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Lists of violinists

The following lists of violinists are available:

 * List of classical violinists, notable violinists from the baroque era onwards
 * List of contemporary classical violinists, notable contemporary classical violinists
 * List of jazz violinists, notable jazz violinists
 * List of popular music violinists, popular music violinists
 * List of Indian violinists, list of Indian violinists including Carnatic and Hindustani
 * List of Persian violinists, names of famous Persian style violinists
 * List of electric violinists
 * List of fiddlers, fiddlers, all styles
 * List of female violinists, sortable list of female classical violinists, in chronological order of birth

title: Lists of violinists


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John Kirk Townsend

John Kirk Townsend (August 10, 1809 – February 6, 1851) was an American naturalist, ornithologist and collector.

Townsend was a Quaker born in Philadelphia, the son of Charles Townsend and Priscilla Kirk. He attended Westtown School in West Chester, Pennsylvania and was trained as a physician and pharmacist. He developed an interest in natural history in general and bird collecting in particular. In 1833, he was invited by the botanist Thomas Nuttall to join him on Nathaniel Jarvis Wyeth's second expedition across the Rocky Mountains to the Pacific Ocean. Townsend collected a number of animals new to science. These included birds such as the mountain plover, Vaux's swift, chestnut-collared longspur, black-throated grey warbler, Townsend's warbler and sage thrasher, and a number of mammals such as the Douglas squirrel; several of these were described by Bachman (1839) from samples collected by Townsend. Townsend collected skulls of indigenous people, procured by stealing them from graves.

Family
John Kirk Townsend was the son of Charles Townsend and Priscilla Kirk, he had five brothers and four sisters. His sister Mary, a naturalist with an interest in entomology, wrote a popular book called "Life In the Insect World" in 1844. Mary and another sister, Hannah, wrote The Anti-Slavery Alphabet in 1846, which was sold at the Anti-Slavery Fair in Philadelphia. His brother Edward was President of the Philadelphia Institution for Instruction of the Blind and helped organize the Philadelphia Dental College.

Oregon
While at Wyeth's Fort William in Oregon, Townsend served as the appointed magistrate to the first public trial by Europeans in Oregon. This occurred when the post's gunsmith, Thomas J. Hubbard, attacked and killed the fort's tailor in an argument over a young native girl. The gunsmith was acquitted by a jury when they ruled the death was justifiable homicide.

Work
Townsend collected numerous animal specimens during his travels. He sent many of these back to John James Audubon for further assessment and characterization. Audubon gave Townsend broad authority in naming specimens that he collected.

On his return, Townsend wrote The Narrative of a Journey across the Rocky Mountains to the Columbia River and a Visit to the Sandwich Islands (1839). This is a narrative of a journey by Wyeth's expedition over the Rocky Mountains to the Pacific Ocean between 1834 and 1835.

A number of mammals are named for Townsend. Many of these were described from specimens collected during his travels. Townsend's ground squirrel (Spermophilus townsendii) is endemic to the southwestern region of the state of Washington. Townsend's chipmunk (Tamias townsendii), Townsend's mole (Scapanus townsendii), and Townsend's vole (Microtus townsendii) occur in the northwest of the United States and southwest of British Columbia. Townsend's pocket gopher (Thomomys townsendii) is found in southern Oregon, northern California, northern Nevada, and through the Snake River Valley in Idaho. Townsend's big-eared bat (Corynorhinus townsendii) is found from southern British Columbia south through the western United States to southern Mexico. The whitetail jackrabbit (Lepus townsendii) ranges through southern Canada and the western, central US through eastern California and Colorado. The Townsend's warbler and Townsend's solitaire are also named after Mr. Townsend.

Townsend died of arsenic poisoning. He had developed a formula used in taxidermy preparations and arsenic was the "secret" ingredient.

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

title: John Kirk Townsend


text:
Talk:John Hersey

Harkness Tower
Why is it in the entry?68.173.91.55 (talk) 23:10, 13 July 2011 (UTC)SLY111

Adds to the bibliography, White Lotus and "The Conspiracy". (Although dealing with issues that are fading into our history, White Lotus, in my opnion, is one of the finest cultural melanges I've ever encountered.) TimBovee 14:10, 18 Jul 2004 (UTC)
 * The Conspiracy is pretty good too, set in Nero's Rome it's an epistolary novel centred on the (largely manufactured) Pisonian conspiracy against Nero involving Lucan and Seneca. Lisiate 23:31, 3 August 2006 (UTC)

Add to bibliography
Hersey also wrote "A Single Pebble"in 1956, a short novel about an American engineer who travels up the Yangtze Riverin the early 1920's to scout for sites to dam the river. Currently published by Vintage.

Place of Birth
The book, Hiroshima, lists his birthplace as Tientsin.

Legacy
A high school in prospect HIeghts, Illionis is named after him. —The preceding unsigned comment was added by 67.184.95.226 (talk) 22:52, 16 April 2007 (UTC).

"Hiroshima" in the New Yorker
I'm changing this sentence in the "Early Life" section: "The article, which tells the story of six victims of the bombing, ran in its entirety in a single issue of The New Yorker, a precedent for the magazine." Here's why:

1) It doesn't say what it's trying to say. It says the entire article appeared in a single issue, which is no big deal. What's unique about this article is that it was the only article in that issue.

2) The word "precedent" isn't used right. A precedent is an example that gets followed in similar circumstances. Hiroshima didn't set a precedent. It was never done again. I'm changing the sentence to this: "The article, which tells the story of six victims of the bombing, took up the entire issue, which the New Yorker had never done before, nor since." —MiguelMunoz (talk) 23:48, 4 February 2009 (UTC) Good points. I have rewritten just a bit but incorporated your revisions. Regards, MarmadukePercy (talk) 00:16, 5 February 2009 (UTC)

Quote above article?
Why is this here? This is definitely not proper format.Fdssdf (talk) 19:00, 6 May 2009 (UTC)

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Eagle Scout
, I did what I could to search online through the first (Dee) and third (Weingarten) cited sources, but was not able to find anything to substantiate the claim that Hersey was an Eagle Scout. I don't have access to the second source (Cheever). If you have access to physical copies of Cheever and Weingarten (or a complete digital copy of Weingarten), perhaps you could add relevant quotes to the references using the  parameter?

I looked for other online sources including obituaries and the bio that the US Postal Service published when the created a stamp in his honor, but none of the sources I found mentioned him even being in the Boy Scouts. I did see in the Dee interview that Hersey mentions Ernest Thompson Seton, who was a pioneer in the Scouting movement, including the Boy Scouts of America, but he just mentions him in passing.

Thanks. – Archer1234 (talk) 02:53, 28 August 2019 (UTC)

 * We use citations for a reason. Some of the material is cited to Dee and Weingarten; the Eagle Scout portion is cited to Cheever. You can find the 220+ page history of the small village in numerous libraries, it's a very authoritative work. On page 77, it tells that Bill Buffum was the first scoutmaster and John Hersey the first Eagle Scout. As well, I worked through the historical society archives in 2014 and remember finding further evidence for that, including Troop 18's own list of eagle scouts, including its earlier existence as "Troop 1". Indeed Hersey is at the very top. ɱ  (talk) 03:46, 28 August 2019 (UTC)

 * , thanks for the info. Does Cheever or other sources have the year he became an Eagle Scout?  I'm looking to update the List of Eagle Scouts with the verified information for Hersey.  He probably earned the Eagle Scout rank sometime between 1927 and 1932 (inclusive) (prior to turning 18 years old).  Thanks. – Archer1234 (talk) 04:40, 28 August 2019 (UTC)
 * Cheever doesn't but I will see what I can find out... ɱ  (talk) 04:42, 28 August 2019 (UTC)
 * I reached out to the village historical society again to see if they may have a date for you. ɱ  (talk) 18:48, 28 August 2019 (UTC)

John Hersey’s Too Far to Walk book
There’s no information about several of the books in the “works” section of the article, for example, Too Far to Walk. Is there any information about the book that could or should be mentioned? I’m reading the mentioned book myself, but I don’t think I could write a whole wikipedia article about it. 12.86.245.70 (talk) 18:15, 29 September 2023 (UTC)

title: Talk:John Hersey


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Joachim von Sandrart

Joachim von Sandrart (12 May 1606 – 14 October 1688) was a German Baroque art-historian and painter, active in Amsterdam during the Dutch Golden Age. He is most significant for his collection of biographies of Dutch and German artists the Teutsche Academie, published between 1675 and 1680.

Biography
Sandrart was born in Frankfurt am Main, but the family originated from Mons. According to his dictionary of art called the Teutsche Academie, he learned to read and write from the son of Theodor de Bry, Johann Theodoor de Brie and his associate Matthäus Merian, but at age 15 was so eager to learn more of the art of engraving, that he walked from Frankfurt to Prague to become a pupil of Aegidius Sadeler of the Sadeler family. Sadeler in turn urged him to paint, whereupon he travelled to Utrecht in 1625 to become a pupil of Gerrit van Honthorst, and through him he met Rubens when he brought a visit to Honthorst in 1627, to recruit him for collaboration on part of his Marie de' Medici cycle. Honthorst took Sandrart along with him when he travelled to London. There he worked with Honthorst and spent time making copies of Holbein portraits for the portrait gallery of Henry Howard, 22nd Earl of Arundel.

