959), Joe Barry's "I'm a Fool to Care" (1960), and Dale & Grace's "I'm Leaving It Up to You" (1963).

In swamp pop's south Louisiana–southeast Texas birthplace, fans regarded many songs that never became national hits as classics. These include Johnnie Allan's "Lonely Days, Lonely Nights" (1958), Buck Rogers' "Crazy Baby" (1959), Randy and the Rockets' "Let's Do the Cajun Twist" (1962), T. K. Hulin's "I'm Not a Fool Anymore" (1963), and Clint West's "Big Blue Diamond" (1965), among numerous others.

Roots and early history
The musicians who went on to birth swamp pop listened to (and often performed) traditional Cajun music and Creole music (which later developed into zydeco) as children, as well as popular country and western (hillbilly) songs by musicians including Bob Wills, Moon Mullican, and Hank Williams. However, as with other American youth in the mid-1950s, they discovered the alluring new sounds of rock and roll and rhythm and blues musicians such as Elvis Presley, Little Richard and Fats Domino. As a result, these teenaged Cajuns and Creoles shifted away from Louisiana French folk compositions including "Jolie Blonde", "Allons a Lafayette", and "Les flammes d'enfer", in favor of singing rock and roll and rhythm and blues compositions in English. At the same time, they switched from folk instruments such as the accordion, fiddle, and iron triangle to modern ones including as the electric guitar and bass, upright piano, saxophone, and drumming trap set.

By the late 1950s, swamp pop musicians had developed their own distinct sound and repertoires. They performed to receptive crowds in local dancehalls encompassing the Southern Club in Opelousas, Landry's Palladium in Lafayette, the OST Club in Rayne, and the Green Lantern in Lawtell. In addition, they released recordings on local record labels, such as Floyd Soileau's Jin label of Ville Platte, Eddie Shuler's Goldband of Lake Charles, Carol Rachou's La Louisianne of Lafayette, Huey Meaux's Crazy Cajun label of Houston, and a number of labels owned by J. D. Miller of Crowley, Louisiana (who also recorded swamp pop tunes for larger national labels, such as Ernie Young's Excello Records label of Nashville).

Swamp pop musicians often adopted Anglo-American stage names that masked their Cajun surnames. John Allen Guillot, for example, became Johnnie Allan, Robert Charles Guidry became Bobby Charles, Joe Barrios adopted Joe Barry, Elwood Dugas became Bobby Page, and Terry Gene DeRouen was billed as Gene Terry. Some of these musicians changed their names because they were ashamed of their rural French heritage — a feeling shared at the time by a segment of the Cajun population. But economics motivated most swamp pop musicians: They wanted to sell records not only in southern Louisiana and southeast Texas, but beyond, where the pronunciation of ethnic surnames sauch as Guillot, Barrios, and DeRouen eluded record promoters, disc jockeys, and consumers.

Despite its obvious rock and roll and rhythm and blues influences, swamp pop was not devoid of folk characteristics. For example, Bobby Page and the Riff Raffs recorded "Hippy-Ti-Yo", a bilingual rock and roll version of the traditional Cajun French song "Hip et Taiaut" and Rod Bernard did the same with "Allons danser Colinda", another folk composition. Joe Barry re-recorded his swamp pop hit "I'm A Fool To Care" in French under the title "Je suis bête pour t'aimer". Randy and the Rockets issued "Let's Do The Cajun Twist", an English remake of the Cajun French favorite "Allons a Lafayette".

Legacy
From 1950s to 1960s, swamp pop songs have appeared in the Billboard Top 40. While swamp pop drew heavily on New Orleans rhythm and blues, it reciprocated by making a detectable impact on songs including Lloyd Price's "Stagger Lee"(number 1, 1959), and Clarence "Frogman" Henry's "(I Don't Know Why) But I Do" (number 4, 1961) (Bobby Charles compositions). Swamp pop also left its imprint on the related but distinct genre known as "swamp blues", including Slim Harpo's "Rainin' in My Heart". Bobby Charles released the album Bobby Charles (1972) that included "Small Town Talk".

Leon Russell, Delaney & Bonnie, Dale Hawkins, Tony Joe White, John Fogerty and Creedence Clearwater Revival were influenced by swamp pop. Swamp pop's impact on popular music is heard in the Rolling Stones' cover of Barbara Lynn's "You'll Lose a Good Thing" and "Oh Baby (We Got A Good Thing Goin')", the Honeydrippers' rendition of Phil Phillips' "Sea of Love", Elvis Presley's cover of Lloyd Price's "Lawdy Miss Clawdy", and even The Beatles' swamp-inspired "Oh! Darling".

Swamp pop influenced Tejano music, particularly the recordings of Freddy Fender's early swampy songs "Before The Next Teardrop Falls" and "Wasted Days and Wasted Nights" in 1975. South Louisiana and southeast Texas audiences generally consider Fender a full-fledged swamp pop musician.

Although swamp pop began a slow decline with the onslaught of the mid-1960s British Invasion, the genre continues to draw devoted fans to south Louisiana and southeast Texas festivals and nightclubs. Some younger non-swamp musicians, such as Cajun artist Zachary Richard and C. C. Adcock, have acknowledged a strong swamp pop influence.

title: Swamp pop


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Rassilon

Rassilon is a fictional character in the British science fiction television series Doctor Who. In the backstory of the programme, he was the founder of Time Lord society on the planet Gallifrey and its first leader, as Lord High President. After the original television series ended in 1989, Rassilon's character and history were developed in books and other media.

Character history
Within the universe of the television series, there are many contradictory legends about Rassilon. It is known that he developed the technology for time travel that made his people lords of time in the distant past together with his colleague Omega. Omega, a stellar engineer, was presumed killed by the supernova that created the black hole later known as the Eye of Harmony, and Rassilon harnessed the nucleus of the black hole to provide the energy that powers time travel. Rassilon then took control of Gallifrey and became the first and, to date, only Lord High President, his successors taking the title Lord President. The official history is that he was a benevolent ruler who ruled his people wisely. However, there are other accounts which paint Rassilon as a cruel dictator. The first mention of Rassilon is in the Fourth Doctor serial The Deadly Assassin.

Rassilon's contributions to Time Lord culture and society were immense, and his name both reverberates and is honoured throughout Time Lord history. The Rassilon Imprimatur is the name given to the symbiotic nucleus of Time Lords' cell structures that allows them to withstand the molecular stresses of time travel and grants them a link to their TARDIS time machines.

Several other Time Lord artifacts named after him have a technological function, in addition to their ceremonial roles:
 * The Sash of Rassilon allows the wearer to be in close proximity to the singularity that is the Eye of Harmony, providing protection from the Eye's gravitational and energy forces, and preventing the wearer from being drawn across the event horizon of the captured black hole. Use of the Sash in this way is cited as having a regenerative effect upon the wearer.
 * The Crown of Rassilon (or matrix circlet) gives full access to the Matrix, providing a direct mental link to the computer network that serves as the repository of all Time Lord knowledge and their personality prints, captured at death in the Amplified Panatropic Computer (A.P.C net) that is a subsidiary part of the Matrix itself.
 * The Key of Rassilon allows physical access to the Matrix, for maintenance of this 'micro-universe' repository of Time Lord knowledge. Confusingly, this is a separate artifact from the so-called Great Key of Rassilon, that provides direct tapping of the near limitless energies of the Eye of Harmony, and is cited as a vital component part of the demat gun (a weapon of mass destruction); it is also hinted that this 'key' is essential to accessing the other relative dimensions in time, in The Invasion of Time.
 * The Rod of Rassilon (referred to as "the Great Key" in the Book of the Old Time in The Deadly Assassin) allows the user to physically access the containment/control apparatus of the Eye of Harmony itself, that was historically hidden beneath the Panopticon central dais.
 * The Coronet of Rassilon gives the user the ability to amplify and to project their own will to dominate others, but its effects can be defeated, if recognised, by a co-ordinated resistance of many minds.
 * The Harp of Rassilon is a musical key that unlocks a secret room within the High Council chambers. This hidden compartment held the controls for the Time Scoop—a rudimentary "time corridor" technology, used presumably before time travel was perfected by Rassilon after the installation of the Eye of Harmony on Gallifrey.
 * The Ring of Rassilon ostensibly grants the wearer immortality, but seemingly is keyed to Rassilon's DNA only, so that any other seizing the artifact is locked in perpetual imprisonment as a stone carving relief on Rassilon's bier.
 * The Black Scrolls of Rassilon are parchment documents containing forbidden knowledge from the Dark Time, not recorded in the Matrix.