Making all of those copies only served to arouse more curiosity in the young adventurer, and in 1627 Sandrart booked a passage on a ship from London to Venice, where he was welcomed by Jan Lis (whose Bentvueghels bent name was "Pan"), and Nicolas Régnier. He then set out for Bologna, where he was met by his uncle on his mother's side Michael le Blond, a celebrated engraver. With him, he crossed the mountains to Florence, and from there on to Rome, where they met Pieter van Laer (whose bent name was "Bamboccio"). After a few years he undertook a tour of Italy, traveling to Naples, where he drew studies of Mount Vesuvius, believed to be the entrance to the Elysian fields described by Virgil. From there he traveled to Malta and beyond, searching for literary sights to see and paint, and wherever he went he paid his way by selling portraits. Only when he was done traveling did he finally return to Frankfurt, where he married Johanna de Milkau in 1637.

Afraid of political unrest and plague, he moved to Amsterdam with his wife in 1637.

Painting career
In Amsterdam he worked as a painter of genre works, and portraits. He won a very good following as a painter, winning a lucrative commission for a large commemorative piece for the state visit by Maria of Medici in 1638, which hangs in the Rijksmuseum. This piece was commissioned by the Bicker Company of the Amsterdam schutterij, and shows the members posing around a bust of Maria of Medici, with a poem by Joost van den Vondel hanging below it. The state visit was a big deal for Amsterdam, as it meant the first formal recognition of the Dutch Republic of the seven provinces by France. However, Maria herself was fleeing Richelieu at the time and never returned to France. This piece cemented his reputation as a leading painter, and in 1645 Sandrart decided to cash in and go home when he received an inheritance in Stockau, outside Ingolstadt, he sold his things and moved there. He received 3000 guilders for 2 books of his Italian drawings, that according to Houbraken were resold in his lifetime for 4555 guilders.

Though he rebuilt the old homestead, it was burned by the French. He sold it and moved to Augsburg, where he painted for the family of Maximilian I, the Elector of Bavaria. When his wife died in 1672, Sandrart moved to Nuremberg, where he married Hester Barbara Bloemaart, the daughter of a magistrate there. This is where he started writing.

His large 1649 painting Peace-Banquet commemorating the Peace of Münster, now hangs in Nuremberg's town hall.

Teutsche Academie
He is best known as an author of books on art, some of them in Latin, and especially for his historical work, the Teutsche Academie der edlen Bau-, Bild- und Mahlerey-Künste, published between 1675 and 1680, and in more recent editions. This work is an educational compilation of short biographies of artists, as "a printed supplement to or surrogate for an academic course," inspired by Karel van Mander's similar Schilder-boeck. Both Sandrart and van Mander based their Italian sections on the work of Giorgio Vasari. His work in turn became one of the primary sources for Arnold Houbraken's Schouburg, who wrote a little poem about him: "Wat arbeid, moeite, en yver,
 * What work, trouble, and dedication,

En nazoek dat een Schryver
 * And research that a Writer

Steets doen moet, weet niemant;
 * Has to do, knows only

Als die 't zelf neemt ter hand. Sandrart copied a mistake in Cornelis de Bie's Het Gulden Cabinet on Hendrick ter Brugghen whom De Bie has erroneously called "Verbrugghen". De Bie corrects this mistake in a manuscript and attacks Sandrart for having copied the mistake without proper research in a later work of his.
 * The one who has taken it in hand himself."

Public collections

 * Rijksmuseum Amsterdam

title: Joachim von Sandrart


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Astypalaea

In Greek mythology, Astypalaea (Ancient Greek: Ἀστυπάλαια ) or Astypale was a Phoenician princess as the daughter of King Phoenix and Perimede, daughter of Oeneus; thus she was the sister of Europa. In some accounts, her mother was called Telephe and her siblings were Peirus and again Europe. Astypale was a lover of Poseidon who seduced her, and had two sons by him: Ancaeus, King of Samos, and Eurypylos, King of Kos.

The island of Astypalaia was believed to have been named after her.

title: Astypalaea


text:
Advanced Aerodynamics and Structures Inc.

AASI or Advanced Aerodynamics and Structures Inc (originally ASI, Aerodynamics and Structures Inc.) was an aircraft maker, headquartered in Long Beach, California. The company was financed by US based Business Tycoon Late Hameed Hamza and co-owned by Darius Sharifzade and Huzefa H. to develop and manufacture a line of business aircraft of unconventional configuration, the Jetcruzer.

But the Jetcruzer program was later hampered by a lengthy development and although the prototype version (the 450) had flown as early as 1989, by 2002 AASI still did not have Jetcruzer in production. That year AASI acquired the assets of the Mooney Aircraft Company and changed its name to the Mooney Aerospace Group (MASG).

Shortly thereafter, MASG suspended development of the Jetcruzer to focus on Mooney's line of light aircraft. The Jetcruzer assets were put up for auction in November 2003 and sold to Innova Aircraft.

This was not enough to save the company and in 2004, MASG sold off the Mooney assets to Allen Holding Finance.

Aircraft

 * Jetcruzer 450
 * Jetcruzer 500
 * Jetcruzer 650 (proposed only)
 * Stratocruzer 1250(proposed only)


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Russell Senate Office Building

The Russell Senate Office Building is the oldest of the United States Senate office buildings. Designed in the Beaux-Arts architectural style, it was built from 1903 to 1908 and opened in 1909. It was named for former Senator Richard Russell Jr. from Georgia in 1972. It occupies a site north of the Capitol bounded by Constitution Avenue, First Street, Delaware Avenue, and C Street N.E.

History
The first congressional office building was constructed immediately after the turn of the 20th century to relieve overcrowding in the United States Capitol. Previously, members who wanted office space had to rent quarters or borrow space in committee rooms. In March 1901 Congress authorized Architect of the Capitol Edward Clark to draw plans for fireproof office buildings adjacent to the Capitol grounds. In March 1903 the acquisition of sites and construction of the buildings were authorized, and the Senate Office Building Commission selected a site.

In April 1904, the prominent New York City architectural firm of Carrère and Hastings was retained. John Carrère took charge of the Senate Office Building project, while Thomas Hastings oversaw the construction of an almost identical office building (now named the Cannon House Office Building) for the United States House of Representatives. Their Beaux Arts designs were restrained complements to the Capitol. Architecturally, their elevations are divided into a rusticated base and a colonnade with an entablature and balustrade. The Constitution Ave. side is a quasi replica of the easternmost façade of the Palais du Louvre in Paris. The colonnades, with 34 Doric columns that face the Capitol, are echoed by pilasters on the sides of the buildings. Both buildings are faced with marble and limestone; the Russell Building's base and terrace are gray granite. Modern for their time, they included such facilities as forced-air ventilation systems, steam heat, individual lavatories with hot and cold running water and ice water, telephones, and electricity. Both are connected to the Capitol by underground passages. Originally there were 98 suites and eight committee rooms in the Russell Building; the First Street Wing, completed in 1933, added two committee rooms and 28 suites.

Of special architectural interest is the rotunda. Eighteen Corinthian columns support an entablature and a coffered dome, whose glazed oculus floods the rotunda with sunlight. Twin marble staircases lead from the rotunda to an imposing Caucus Room, which features Corinthian pilasters, a full entablature, and a richly detailed ceiling; the Russell Caucus Room (known since 2009 as the "Kennedy Caucus Room" in honor of Senators John F. Kennedy, Robert F. Kennedy, and Edward M. Kennedy) retains its original 1910 benches and settles with carved eagles. This space has been used for many hearings on subjects of national significance, including the 1912 sinking of the RMS Titanic hearings; the 1974 Watergate hearings, the Iran-Contra hearings, and the 1991 Clarence Thomas Supreme Court nomination hearings. The rotunda contains a statue of Russell by sculptor Frederick Hart.

The Russell Building was occupied in 1909 by the Senate of the 61st Congress. The growth of staff and committees in the twenty years following its completion resulted in the addition of a fourth side, the First Street Wing, to the originally U-shaped building. Nathan C. Wyeth and Francis P. Sullivan were the consulting architects for the new wing, which was completed in 1933. The building was originally named the Senate Office Building. When the Dirksen Office Building was completed, it became the New Senate Office Building and the original Senate Office Building became the "Old Senate Office Building" until being renamed the Russell Building in 1972.

The building received extensive pop culture visual cachet in the 1970s when film footage of the southwest corner was regularly used to represent the headquarters of the fictional OSI organization in the TV series The Six Million Dollar Man and The Bionic Woman.

Chuck Schumer, the then-Senate Minority Leader announced on August 25, 2018, that he would introduce a resolution to rename the building after Senator John McCain from Arizona, who died of brain cancer earlier that day.

Committee offices within Russell Senate Office Building

 * United States Senate Committee on Agriculture, Nutrition and Forestry
 * United States Senate Committee on Armed Services
 * United States Senate Committee on Rules and Administration
 * United States Senate Committee on Small Business and Entrepreneurship
 * United States Senate Committee on Veterans' Affairs
 * United States Senate Homeland Security Permanent Subcommittee on Investigations

title: Russell Senate Office Building


text:
Willem Claesz. Heda

Willem Claeszoon Heda (December 14, 1593/1594 – c. 1680/1682) was a Dutch Golden Age artist from the city of Haarlem devoted exclusively to the painting of still life. He is known for his innovation of the late breakfast genre of still life painting.

Early life
Heda was born in Haarlem, the son of the Haarlem city architect Claes Pietersz. His mother Anna Claesdr was a member of the Heda family. His uncle was the painter Cornelis Claesz Heda. Heda's early life is all but unknown, with no surviving pieces dated to that period. Judging from his date of birth, scholars have speculated that Heda began painting around 1615.

His earliest known work was a Vanitas which fit the monochromatic and skillful texturing of his later pieces, but portrayed a subject matter distinct from the depictions of more sumptuous objects in his later years. This Vanitas, and the two other breakfast pieces by Heda in the 1620s were known for their clear deviation from earlier breakfast-pieces. The objects in these works demonstrate greater special effect and maintain a sense of balance for the viewer despite the uneven and diagonal grouping of objects. Additionally, these works adopted the monochromatic style contrary to early breakfast-pieces.