Rassilon is also given credit, variously, for TARDIS technology; the living metal and super-weapon validium; and the defensive Quantum Force Field and Transduction Barriers that protected Gallifrey. How much of this is true and how much of it is propaganda is not certain. However, it is established that a TARDIS derives its power primarily from the Eye of Harmony.

The Tomb or Tower of Rassilon, also known as the Dark Tower, stands in the middle of the Death Zone—a blasted, barren plain—on Gallifrey. The Death Zone was used, in a period of Gallifrey's history known as the Dark Time, as an arena that pitted warriors of various alien species and times (captured by the use of a device called the Time Scoop) against each other in gladiatorial games, although the Second Doctor tells the Brigadier that Rassilon put a stop to the games ("The Five Doctors", 1983). It was rumoured that Rassilon, who lived during this time, had been deposed by Time Lords rebelling against his rule. It was also claimed Rassilon had discovered the secret of immortality and was still alive in the Tower, sleeping. The quest to reach Rassilon's tomb and the secret, blocked by a series of deadly obstacles, is referred to as "The Game of Rassilon".

"The Five Doctors"
In "The Five Doctors", Lord President Borusa wants Rassilon's secret for himself, describing Rassilon's immortality as "perpetual bodily regeneration". Borusa uses the Time Scoop to transport the Doctor in the majority of his incarnations (along with various companions) to the Death Zone, using them to clear the way to the Tower. The First Doctor deduced from the riddle "This is the Game of Rassilon; to lose is to win and he who wins shall lose" that the Game was a trap to get rid of Time Lords who might be a danger to their race. Borusa is granted immortality by being transformed into a living statue. Rassilon subsequently returned the first three Doctors to their proper places in time and space and freed the Fourth Doctor from the time eddy in which he had been trapped. In that story, Rassilon (played by Richard Mathews) appears as a disembodied image floating above his own sepulchre, but the nature of this apparition is not explained.

People with major involvement in the Doctor Who television series, Doctor Who spin off media and in Doctor Who Magazine, when asked in The Essential Doctor Who magazine, were divided over whether the image of Rassilon seen in "The Five Doctors" is actually alive or an artificial intelligence or if he had ever died prior to "The Five Doctors". According to DWM editor Tom Spilsbury, it hadn't occurred to him before that he was anything other than being alive, and that "it might come down to semantics over what being alive means". Doctor Who scriptwriter Gareth Roberts believed that Rassilon is dead and the face that appears is "a clever AI". Head writer and executive producer Russell T Davies believed that Rassilon is "clearly alive", with his big face in the story being "A projection from the Matrix. A mental life extending beyond the body's death." Spin-off writer George Mann believed that Rassilon was dead, but the Time Lords had figured out a way of "resurrecting dead people in extreme circumstances", doing "something horrible and timey wimey". Spin-off writer and DWM columnist Jacqueline Rayner described his condition as "a permanent sleep which is pretty much indistinguishable from death", and that "He's immortal, but he has no awareness," and when the trap inside the Tomb of Rassilon is triggered, "he becomes semi-aware so he can oversee or judge what's going on, before going back into his eternal sleep again". DWM deputy editor Peter Ware believed that Rassilon is dead by the time of "The Five Doctors", and his dead mind is speaking from the Matrix to the Doctors and Borusa. He mentions the line from the episode "Hell Bent" (2015)—"Rassilon the resurrected", as further proof that he had died. Doctor Who scriptwriter Mark Gatiss quipped that Rassilon is "biding his time until he regenerates into [actor] Daniel Craig". Head writer and executive producer Steven Moffat, who also wrote "Hell Bent", understood that Rassilon was "alive, but in 'eternal sleep'", having got up from his eternal sleep to participate in the Time War, "And got killed. And resurrected. Because that happened a lot in the Time War." According to scriptwriter Terrance Dicks, who wrote "The Five Doctors", Rassilon has "gone to a higher plane where he's a benevolent being who can, if he feels it's a big enough crisis, intervene".