Heda's skill was recognized early on in his career by other notable figures in Haarlem, such as Samuel Ampzing, a Dutch minister and poet from Haarlem, who captured the city in poetry. Heda won enough local fame in his own day for Ampzing to praise him in the same breath with Salomon de Bray and Pieter Claesz in his 1628 Beschryvinge ende lof der stad Haerlem in Holland. "[I] ha[ve] to praise Heda with the banquet pieces of Solomon de bray and Pieter Claesz, their skill deserves to be mentioned in his poem."

Following his support from Samuel Ampzing, Heda became a member of the Haarlem Guild of St. Luke. As evidenced by his signing of a new charter to regularize the affairs of the guild on May 22, 1631, Heda was an active member of the Haarlem Guild of St. Luke.

Maturity

Following his formative pieces of the 1620s, Heda reached his artistic maturity in the 1630s with pieces such as his 1631 still-life Breakfast table with blackberry pie and those of the "1639 group" sold to Vienna in the 1930s. These pieces contain perfectly draped fabric and assortments of fine glass and metal wares in addition to orderly-presented foodstuffs. This set of paintings is characterized by a sublime simplicity and order that few artists of his genre ever obtained. His coloration and illustration of light in the pieces, combined with fine additive brush strokes, results in an almost unbelievable level of realism.

Heda's style continued to progress with his pieces of the 1640s developing a great simplicity founded upon a "firm construction built up on broad lines." In this time, he also began to incorporate the crinkled napkin and knocked-over vases to his set of objects. This new set of objects presented a challenge to the artist to maintain cohesion and order in a clearly disordered environment. Though remnants of his more intimate pieces remained in this period, Heda began to add more objects to his works, experimenting with modified compositional styles.

The 1650s saw the introduction of a wider color-scheme. This change brought more fruit and curled leaves to his works, which combined with the crinkled napkins of the previous decade, resulted in a less firm character (in contrast to the glass and metal textures that he was previously known for).

Final years

Heda's final years saw the artist begin the transition from the late breakfast still-life paintings he helped create, to the pronk, or display, still-life pieces of Willem Kalf in Amsterdam. His last known works were painted in 1664 (Private collection, The Hague) and 1665 (Museum del Monte, Brussels), and contained the warmer pallette of browns associated with Kalf's pieces.

Though he lived until the 1680s, Heda's last known paintings were created in the 1660s. Heda died in Haarlem in 1680 or 1682.

Works
Willem was a contemporary and comrade of Dirck Hals, akin to him in pictorial touch and technical execution. But Heda was more careful and finished than Hals, showing considerable skill and taste in the arrangement and colouring of his chased cups, beakers and tankards of both precious and inferior metals. Heda was also associated with the Haarlem artist and fellow still life painter, Floris van Dyck. In his work, Harlemias, the Dutch poet Theodorus Schrevelius acknowledged exceptional skill at his genre of painting. Heda and his contemporary and fellow still life painter, Floris van Dyck, were "held in high esteem by the community as the best at painting their genre."

As a painter of "ontbijt" or breakfast pieces, he is often compared to his contemporary Pieter Claesz.

Popularity
Willem Claesz Heda's skill was recognized in his own time by Samuel Ampzing, the Haarlem Guild of St. Luke, and Theodorus Schrevelius. Though Heda would clearly not be included in Het schilder-boeck of Karel van Mander, as its 1604 publishing fell before his rise to prominence, it would be expected that he would be included in the work of the next great Dutch art biographer Arnold Houbraken. Houbraken briefly mentioned Heda in the third volume of his work based on the biography by Schrevelius. Houbraken's paltry inclusion of Heda in his Groote Schouburgh was probably due to nothing more than the lack of information about the artist. Houbraken's antiquarian approach to artists' biographies meant that he published all of the information he had on each individual, and had he seen one of Heda's pieces, he would have likely written more.

Houbraken's scant mention of Heda was reflected in the works of his followers, Johan van Gool and Jacob Campo Weyerman. Neither of these individuals included Heda in their respective books.

As a result of the decline of Dutch art after the Dutch Golden Age, many countries began to ignore Dutch artworks. Jean-Baptiste Descamps a French artist who briefly studied in Antwerp became the first among modern art writers outside of the Netherlands to acknowledge the nation's artistic importance. Although Descamps' writings included many inaccuracies, he described the Dutch masters, the van Eyck brothers among others, with personal observations that set him apart from many who ignored this genre. Following Descamps, Antoine-Nicolas Dezallier d'Argenville, a French writer and art connoisseur, cemented the shift in attitudes about the Dutch low genres. D'Argenville support for their unique style of genre painting. D'Argenville was in favor of treating all styles equally and believed that the preeminent artists of all fields should be valued for their skill over their subject matter. After attitudes towards genre paintings were changed, and Dutch art was once again in vogue, Willem Claesz Heda returned to prominence in the art world.

Heda was rediscovered by the French art critic Théophile Thoré in the 1860s. After seeing an example of his work at the Boijmans Museum in Rotterdam, Thoré praised Heda's ability to make "petite nature into a splendid celebration of life."

Legacy
Heda died in his native city of Haarlem in 1680 or 1682. Heda's renewed popularity in the latter half of the 19th century resulted in the dissemination of his pieces throughout the world. His works can now be found on display in some of the world's most famous museums: the Rijksmuseum, Amsterdam; the Metropolitan Museum of Art, New York; the Louvre, Paris; the National Gallery, London; the National Gallery of Art, Washington, D.C.; the Kunsthistorisches Museum, Vienna; the Hermitage Museum, Saint Petersburg; the Prado Museum and the Thyssen-Bornemisza Museum, Madrid.

As one of the most recognized Dutch masters and one of the signature artists of the still life genre, his paintings feature in general surveys of art history as some of the highlights of Dutch seventeenth-century painting. His pupils include Maerten Boelema de Stomme, Gerret Willemsz Heda, Hendrik Heerschop, and Arnold van Beresteijn.

title: Willem Claesz. Heda


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Wannabe

"Wannabe" is the debut single by the British girl group the Spice Girls, released on 26 June 1996. It was written by the Spice Girls, Matt Rowe and Richard "Biff" Stannard and produced by Rowe and Stannard for the group's debut album, Spice, released in November 1996. "Wannabe" is a dance-pop song that features Mel B and Geri Halliwell rapping. The lyrics, which address the value of female friendship over heterosexual relationships, became a symbol of female empowerment and the most emblematic song of the group's girl power philosophy. It was written and recorded quickly. The result was considered lacklustre by their label and was sent to be mixed by Dave Way. The Spice Girls were not pleased with the result, and the recording was mixed again, by Mark "Spike" Stent.

"Wannabe" was heavily promoted. Its music video, directed by Johan Camitz, became a success on the British cable network the Box, which sparked press interest in the group. Subsequently, the song had intensive radio airplay across England, while the Spice Girls performed it on television and began doing interviews and photo shoots for teen magazines.

Responding to the wave of interest, Virgin released the song as the Spice Girls' debut single in Japan in June 1996 and in the UK the following month, well ahead of the planned release of the Spice album. "Wannabe" topped the UK Singles Chart for seven weeks and has received a quadruple platinum certification by the British Phonographic Industry (BPI). It was released in the United States in January 1997, topping the Billboard Hot 100 for four weeks. It was the group's only number-one single in that country. By the end of 1996, "Wannabe" had topped the charts in 22 nations, and by March 1997 this number had climbed to 37.

Despite mixed reviews from critics, "Wannabe" won for Best British-Written Single at the 1997 Ivor Novello Awards and for British Single of the Year at the 1997 Brit Awards. "Wannabe" became the best-selling single by a girl group, with 1,385,211 copies sold in United Kingdom by 2017, 2,910,000 in the United States by 2014, and more than 7 million copies worldwide by the end of 1997. In a 2014 study it was found to be the most recognisable pop song of the last 60 years. An EP, Wannabe 25, was released in 2021 for the single's 25th anniversary.

Background
In March 1994, father-and-son team Bob and Chris Herbert, together with financer Chic Murphy, working under the business name of Heart Management, placed an advertisement in The Stage, which asked the question: "Are you street smart, extrovert, ambitious, and able to sing and dance?" After receiving hundreds of replies, the management had narrowed their search to a group of five girls: Victoria Adams, Melanie Brown, Melanie Chisholm, Geri Halliwell, and Michelle Stephenson. The group moved to a house in Maidenhead and received the name "Touch". Stephenson was eventually fired because she lacked the drive of the other group members. She was replaced by Emma Bunton. In November, the group—now named "Spice"—persuaded their managers to set up a showcase in front of industry writers, producers, and A&R men at the Nomis Studios in Shepherd's Bush, London. Producer Richard Stannard, at the studio for a meeting with pop star Jason Donovan, attended the showcase after hearing Brown, as she went charging across the corridor. Stannard recalled: More than anything, they just made me laugh. I couldn't believe I'd walked into this situation. You didn't care if they were in time with the dance steps or whether one was overweight or one wasn't as good as the others. It was something more. It just made you feel happy. Like great pop records. Stannard stayed behind after the showcase to talk to the group. He then reported to his songwriter partner, Matt Rowe, that he had found "the pop group of their dreams". Chris Herbert booked the group's first professional songwriting session with the producers at the Strongroom in Curtain Road, East London, in January 1995. Rowe recalls feelings similar to Stannard's: "I love them. Immediately. ... They were like no one I'd met before, really." The session was productive; Stannard and Rowe discussed the songwriting process with the group and talked about what the group wanted to do on the record. In her autobiography, Brown recalls that the duo instinctively understood their point of view and knew how to incorporate "the spirit of five loud girls into great pop music".