Revived series
Rassilon (portrayed by Timothy Dalton) appears as the villainous mastermind of "The End of Time", the two-part finale of the series' 2009 Specials. Though referred to by name by the Tenth Doctor, Dalton is credited as the 'Narrator / Lord President' with Russell T Davies confirming his name in a Doctor Who Confidential episode.

During the Time War, Rassilon became ruthless and determined to avoid death at any cost, motivating his formulating of the "Final Sanction" which would destroy all creation while elevating himself and the Time Lords into beings of pure consciousness. The Doctor in his War Doctor incarnation learned of this and decided to end the war using the Gallifreyan superweapon called "the Moment". With the prophecy deciphered that the Doctor would destroy Gallifrey to end the Time War, and told he would die on that day, Rassilon refuses to accept his fate and killed his advisor for speaking out against his plans.

Anticipating Gallifrey's complete annihilation in "The End of Time" (2009–10), Rassilon attempted to break the planet out of the Time Lock implemented in the latter phases of the Time War to block creative attacks involving time travel, placing a drumbeat (actually the heartbeat of Gallifreyian twin-hearts) in the mind of the Master when he was a child. As a result, Rassilon is the cause of the Master's insanity and indirectly responsible for the Time Lord's actions. When the Master turned all of humanity into copies of himself, the now-amplified drum beat acts as a signal that, with a White Point Star diamond (a diamond unique to the planet, Gallifrey), allows Rassilon and Gallifrey to escape the Time Lock. Destroying the White Point Star, the Doctor severs the link between Gallifrey and Earth. Rassilon's attempts to kill the Doctor in revenge are blocked by the Master, vengeful owing to his manipulation by Rassilon, who then follows him and the other Time Lords into the last day of the Time War.

In "The Day of the Doctor" (2013), the Time Lords are revealed not to have been destroyed at the Time War's conclusion; all incarnations of the Doctor united and used their TARDISes to send Gallifrey into a pocket dimension. In "Hell Bent" (2015), the Twelfth Doctor arrives on Gallifrey and learns that a regenerated Rassilon was responsible for his imprisonment and torture for four and a half billion years, as well as indirectly responsible for the death of his companion, Clara. On arriving on Gallifrey, he leads a military revolt against Rassilon, deposes him, and sends him into exile. Timothy Dalton was asked to reprise the role for the episode, but was replaced by Donald Sumpter as a regenerated Rassilon when he became unavailable for filming.

Other appearances
Rassilon's rise to power was explored in the Virgin New Adventures novel Cat's Cradle: Time's Crucible. It is revealed in the novel that Ancient Gallifrey was ruled by the Pythia, who controlled the population through prophecies and superstition. Rassilon, whose followers believed in science and rationality, led a revolution against the Pythia, eventually causing her to kill herself, and send her followers to the planet Karn. However, before she died she cursed Rassilon and all future Time Lords to sterility. Rassilon's unborn daughter was one of the deaths. In later New Adventures we are introduced to the concept of the genetic Looms, from which new Time Lords were created. This leads to Rassilon becoming part of a ruling triumvirate with Omega and a mysterious figure called the Other. Together they rebuilt Gallifrey and re-ordered the universe along rational and scientific lines, outlawing superstition and banishing magic. The later novel Lungbarrow shows Rassilon becoming increasingly tyrannical and violently crushing resistance to his reforms, which ultimately leads to the Other breaking with him and throwing himself into the genetic looms, leading to his later apparent reincarnation as the Doctor.

In the last three stories of Alan Moore's run on Doctor Who Monthly we see the first Time War in Time Lord history, where the Order of the Black Sun make a pre-emptive strike on the Gallifreyans' experiments with time travel. In the first story, "Star Death" (Doctor Who Magazine #47), we see Rassilon gaining the equipment to control time travel thanks to the failed initial attack. In the DWM comic strips, Rassilon is shown existing in the Matrix as part of a council of "Higher Evolutionaries" acting as the guardians of Time (The Tides of Time Part 2, DWM #62, among others).