Writing and inspiration
The first song the Spice Girls wrote with Stannard and Rowe was called "Feed Your Love", a slow and soulful song that was recorded and mastered for the group's debut album; the song was not used because it was considered too sexually explicit for the target audience. The group next proposed to write a track with an uptempo dance-pop rhythm. Rowe set up a drum loop on his MPC3000 drum machine. Its fast rhythm reminded Stannard of the scene in Grease. Stannard commented that the only pre-planned concept for the song was that it should represent the essence of what they were. The group then added their own contributions to the song, Rowe recalls: They made all these different bits up, not thinking in terms of verse, chorus, bridge or what was going to go where, just coming up with all these sections of chanting, rapping and singing, which we recorded all higgledy-piggledy. And then we just sewed it together. It was rather like the way we'd been working on the dance remixes we'd been doing before. Kind of a cut-and-paste method. "Wannabe" was completed in 30 minutes—mainly because the group had written and composed parts of the song beforehand—in what Brown describes as a "sudden creative frenzy". During the session, Brown and Bunton came up with the idea of including a rap near the end of the song. At this point the group became highly motivated, and incorporated the word "zigazig-ah" into the lyrics. Chisholm told Billboard: "You know when you're in a gang and you're having a laugh and you make up silly words? Well we were having a giggle and we made up this silly word, zigazig-ah. We were in the studio and it all came together in this song."

Recording and production
While most of the other songs on the Spice album required two or three days of studio time, "Wannabe" was recorded in less than an hour. The solo parts were divided between Brown, Bunton, Chisholm, and Halliwell. Adams missed most of the writing session and communicated with the rest of the group on a mobile phone. In her autobiography, she wrote: "I just couldn't bear not being there. Because whatever they said about how it didn't matter, it did matter. Saying 'Yes, I like that' or 'Not sure about that' down the phone is not the same." She contributed backing vocals and sings during the chorus. Rowe stayed up all night working on the song, and it was finished by morning, the only later addition was the sound of Brown's footsteps as she ran to the microphone.

The group parted with Heart Management in March 1995 because of their frustration with the management company's unwillingness to listen to their visions and ideas. The girls met with artist manager Simon Fuller, who signed them with 19 Entertainment. The group considered a variety of record labels, and signed a deal with Virgin Records in July. The original mix of "Wannabe" was considered lacklustre by Virgin executives. Ashley Newton, who was in charge of A&R, sent the song to American producer Dave Way for remixing; the result was not what the group had hoped to achieve. As Halliwell later described it, "the result was bloody awful". She elaborated in her second autobiography, Just for the Record: "Right at the beginning of the Spice Girls, ... Ashley Newton had tried to turn us into an R&B group ... He brought us jungle versions and hip-hop mixes and I hated them all. Although Mel B was a big fan of R&B, she agreed with me that these versions just didn't work so we exercised our Spice veto!" Fuller gave the song to audio engineer Mark "Spike" Stent, who thought that it was a "weird pop record". Stent remixed it in six hours, in what he described as "tightening it up" and "getting the vocals sounding really good."

Composition
"Wannabe" is a dance-pop song with influences of hip hop and rap. Written in the key of B major, it is set in the time signature of common time and moves at a moderate tempo of 110 beats per minute. It uses the sequence B–D–E–A–A♯ as a bass line during the refrain, the chorus, and the bridge, and uses a chord progression of F♯–G♯m–E–B for the verses. The song is constructed in a verse-pre-chorus-chorus form, with a rapped bridge before the third and final chorus. Musically, it is "energised" by a highly syncopated synthesised riff, and by the way the repetitive lyrics and rhythm are highlighted during the bridge. "Wannabe" presents a different version of the traditional pop love song performed by females; its energetic, self-assertive style expresses a confident independence that is not reliant on the male figure for its continuance.

The song opens with Halliwell's laugh, followed by "undislodgeable piano notes" inspired by the Grease "Summer Nights" bassline. The first lines of the refrain are rapped in a call and response interaction between Brown and Halliwell. The words "tell", "really" and "I wanna" are repeated, so that the vocal tone and lyrics build up an image of female self-assertion. The refrain ends with the word "zigazig-ah", which musicologist Sheila Whiteley compared to the neologisms created by Lewis Carroll; other writers have considered it a euphemism for female sexual desire, which is ambiguously sexualised or broadly economic. The first verse follows; Chisholm, Bunton, Brown, and Halliwell sing one line individually, in that order. In this part, the lyrics have a pragmatic sense of control of the situation; they begin, "If you want my future, forget my past." This, according to Whiteley, taps directly into the emotions of the young teenage audience.

During the chorus, the lyrics—"If you wanna be my lover/You gotta get with my friends"—address the value of female friendship over romantic relationships, while the ascending group of chords and the number of voices creates a sense of power that adds to the song's level of excitement. The same pattern occurs, leading to the second chorus. Towards the end, Brown and Halliwell rap the bridge, which serves as a presentation to each of the girls' personalities. The group repeats the chorus for the last time, ending the song with energetic refrains— "Slam your body down and wind it all around"—and the word "zigazig-ah".

Release and promotion
After signing the group, Virgin Records launched a major campaign for their debut song to promote them as the new high-profile act. There was a period of indecision about what song would be released as the first single; the label wanted to get everything right for the campaign, because the all-girl group format was untested. The group, led by Brown and Halliwell, was adamant that the debut song should be "Wannabe", they felt it served as an introduction to their personalities and the Girl Power statement. Virgin's executives believed that the first single should either be "Say You'll Be There", which they considered a much "cooler" track, or "Love Thing". At the beginning of 1996 the impasse between the group and their record label about the release of the single was temporarily solved. In March, Fuller announced that he agreed with Virgin in that "Wannabe" should not be the first single. The label wanted a song that appealed to the mainstream market, and nothing considered too radical. Halliwell was shocked and furious; she told Fuller, "It's not negotiable as far as we're concerned. 'Wannabe' is our first single." Fuller and the executives at Virgin relented, and the song was chosen as their first single.

The trigger for the Spice Girls' launch was the release of the "Wannabe" music video in May 1996. Its quick success on the British cable network The Box sparked press interest, despite initial resistance to the all-girl group idea. The same month, their first music press interviews appeared in Music Week, Top of the Pops, and Smash Hits, and their first live TV slot was broadcast on LWT's Surprise Surprise. A month after the video's release, the song was receiving intensive airplay on the main radio stations across the UK, while the group started to appear on television—mainly on kid's programmes such as Live & Kicking—and doing interviews and photo shoots for teen magazines. A full-page advertisement appeared in the July issue of Smash Hits, saying: "Wanted: Anyone with a sense of fun, freedom and adventure. Hold tight, get ready! Girl Power is comin' at you". The group appeared on the television programme This Morning with Richard and Judy, and performed at their first Radio One road show in Birmingham.

"Wannabe" was first released in Japan on 26 June 1996 as a maxi CD. In the United Kingdom, the song was issued on 8 July 1996 in two single versions. The first one, released in two formats—a standard CD single and a cassette single—include the radio edit of the track, the Motiv 8 vocal slam remix, and the B-side, "Bumper to Bumper". The group wrote "Bumper to Bumper" with Paul Wilson and Andy Watkins—the songwriter-production duo known as Absolute—and British singer-songwriter Cathy Dennis. The second version, released on maxi single format on 15 July, feature the radio edit, an instrumental version, the Motiv 8 dub slam remix, and the Dave Way alternative mix. This version came with a fold-out postcard inlay and a stickered case.

During the weeks following the UK release, the group began promotional visits abroad. They did three trips to Japan and brief visits to Germany and the Netherlands. On a trip to the Far East, they visited Hong Kong, Thailand, and South Korea. In January 1997 they travelled to North America to do a promotional campaign that Phil Quartararo, president of Virgin Records America, described as "absolutely massive". In Canada, the group did interviews for newspapers and radio stations, appeared in television programmes such as Hit List, and MusiquePlus, and attended an autograph signing at Montreal's HMV Megastore. During their visit to the US, the group met with influential radio programmers, TV networks, and magazines. In addition, the music video was placed into heavy rotation by MTV.

UK reviews
"Wannabe" received mixed reviews from UK music critics. Paul Gorman of Music Week called the group "smart, witty, abrasive and downright fun". He described the song as a "R&B-lite debut single", and noted influences from Neneh Cherry in it. In a review conducted by the British pop band Deuce for Smash Hits magazine, the group described "Wannabe" as "limp", "awful", and "not strong enough for a debut single." Kate Thornton, editor of Top of the Pops magazine, commented that the all-girl group idea was "not going to happen;" she considered it too threatening. In her review for The Guardian, Caroline Sullivan called it a combination of "cute hip pop and a vaguely feminist lyric", she was also surprised that "considering the slightness of 'Wannabe,'" the group had an overwhelming amount of offers from record companies.

NME characterised the song as "a combined force of Bananarama, Betty Boo and Shampoo rolled into one." Dele Fadele of the same magazine called the rap during the song's bridge "annoying", and added, writing of the group's music: "It's not good. It's not clever. But it's fun." The magazine named "Wannabe" the worst single of the year at the 1997 NME Awards. Conversely, it won for Best Single at the 1997 BRIT Awards, and for International Hit of the Year and Best British-Written Single at the 1997 Ivor Novello Awards presented by the British Academy of Composers and Songwriters. The song was ranked number five by Melody Maker in their list of "Singles of the Year" in December 1996. VH1 ranked it number 33 in their "100 Greatest Songs of the 90s", while NME ranked it number 111 on their 2011 list of "150 Best Tracks of the Past 15 Years".

US reviews
In the United States, reaction to the song was also mixed. In a review of the group's debut album, Edna Gundersen of USA Today said that "Wannabe" is "a melodious but disposable tune that typifies this debut's tart bubblegum and packaged sexiness." Greg Kot of the Chicago Tribune called it "insidiously snappy, ... [that] is shaping up as this year's 'Macarena.'" Karla Peterson of The San Diego Union-Tribune said that "'Wannabe' has UGH written all over it," adding that it was "relentlessly catchy and horrifyingly hummable". The Buffalo News's Anthony Violanti called it "irresistible". Sarah Rodman of The Boston Globe described it as a "maniacally zippy single", and Stephanie Zacharek of Salon referred to it as an "unapologetically sassy dance hit". Melissa Ruggieri of the Richmond Times-Dispatch commented that "based on their efficacious American debut single, ... the Spice Girls might be expected to deliver more of that zingy pop on their debut album," but she felt that "aside from 'Wannabe,' the album's dance tracks are color-by-numbers bland." Larry Flick of Billboard magazine said that "fans of the more edgy girl-group ... may find this single too fluffy" but added that "everyone else with a love of tasty pop hooks, lyrical positivity, and jaunty rhythms is going to be humming this single for months to come."

Some reviewers noticed the combination of musical genres. Christina Kelly from Rolling Stone magazine criticised the group's image, and added that their songs, including "Wannabe", were "a watered-down mix of hip-hop and cheesy pop balladry, brought together by a manager with a marketing concept." Matt Diehl of Entertainment Weekly said that it was "more a compendium of music styles (from ABBA-style choruses to unconvincing hip hop) than an actual song," and Sara Scribner of the Los Angeles Times described it as "a bubblegum hip-hop confection of rapping lifted off Neneh Cherry and Monie Love albums." Charles Aaron of Spin magazine called it "a quickie, mid-'80s teen paperback come to life ... so gooey it melts in your hands, not in your mouth" (an apparent reference to the M&M's slogan "melts in your mouth, not in your hands"). The song ranked at fifteenth in the American Pazz & Jop, a nationwide critics poll published by The Village Voice and conducted by its music editor Robert Christgau, who called it "a classic".

Contemporary reviews
Present-day reviews from critics, however, are mostly positive. Stephen Thomas Erlewine of AllMusic said that "none of the girls have great voices, but they do exude personality and charisma, which is what drives bouncy dance-pop like 'Wannabe,' with its ridiculous 'zig-a-zig-ahhh' hook, into pure pop guilty pleasure." Dan Cairns of The Sunday Times said that the song "leaves a bad taste in the mouth: [because] the true legacy of Girl Power is, arguably, a preteen clothing industry selling crop tops and other minimal garments to young girls," but added that it "remains the same two minutes and 53 seconds of pop perfection that it ever was." In a review of their Greatest Hits album, IGN said that after ten years it "still sound reasonably fresh", while Digital Spy's Nick Levine said that "Wannabe" still remained an "exuberant calling card". Billboard named the song #5 on their list of 100 Greatest Girl Group Songs of All Time and the Best Pop Song of 1997.

Chart performance
As part of Virgin's strategy to make the group an international act, "Wannabe" was released in Japan and Southeast Asia two weeks before its British release. After the song was placed into heavy rotation on FM stations in Japan, the Spice Girls made promotional tours in May, July, and September 1996. The group received major press and TV exposure, appearing in programmes such as Space Shower. The single was released by Toshiba EMI on 26 June 1996, and sold 100,000 copies by October 1996.

"Wannabe" debuted on the UK Singles Chart at number three, six days after its physical release, with sales of 73,000 copies. It climbed to number one the next week, and spent seven weeks at the top, the second-longest stay by an all-female group, only behind Shakespears Sister's "Stay". With eighteen weeks in the top forty and twenty-six weeks in the top seventy-five, it became the second-biggest selling single of the year, and as of November 2012 has sold over 1.38 million copies, the biggest-selling single by a female group in the UK.

"Wannabe" was commercially successful in the rest of Europe. On 4 September 1996 the song reached the top of the Eurochart Hot 100, where it stayed for nine consecutive weeks, when it was replaced by the group's second single, "Say You'll Be There". "Wannabe" topped the singles charts in Belgium (both the Flemish and French charts), Denmark, Finland, France, Germany, Hungary, Ireland, the Netherlands, Norway, Spain, Sweden, and Switzerland,    and peaked inside the top five in Austria, the Czech Republic, and Italy. The song was a success in Oceania. In Australia, it debuted at number sixty-four, reached the top of the ARIA Charts for eleven weeks, and ended at number five on the 1996 year-end chart. In New Zealand, it debuted on 1 September 1996 at number thirty-eight, reaching the top position ten weeks later. It spent one week at the top and seventeen consecutive weeks inside the top ten. "Wannabe" also topped the singles charts in Hong Kong and Israel.

In Canada, it debuted at the eighty-ninth position of the RPM singles chart on the week beginning 16 December 1996, a full month before it hit the US charts. It peaked at nine in its eighth week, and ended at number sixty-eight on the year-end chart. The song performed better on the dance chart, where it reached the top for three weeks, and ended at the top of the year-end chart. In the US, the song debuted on 25 January 1997 at number eleven. At the time, this was the highest-ever debut by a British act, beating the record previously held by the Beatles for "I Want to Hold Your Hand" at number twelve. It reached the top of the chart in its fifth week, and stayed there for four consecutive weeks simultaneously with the group's fourth single ("Mama"/"Who Do You Think You Are") being at number one in the UK. "Wannabe" reached the sixth position of the Hot 100 Airplay chart, and topped the Hot 100 Singles Sales chart for four consecutive weeks, selling over 1.8 million copies as of January 1998. It peaked at four on the Mainstream Top 40, and was a crossover success, topping the Rhythmic Top 40, peaking at twenty on the Hot Dance Club Play and at nine on the Hot Dance Singles Sales chart. New remixes of the song were produced in 2007 in conjunction with the release of their Greatest Hits CD and these rose to number 15 on the Billboard Dance Charts. "Wannabe" also remains the best selling song by a female group in the United States with 2,910,000 physical singles and downloads combined, according to Nielsen SoundScan in 2014.

Background
The music video for "Wannabe" was the first for Swedish director Johan Camitz. Camitz was hired on Fuller's recommendation because of his commercials for Volkswagen, Diesel, and Nike. His original concept for the video was a one-take shoot of the group arriving at an exotic building in Barcelona, taking over the place, and running riot—the same way they did when they were looking for a manager and a record company. A few days before the shoot on 19 April 1996, Camitz was unable to get permission to use the building, and the shoot was relocated to the Midland Grand Hotel in St Pancras, London.

The video features the Spice Girls running, singing, dancing, and creating mischief at an eccentric bohemian party. Because the video was intended to be filmed in one shot, the group rehearsed the routine several times through the night, while a Steadicam operator followed them. The final video was cut together from two takes. Halliwell wrote: "The video I remember as being very chaotic and cold. It wasn't very controlled—we didn't want it to be. We wanted the camera to capture the madness of the Spice Girls." Virgin's executives were horrified; Newtown recalled that "the girls were freezing cold, which showed itself in various different ways". The video was banned in some parts of Asia because of Brown's erect nipples. The lighting was considered too dark; the best takes showed the girls bumping with the furniture and looking behind them. Virgin was concerned that old people appeared in the video, and worried that the scenes of the Spice Girls jumping on a table and Halliwell's showgirl outfit might be considered threatening by music channels. Virgin began discussions about a re-shoot or creating an alternate one for the US, but the Spice Girls refused. The video was sent for trial airing in its original form in January 1997.

Reception
When the music video first appeared on the British cable network the Box, it was selected so frequently that it reached the top of the viewers' chart within two hours. It stayed at number one for thirteen weeks until it was replaced by the Spice Girls' next music video, for "Say You'll Be There". At its peak, up to fifteen per cent of the 250,000 weekly telephone requests to the Box were for "Wannabe", and it was aired up to seventy times a week, becoming the most requested track in the channel's history. "Wannabe" won Best Dance Video at the 1997 MTV Video Music Awards, and Best Video at the 1997 Comet Media Awards. It was also nominated for Best British Video at the 1997 BRIT Awards and was ranked at number forty-one in the 100 Greatest Pop Videos of all time by Channel 4.

In 2015, Billboard included the video for "Wannabe" in their list of the Top Ten Most Iconic Girl Group Music Videos of All Time, noting: "They were basically unknown to U.S. audiences when the video for debut single 'Wannabe' -- a riotous, one-shot stroll through the Girls gleefully messing up some posh U.K. soiree -- premiered, but by the end of the four-minute clip, we knew absolutely everything we needed to know about the Spice Girls. You get the individual personalities of all five members, the infectious togetherness of the group at large, and most importantly, the sense that they were coming to absolutely blast through American pop music and mess up everything we previously thought we knew."

To coincide with the Spice25 release on 29 October 2021, the Spice Girls released a lyric video for “Wannabe”, set inside the Midland Grand Hotel.

Live performances
The Spice Girls were in Japan when "Wannabe" went to number one in the UK. The group made their first appearance on Top of the Pops by satellite link from Tokyo, where they used a local temple as a backdrop for their mimed performance. They performed the song several more times on the show, including the programme's 1996 Christmas special. It was performed many times on television, in both Europe and the US, including An Audience with..., the Bravo Supershow, Sorpresa¡ Sorpresa!, Fully Booked, Live with Regis and Kathie Lee, The Oprah Winfrey Show, and Saturday Night Live. The performance at Saturday Night Live on 12 April 1997 was featured in the 5-part TV musical special "SNL: 25 Years of Music", and was the first time the group ever performed "Wannabe" with a live band—their previous performances had all been either lip-synched or sung to a recorded backing track.