In the Doctor Who audio plays produced by Big Finish Productions, Rassilon is voiced by Don Warrington. He is shown to continue to exist in the Matrix. According to audio plays, Rassilon developed the power of regeneration from the Vampires, who were apparently peaceful until the Time Lords attacked them. He transforms the Doctor into his assassin—a being of pure anti-time that identifies itself as Zagreus—to defeat the Divergents, a race who would have evolved to surpass the Time Lords if reality had progressed as it should have, only for his plans to fail when the Doctor proclaims that he does not kill and Zagreus refuses to be Rassilon's puppet.

At the end of Zagreus, the Doctor is exiled to the Divergents' universe, having previously cast Rassilon into that reality to end his actions but unable to return to his universe as he was still contaminated by anti-time. He eventually tracks down Rassilon in that universe, and discovers that he has been manipulating an entity called the Kro'Ka to observe and control the Doctor and Charley's actions. At the end of the events of "The Next Life", the Doctor and his companions escape the timeless Divergent universe—Rassilon having previously filtered the Zagreus energies out of the Doctor upon his arrival in this universe without the Doctor's knowledge—but Rassilon and the Kro'Ka remain trapped in a permanent loop.

Rassilon's next audio appearance comes in Desperate Measures, concluding the ninth series of Big Finish Productions spin-off Gallifrey. During the Time War the Time Lord Valerian (David Sibley) becomes a host through whom Rassilon is resurrected to lead Gallifrey. These events will lead into the tenth series of the spin-off where the part will be played by Terrence Hardiman. This season ends with Romana attempting to arrange an assassination to stop his dictatorship, ending with Rassilon beginning to regenerate. The series ends on a cliffhanger as he uses his regeneration as a propaganda opportunity.

In Doctor Who: The Adventure Games, Rassilon's Final Sanction is mentioned when Amy Pond looked at a Time Lord Staff that the Eleventh Doctor kept in his study.

Rassilon features in the War Doctor novel Engines of War by George Mann, which looks at the events that led to the War Doctor's decision to use the Moment, including the discovery that Rassilon has resurrected Borusa as a possibility engine to help him decide what actions he should take during the war.

Rassilon returns to Gallifrey in the Titan Comics 2016 multi-Doctor event story Supremacy of the Cybermen, which depicts the last Cybermen at the end of the universe forming an alliance with Rassilon with the goal of conquering Gallifrey and using Time Lord energy to regenerate the universe into one under Cyber-control. Although Rassilon's insight allows the Cybermen to conquer history and defeat all of the past Doctors, the Twelfth Doctor is able to convince Rassilon to help him after the Cybermen betray Rassilon, the two turning the Cybermens' equipment against them so that the universe is 'regenerated' to a point before the Cybermen conquered Gallifrey. Although the Twelfth Doctor is the only one shown to remember these events, he is shown speculating that Rassilon may also remember the horrors of what he did.

In the subsequent Titan Comics special The Lost Dimension, the Eleventh Doctor briefly accidentally travels back to ancient Gallifrey where he assists Rassilon in a testflight of the very first Tardis.

Television

 * "The Five Doctors"
 * "The End of Time"
 * "Hell Bent"

Novels

 * Cat's Cradle: Time's Crucible
 * Engines of War

Comics

 * "Star Death" (Doctor Who Magazine #47)
 * Supremacy of the Cybermen (Titan Comics)
 * Monstrous Beauty (Doctor Who Magazine #556-558)

Audio plays

 * Zagreus
 * "The Next Life"
 * Desperate Measures
 * Havoc
 * 'Collateral''
 * Assassins
 * Deception
 * Homecoming
 * The Last Days of Freme
 * The Passenger

title: Rassilon


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Town and Country

Town and Country (and variants) may refer to:

Business

 * Town & Country Club (Saint Paul, Minnesota), a golf club in St. Paul, Minnesota
 * Town & Country Food Stores, a chain of convenience stores headquartered in San Angelo, Texas
 * Town & Country Mall (fl. 1990s), a mall in Houston, Texas
 * Town & Country Village (Houston), a shopping center in Houston, Texas
 * Town and Country Shopping Center (Kettering), a mall in Kettering, Ohio
 * Town & Country Shopping Center, one of United States' first (Opened March 1, 1949) regional shopping centers, located in Whitehall, Ohio
 * Town & Country, a discount store owned by Lane Bryant

Entertainment

 * Town and Country Magazine, founded 1769, a British monthly magazine
 * Town and Country (play), 1807 play by Thomas Morton
 * Town & Country (magazine), founded 1846, an American magazine
 * Town and Country (album), a 1969 album by Humble Pie
 * Town & Country (band), a 1998 American rock band
 * Town & Country (film), a 2001 film starring Warren Beatty and Diane Keaton

Towns

 * Town 'n' Country, Florida
 * Town and Country, Missouri
 * Town and Country, Washington

Other

 * Town and Country Club, a live music venue in Leeds
 * The Town & Country Club, a live music venue in London
 * Chrysler Town & Country (minivan), a minivan manufactured by Chrysler
 * Chrysler Town & Country (1941–1988), cars manufactured by Chrysler

title: Town and Country


text:
Melancthon Brooks Woolsey

Melancthon Brooks Woolsey (11 August 1817 – 2 October 1874) was an officer in the United States Navy during and after the American Civil War. He was commodore of the South Atlantic Station in the 1870s.

Biography
Woolsey was the first son of Commodore Melancthon Taylor Woolsey and Susan C. Treadwell; he was born at Sacketts Harbor, New York. His brother James Treadwell Woolsey was born about 1820. M.B. Woolsey entered the Navy as a midshipman on 24 September 1832. After duty at sea and a tour at the Naval School, Woolsey became a midshipman on 16 July 1840.

Woolsey was a descendant of George (Joris) Woolsey, one of the earliest settlers of New Amsterdam, and Thomas Cornell (settler)

He progressed through the rank of master to that of lieutenant by 1847. He was placed on the reserve list as lieutenant by the retiring board in September 1855. Lt. Woolsey was called back to active duty in 1861 as a result of the American Civil War.

Assigned initially to the receiving ship at New York, Woolsey assumed command of the steamer Ellen by late 1861 and began patrol duty with the South Atlantic Blockading Squadron. During that tour, his ship fought Confederate forces on three separate occasions. In May 1862, he engaged Fort Pemberton at Wapper Creek, South Carolina. On 1 June, his ship repelled a Confederate cavalry attack at Secessionville. Three days later, he commanded Ellen during the attack on James Island.

In July 1862, he was promoted to commander and placed in command of the sloop Vandalia. That duty lasted until early 1863, at which time he was transferred to command of the steamer Princess Royal. That ship was assigned to the West Gulf Blockading Squadron and patrolled the coasts of Louisiana and Texas. On 28 June 1863, Princess Royal helped to defend the town of Donaldsville, Louisiana, against a determined Southern attack, and Comdr. Woolsey received high commendation from his superiors for his ship's contribution to the successful defense of the town. He remained with the blockade through the end of the war and, by July 1866, saw his name returned to the active list in the rank of captain.

Following the Civil War, Capt. Woolsey commanded the sloop-of-war Pawnee on the South Atlantic Station in 1867 and 1868. In 1869, he took command of the South Atlantic Station flagship Guerriere. In 1871, Woolsey was promoted to commodore, probably as flag officer in charge of the South Atlantic Station. His last tour of duty came in March 1873, when he took over as commandant of the navy yard at Pensacola, Florida.

Commodore Woolsey received orders detaching him from command of the navy yard in the summer of 1874. At the time, an epidemic of yellow fever raged at Pensacola, and he deemed it necessary to remain at his post to prevent panic. He contracted the highly infectious disease and died at Pensacola in the summer of 1874.

Honors

 * The first USS Woolsey (Destroyer No. 77) was named in honor of his father.
 * The second USS Woolsey (DD-437) commemorated both him and his father.

title: Melancthon Brooks Woolsey