The group performed it at awards ceremonies such as the 1996 Smash Hits! Awards, the 1996 Irish Music Awards, the 1997 BRIT Awards, and the 1997 Channel V Music Awards held in New Delhi, where they wore Indian costumes and entered the stage in auto rickshaws. In October 1997 the group performed "Wannabe" as the last song of their first live concert at the Abdi İpekçi Arena in Istanbul, Turkey. The performance was broadcast on Showtime in a pay-per-view event titled Spice Girls in Concert Wild!, and was later included in the VHS and DVD release Girl Power! Live in Istanbul.

The Spice Girls have performed the song on their four tours, the Spiceworld Tour, the Christmas in Spiceworld Tour, the Return of the Spice Girls Tour and the Spice World - 2019 Tour. After a breast-cancer scare led Geri Halliwell to leave the team at the end of the European leg of the Spiceworld Tour, her parts were replaced by Melanie Chisholm (refrain), Victoria Adams (verses), and Bunton (bridge). The performance at the tour's final concert can be found on the video Spice Girls Live at Wembley Stadium, filmed in London, on 20 September 1998. The group performed the song on 12 August 2012 at the 2012 Summer Olympics closing ceremony in London as part of a medley with the song "Spice Up Your Life". It was also performed as the closing song on the Spice World - 2019 Tour.

Legacy
As the Spice Girls' debut single, "Wannabe" has been credited for catapulting the band to global stardom and ushering in "Spicemania" in the late 1990s. Commentators have noted that the song and its accompanying video, both now considered modern pop classics, served as a wonderful introduction to the band. The Metro's Jon O’Brien concluded that: "From its lyrical themes of female solidarity to its insanely catchy pop hooks and mischief-making promo, the worldwide chart-topper encapsulated everything that made the group so spellbinding in the space of just two minutes and 52 seconds." Digital Spy's Lewis Corner agreed, adding: "It's hard to imagine any other pop act managing to make this much of an impact so quickly and effortlessly ever again."

"Wannabe" has also been credited with changing the mid-1990s pop music landscape, pioneering the teen pop boom of the late 1990s and early 2000s. Robert Copsey, editor at the UK's Official Charts Company explained: "There was nothing else quite like Wannabe on the radio back in summer 1996. Rock and dance music had been dominating the airwaves and charts for quite some time by that point. The Spice Girls struck at just the right moment with Wannabe; a gutsy, enthusiastic and unashamed pop song we'd all been craving without even realising it."

"Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world, including a set of stairs reminiscent of the Midland Grand Hotel steps from the original music video. The campaign also encouraged people from all over the world to use the hashtag "#WhatIReallyReallyWant", taken from the song's lyrics, to share what they wanted for girls and women by 2030. In response to the campaign, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls’ girl power is being used to encourage and empower a whole new generation?"

In 2014, a study at the University of Amsterdam with the Museum of Science and Industry in Manchester, found that "Wannabe" is the most recognisable and catchy pop song of the last 60 years. The study found that "Wannabe"’s simple and relentless melody was the key to its success, with lead musicologist Dr John Ashley Burgoyne concluding, "I would describe the song as truly relentlessly catchy. It's not that it has this one hook per se. It's quite ingeniously composed." On Spotify, "Wannabe" was the most streamed 1990s song by a female group or artist in 2020.

An EP, Wannabe 25, was released on 9 July 2021 to mark the 25th anniversary of "Wannabe". The EP included the previously unreleased demos of "Wannabe" and "Feed Your Love".

On December 31, 2023, "Wannabe" reached 1 billion streams on Spotify. Spice Girls became the first British girl group to reach the milestone and the second girl group overall, along with Fifth Harmony's "Work from Home".

Cover versions
Cover versions of "Wannabe" have been included in the albums of various musical artists. In 1998 American retro-satirist duo the Lounge-O-Leers did a kitschy, lounge-inspired rendition of "Wannabe" for their debut album, Experiment in Terror. British intelligent dance music producer μ-Ziq recorded a cover for his fourth album, Lunatic Harness. The London Double Bass Sound recorded an instrumental version in 1999, a dance remix was recorded by Jan Stevens, Denise Nejame, and Sybersound for the 1997 album Sybersound Dance Mixes, Vol. 2, while an electronic version was recorded by the Street Girls for the 2005 album The World of Hits of the 80's. In 1999 the song was used in "Weird Al" Yankovic's polka medley, "Polka Power!", for his tenth album, Running with Scissors. Covers of the song in a punk style include a thrash parody version by British punk rock band Snuff for their 1998 EP, Schminkie Minkie Pinkie, a punk rock version by Dutch band Heideroosjes for their 1999 album, Schizo, and a pop punk cover by Zebrahead for their 2004 EP, Waste of MFZB. In 2013, Brazilian funk carioca singers MC Mayara, MC Mercenária, MC Baby Liss and DZ MC released a version of the song, called "Mereço Muito Mais" (en: "I Deserve More"), and a music video inspired by the original. The 2019 single "Spicy", by Diplo, Herve Pagez and Charli XCX, is a reworking of "Wannabe".

"Wannabe" has also been covered in live concert sets by numerous musical artists, including Australian duo the Veronicas, American rock band the Foo Fighters, Filipina superstar Regine Velasquez and American pop rock band DNCE. K-pop girl group Girls' Generation covered the song on the popular South Korean radio program Super Junior Kiss the Radio in 2009 and did a live performance of the song on the South Korean television music program Kim Jung-eun's Chocolate in 2010. In 2013, American girl group Fifth Harmony dressed up as the Spice Girls for Halloween and performed "Wannabe" at their New York show. The performance was also uploaded on their official YouTube channel. In April 2017, indie punk band the Tuts recorded and filmed a music video for their cover of "Wannabe".

"Wannabe" has also been performed by the characters of various films. The cover versions of the song were included in the official soundtracks of Disney's 2005 animated film Chicken Little, DreamWorks Animation's 2012 animated film Madagascar 3: Europe's Most Wanted and the 2004 American teen film Sleepover.

"Wannabe" has also been covered in numerous TV shows. The characters Brittany (Heather Morris), Tina (Jenna Ushkowitz), Marley (Melissa Benoist), Kitty (Becca Tobin) and Unique (Alex Newell) dressed up as the Spice Girls and performed the song on the 17th episode of the fourth season of Glee. In 2015, the song was sung by Ed Helms and the Muppets in the fourth episode of the first season of The Muppets TV series. The song was also performed by Peter Griffin in the Family Guy episode "The New Adventures of Old Tom", and used in the ITV2 TV adverts for the programme's 14th season. The cast of Netflix's Fuller House also performed the song in the season one finale "Love Is in the Air". "Wannabe" was performed, along with another Spice Girls song, "Say You'll Be There", with revised lyrics, in the second episode of the 41st season of Saturday Night Live by host Amy Schumer and cast members Cecily Strong and Taran Killam. "Wannabe" has also been used in three episodes of Fox animated series The Simpsons; the song was sung by Homer Simpson in the episodes "Maximum Homerdrive" and "Fraudcast News", and sung by Ralph Wiggum in the episode "How the Test Was Won". The 2007 season four finale of One Tree Hill featured the female characters dancing as a group to the song. It was also used in the trailer for the film Excess Baggage (1997). On 3 October 2012, Geri Halliwell performed the song as a solo during a breast-cancer care show. (She had resigned from Spice Girls as a result of a breast-cancer scare, as noted above.) Her solo version was an acoustic ballad with several lyrics changed, such as "you've gotta get with my friends" being changed to "you've gotta be my best friend".

In 2016, American actress Eva Longoria performed a comedic dramatic reading of "Wannabe" in honour of the 20th anniversary of the album Spice. For the 21st anniversary of the song in July 2017, W magazine had various celebrities perform "Wannabe", including Nicole Kidman, James Franco, Riz Ahmed, Milo Ventimiglia, Millie Bobby Brown and Keri Russell.

Formats and track listings

 * UK CD1; Australian CD; Brazilian CD; European CD; Japanese CD
 * 1) "Wannabe" (Single Edit) – 2:52
 * 2) "Bumper to Bumper" – 3:43
 * 3) "Wannabe" (Vocal Slam) – 6:20

 * UK CD2
 * 1) "Wannabe" (Single Edit) – 2:52
 * 2) "Wannabe" (Dave Way Alternative Mix) – 3:27
 * 3) "Wannabe" (Dub Slam) – 6:25
 * 4) "Wannabe" (Instrumental) – 2:52

 * European 2-track CD; US CD
 * 1) "Wannabe" (Single Edit) – 2:52
 * 2) "Bumper to Bumper" – 3:43

 * UK and Australian cassette
 * 1) "Wannabe" (Single Edit) – 2:52
 * 2) "Bumper to Bumper" – 3:43
 * 3) "Wannabe" (Vocal Slam) – 6:20

 * European 12-inch vinyl single
 * 1) A1 "Wannabe" (Vocal Slam) – 6:20
 * 2) B1 "Wannabe" (Dub Slam) – 6:25
 * 3) B2 "Wannabe" (Instrumental Slam) – 6:20

 * US 12-inch vinyl single
 * A1: "Wannabe" (Junior Vasquez 12-inch Club Mix) – 9:20
 * A2: "Wannabe" (Vocal Slam) – 6:20
 * B1: "Wannabe" (Junior Vasquez Club Dub) – 9:20
 * B2: "Wannabe" (Dub Slam) – 6:25
 * B3: "Wannabe" (Single Edit) – 2:52

 * Digital EP
 * 1) "Wannabe" (Single Edit) – 2:54
 * 2) "Bumper to Bumper" – 3:42
 * 3) "Wannabe" (Motiv 8 Dubslam Mix) – 6:25
 * 4) "Wannabe" (Motiv 8 Vocal Slam Mix) – 6:21
 * 5) "Wannabe" (Dave Way Alternative Mix) – 3:25
 * 6) "Wannabe" (Instrumental) – 2:52

 * Wannabe 25 EP
 * 1) "Wannabe" – 2:56
 * 2) "Wannabe" (Junior Vasquez Remix Edit) – 5:57
 * 3) "Wannabe" (Demo) – 2:58
 * 4) "Feed Your Love" – 5:13

Credits and personnel
Published by Windswept Pacific Music Ltd/PolyGram Music Publishing Ltd.
 * Spice Girls – lyrics, vocals
 * Matt Rowe – lyrics, producer, keyboards and programming
 * Richard Stannard – lyrics, producer, keyboards and programming
 * Mark "Spike" Stent – audio mixing
 * Adrian Bushby – recording engineer
 * Patrick McGovern – assistant

title: Wannabe


text:
Wikipedia:Articles for deletion/Oskar Syahbana

Oskar Syahbana was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE

Vanity — Syahbana is currently managing a "not so big company" as the article says, and blogging. Delete. Johnleemk | Talk 14:21, 18 Jul 2004 (UTC)

This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * delete - Vanity -- Chris 73 | Talk 14:21, 18 Jul 2004 (UTC)
 * delete. Humble people don't warrant vanity pages Ianb 17:20, 18 Jul 2004 (UTC)
 * delete. Humble people don't write vanity pages... Average Earthman 18:24, 18 Jul 2004 (UTC)
 * I haven't ruled out the possibility the page was created by an admirer. Unlikely, but... Ianb 14:47, 19 Jul 2004 (UTC)
 * Delete stereotypical vanity page (should have been a speedy delete.) --Ardonik 23:58, Jul 18, 2004 (UTC)
 * I beg to differ. Speedy deletes are only warranted for pages which clearly have no value — no matter what, they cannot be improved. Thus, blank pages, pages with one or two words, etc. are speedy delete candidates. But this page could have very well been about a famous economist that has fallen upon hard times — you never know. However, it's clear that Syahbana isn't important, but still, this is definitely not patent nonsense, and by extension, not a speedy delete candidate. Johnleemk | Talk 12:24, 19 Jul 2004 (UTC)
 * Delete. Utterly worthless.  Postdlf 14:47, 23 Jul 2004 (UTC)


text:
Architect of the Capitol

The Architect of the Capitol is the federal agency responsible for the maintenance, operation, development, and preservation of the United States Capitol Complex. It is an agency of the legislative branch of the federal government and is accountable to the United States Congress and the Supreme Court. Both the agency and the head of the agency are called "Architect of the Capitol". The head of the agency is appointed by a vote of a congressional commission for a ten-year term. Prior to 2024, the president of the United States appointed the Architect upon confirmation vote by the United States Senate, and was accountable to the president.

Overview
The agency had 2,444 employees and an annual budget of approximately $788 million as of September 2022.

The head of the agency sits on the Capitol Police Board, which has jurisdiction over the United States Capitol Police, and on the United States Capitol Guide Board, which has jurisdiction over the United States Capitol Guide Service.

Until 1989, the architect of the Capitol was appointed by the president of the United States for an indefinite term. Legislation in 1989 provides that the president appoints the architect for a term of ten years, with the advice and consent of the Senate, from a list of three candidates recommended by a congressional commission composed of the speaker of the House, president pro tem of the Senate, the majority and minority leaders of the House and Senate, and the chair and ranking members of the House Committee on House Administration, the Senate Committee on Rules and Administration, and the House and Senate Committees on Appropriations. On confirmation by the Senate, the architect becomes an official of the legislative branch as an officer and agent of Congress. The architect is eligible for reappointment after completion of the term.

Responsibility
The Architect of the Capitol is responsible to Congress and the Supreme Court for the maintenance, operation, development, and preservation of 17.4 e6ft2 of buildings and more than 553 acre of land throughout Capitol Hill.

The office is also responsible for the upkeep and improvement of the Capitol grounds, and the arrangement of inaugural ceremonies and other ceremonies held in the building or on the grounds. Legislation over the years has placed additional buildings and grounds under the Architect of the Capitol.

The Capitol Complex includes:
 * the Capitol
 * Capitol Visitor Center
 * the eight congressional office buildings
 * Cannon
 * Ford
 * Longworth
 * O'Neill
 * Rayburn
 * Russell
 * Dirksen
 * Hart
 * Library of Congress buildings
 * United States Supreme Court Building
 * United States Botanic Garden
 * Thurgood Marshall Federal Judiciary Building
 * Capitol Power Plant
 * Juno Webster Senate Page Residence
 * United States Capitol Police headquarters and K9 division facilities
 * other facilities

title: Architect of the Capitol


text:
Butterdon Hill

Butterdon Hill is on Dartmoor, in southwest England. The remains of a small stone circle and a stone row can be found on the summit. The name Butterdon is believed to derive an Old English word for "pasture".

title: Butterdon Hill


text:
Jan Davidsz. de Heem

'''Jan Davidsz. de Heem' or in-full Jan Davidszoon de Heem, also called Johannes de Heem or Johannes van Antwerpen or Jan Davidsz de Hem'' (c. 17 April 1606 in Utrecht – before 26 April 1684 in Antwerp), was a still life painter who was active in Utrecht and Antwerp. He is a major representative of that genre in both Dutch and Flemish Baroque painting.

Life
De Heem was born in Utrecht as Johannes van Antwerpen. He studied first under his father David de Heem the Elder (1570–1631), then under Balthasar van der Ast. He lived in Leiden from about 1625 to 1629, where he studied in 1629 under David Bailly (1584- c. 1657).

He moved to the Southern Netherlands and joined the Guild of Saint Luke of Antwerp in 1635 or 1636 and became a burgher of that city in 1637. However he was often absent, as attested by the duties he had to pay for this. His remarkable talent gained him a considerable reputation. He could hardly satisfy the demand. De Heem was considered one of the greatest painters of his time. He was well paid and a portrait of Prince William III surrounded by a cartouche of flowers and fruit was sold for 2000 guilders, one of the highest prices ever paid for a painting during the Dutch Golden Age. His sons worked together with him in his workshop on the commissions for new paintings. He retouched their work and put his signature on the paintings.

He remained in Antwerp until 1667, when he moved back to Utrecht, where records trace his presence from 1668 to 1671. He left Utrecht in 1671 when French troops were approaching the city. It is not known when he finally returned to Antwerp, but his death there is recorded in the guild books. Van Heem married twice, first with Alette van Weede with whom he had three surviving children on her death in 1643, one of which, Cornelis, would become a still life painter. He married a second time in 1644 with Anna Catherina Ruckers with whom he had six more children, one of whom was Jan who would also become a still life painter.

Apart from his two sons, he had several apprentices: Michiel Verstylen, Alexander Coosemans, Thomas de Klerck, Lenaert Rougghe, Theodor Aenvanck, Andries Benedetti, Elias van den Broeck, Jacob Marrel, Hendrik Schoock and Abraham Mignon.

Work
De Heem was one of the greatest painters of still lifes in the Netherlands, combining a brilliance and harmony of colour along with an accurate rendering of objects: flowers, in all their variety; European and tropical fruits; lobsters and oysters; butterflies and moths; stone and metal; snails and sea shells.

His still lifes included fruit pieces, vanitas still lifes and flower pieces, but he is best known for his ornate or sumptuous still lifes, the so-called 'pronkstillevens'. Some of his works are displays of abundance; others, only a festoon or a nosegay.

Often he would convey a moral or illustrate a motto: a snake lying coiled under grass; a skull on plants in bloom. Gold and silver cups or tankards are suggestive of the vanity of earthly possessions. Salvation is seen allegorically as a chalice amid blossoms, and death as a crucifix in a wreath. Sometimes de Heem painted, alone or with others, Madonnas or portraits in garlands of fruit or flowers.

His signature varied: his initials (J. De Heem f.), or Johannes (IOANNES DE HEEM F.), or his father's name adjoined to his own (J. D. De Heem f.). Occasionally he provided a date (such as A. i65i), especially with his best work.

Collections

Of the one hundred or more of his pictures seen in European galleries, only 18 are dated. An early work shows a chased tankard with a bottle, a silver cup and a lemon on a marble table, dated 1640, in the Rijksmuseum in Amsterdam. A similar work of 1645, with the addition of fruit, flowers and a distant landscape, is at Longford Castle. A chalice in a wreath, with a radiant bouquet among wheat sheaves, grapes and flowers, is a masterpiece of 1648 in the Belvedere of Vienna. A wreath around a life-sized Madonna, dated 1650, in the museum of Berlin, shows that de Heem could paint brightly and harmoniously on a large scale. The Prado Museum owns a Table dated around 1651 and the Thyssen-Bornemisza Museum houses Flowers in a glass Vase with Fruit circa 1665.

In the Alte Pinakothek in Munich is a celebrated work of 1653 in which creepers mingle beautifully with gourds, blackberries, orange, myrtle and peach, and further enlivened with butterflies, moths and beetles. A landscape with a blooming rose tree, a jug of strawberries, a selection of fruit, and a marble bust of Pan, dated 1655, is in the Hermitage in St Petersburg. Some of his works are kept at the Royal Museums of Fine Arts of Belgium in Brussels. A 1645 still life of a feast of fruit and lobster is in the gallery at the Allen Memorial Art Museum in Oberlin, Ohio. A simple still life of pewter goblets can be seen in the Barber Institute in Birmingham UK.

Family
A number of de Heems, of whom Jan Davidsz. was the most distinguished, painted works in similar styles, that are often hard to distinguish. These include a brother, two sons, of whom Cornelis became particularly successful, and at least one grandson by each son.

This family of painters started with the unknown father of David de Heem the Elder (1570–1631) and an unknown brother. This anonymous brother had a son, Jan or Johannes de Heem (c. 1603 - † probably after 1659), a painter of still lifes, flowers and fruits.

David de Heem the Elder had two sons, also painters: Jan Davidsz. de Heem (1606- † before 26 April 1684) and David Davidsz. de Heem (1610 - † after 1669).

Jan Davidsz. de Heem had three sons, all painters; from a first marriage: David Janszoon de Heem (29 November 1628 - † ?), Cornelis de Heem (1631–1695) and from a second marriage Jan de Heem (1650 - † ?).

Cornelis de Heem had one son who was a painter: David Corneliszoon de Heem (1663–1718).

title: Jan Davidsz. de Heem


text:
Buffalo (footwear)

Buffalo is a brand of clothing and accessories, perhaps best known for its footwear, owned by the Buffalo Boots GmbH. Its headquarters are in Cologne, Germany.

Buffalo's notoriety increased significantly with the popularity, especially in Europe, of its platform shoes from the mid-1990s through the early 2000s. The 10-centimetre platform model 1310-2 was made famous by British girl band the Spice Girls. The 1310-2 also came with a 20-centimetre platform.

Buffalo manufactures women's shoes, men's shoes like dress shoes, western and biker boots, skate shoes, high heels, pumps, sandals, overknee boots, flip-flops, and other footwear, as well as shirts, jackets, trousers, skirts, hosiery, swimsuits, undergarments, and small baggage.

Revival
As part of the 1990s revival in fashion in 2018 - 2022 Buffalo Boots released version 2.0 of some of its iconic 1990s platform shoes. Including the 1348-14 as well as various tower models.

title: Buffalo (footwear)


text:
User:Prisonblues/Fair Use

FAIR USE NOTICE: This site contains copyrighted material the use of which has not always been specifically authorized by the copyright owner. I am making such material available in my efforts to advance understanding of educational, historical, environmental, political, human rights, economic, democracy, scientific, and social justice issues, etc. I believe this constitutes a 'fair use' of any such copyrighted material as provided for in section 107 of the US Copyright Law. In accordance with Title 17 U.S.C. Section 107, the material on this site is distributed without profit to those who have expressed a prior interest in receiving the included information for research and educational purposes. For more information go to: http://www.law.cornell.edu/uscode/17/107.shtml If you wish to use copyrighted material from this site for purposes of your own that go beyond 'fair use', you must obtain permission from the copyright owner.

Fair use rationale
Not all inclusions of fair use material may violate the GFDL; if there is a significant reason to include the image and no permission can be obtained it may still be allowable under the GFDL — a justification may be necessary. If you are claiming "fair use" it will help later users under the GFDL to determine if the "fair use" is broad (for further encyclopedia use) or perhaps not even applicable to Wikipedia. It will help if the basis of the "fair use" is explained (briefly). See the Wikipedia article on fair use for an explanation of the topic.

This should be done in two places. Firstly, add the following hidden text in the article:

Secondly, add rationale text to the image description page, beyond the information mentioned above. This fair use rationale text can be in the following format (the following are just basic examples, you must write your own specific text, do not copy this text for that purpose):

 * == Fair use for ARTICLE NAME ==

 * The image picture-fair-use.jpg is being linked here; though the picture is originally copyright I (~) feel it is covered by fair use because:

 * #it is a low resolution copy of a CD album cover;
 * #it does not limit the copyright owners rights to sell the CD album in any way;
 * #copies could not be used to make illegal copies of the album artwork on another CD;
 * # the image on the cover is significant because it was made by a famous artist, name.

 * == Fair use for ARTICLE NAME ==

 * The image linked here is claimed to be used under fair use as:

 * # it is a historically signifcant photo of a famous individual;
 * # it is of much lower resolution than the original (copies made from it will be of very inferior quality)
 * # the photo is only being used for informational purposes.
 * # Its inclusion in the article adds significantly to the article because it shows the subject of this article and how the event depicted was very historically significant to the general public. ~

The above are only general examples; for what information to be included in this entry you can review the list of four factors in the fair use encyclopedia entry and use the Checklist for fair use a pdf document from Purdue University to draft your answers. The information should be as specific as possible, i.e. why you need to use the image as part of the article. Remember to put any information about the copyright owner on the image page after you upload the image and mark it "fair use." The rationale text should be mentioned in the actual article so that it is part of the article and anyone editing the article can see it but it is in the text not the talk page. It can also be mentioned on the talk page for a discussion with other Wikipedia contributors). Adding this information is no guarantee that the image will not be later removed, but it will demonstrate a rationale to others that you may have a valid justification for including "fair use" materials that can be used under the GFDL.

Remember there is no "general rule" about fair use, each "fair use" must be explained and a rationale must be established for that specific use (i.e. every page that uses the image will have a distinct rationale for using the image on that page even though fair use is claimed on the image page).

title: User:Prisonblues/Fair Use


text:
Yucca baccata

Yucca baccata (datil yucca or banana yucca, also known as Spanish bayonet and broadleaf yucca) is a common species of yucca native to the deserts of the southwestern United States and northwestern Mexico, from southeastern California north to Utah, east to western Texas and south to Sonora and Chihuahua. It is also reported in the wild in Colombia.

The species gets its common name "banana yucca" from its banana-shaped fruit. The specific epithet baccata means 'with berries'. Banana yucca is closely related to the Yucca schidigera, the Mojave yucca, with which it is interspersed where their ranges overlap; hybrids between them occur.

Description
Yucca baccata is recognized by having leaves 50-76 cm long with a blue-green color, and short or nonexistent trunks. It flowers in the spring, starting in April to July depending on locality (altitude), and the flowers range from 5 to 13 cm long, in six segments, white to cream-coloured with purple shades. The flower stalk is not especially tall, typically 1–1.5 m. The seeds are rough, black, wingless, 3–8 mm long and wide, 1–2 mm thick; they ripen in 6–8 weeks. The indehiscent fleshy fruit is 8–18 cm long and 6 cm across, cylindrical, and tastes similar to sweet potato.

Subspecies
Yucca baccata has been divided into three varieties:
 * Yucca baccata var. baccata
 * Yucca baccata var. brevifolia (Schott ex Torr.) L. Benson & Darrow
 * Yucca baccata var. vespertina (McKelvey) Hochstätter

As of 2023 the status of these subspecies is uncertain. In Plants of the World Online (POWO) and World Flora Online only Yucca baccata var. brevifolia and the autonym are listed as accepted.

Several botanical synonyms are listed by POWO for each of the species recognized there. Yucca baccata var. baccata:

Yucca baccata var. brevifolia:

Distribution and habitat
The plant is known from the Great Basin, the Mojave, Sonoran, and Chihuahuan Deserts, plus the Arizona/New Mexico Mountains ecoregion and lower, southern parts of the Rocky Mountains. It occurs primarily in the US states of Utah, California, Nevada, Arizona, Colorado, New Mexico, and Texas, and the Mexican state of Chihuahua. It can be found in several habitat types including Pinyon-Juniper, desert grassland, Creosote bush scrub, sagebrush, and ponderosa pine colonies at elevations generally between 1,500 and 2,500 m.

It is associated with Yucca schidigera, Yucca brevifolia, Yucca arizonica, Yucca faxoniana, Agave utahensis, and other Agave species. It can be found among Sclerocactus, Pediocactus, Navajoa, and Toumeya species.

The plant occurs in a large area of the North American deserts and exhibits much variation across its range. Yucca baccata specimens from the higher, mountainous regions of the Rocky Mountains is winterhardy and tolerates extreme conditions.

Ecology
It is a larval host to the ursine giant skipper, yucca giant skipper, and various yucca moths (Proxodus sp.). After feeding, the skippers pupate in the yucca's roots.

Uses
The young flower stalks can be cooked and eaten, with the tough outer rind discarded. The fruit can be eaten raw or cooked, in the latter case resembling sweet potato.

The Paiutes dried the fruits for use during the winter. It is still a popular food amongst Mexican Indians. The flowers are often eaten by rural residents.

Ancestral Puebloan peoples used the fibers derived from the leaves to create sandals and cordage, and the root was used as soap, although with less frequency than that of Yucca elata.

title: Yucca baccata


text:
Cannon House Office Building

The Cannon House Office Building, often called the "Old House Office Building", completed in 1908, is the oldest office building of the United States Congress in Washington, D.C. A significant example of the Beaux-Arts style of architecture, it occupies a site south of the United States Capitol bounded by Independence Avenue, First Street, New Jersey Avenue, and C Street S.E. In 1962 the building was named for former Speaker of the United States House of Representatives Joseph Gurney Cannon.

History
The first congressional office buildings were constructed immediately after the turn of the 20th century to relieve overcrowding in the United States Capitol. Previously, members who wanted office space had to rent quarters or borrow space in committee rooms. In March 1901 Congress authorized Architect of the Capitol Edward Clark to draw plans for fireproof office buildings for both the House and Senate adjacent to the Capitol grounds. In March 1903 the acquisition of sites and construction of the buildings were authorized. In April 1904, the prominent New York City architectural firm of Carrère and Hastings was retained. Thomas Hastings took charge of the House Office Building project, while John Carrère oversaw the construction of an almost identical office building (now named the Russell Senate Office Building) for the United States Senate. Their Beaux Arts designs were restrained complements to the Capitol.

The Cannon Building was occupied during the 60th Congress in December 1907. By 1913, however, the House had outgrown the available office space, and fifty-one rooms were added to the original structure by raising the roof and constructing a fifth floor that is visible only from the enclosed court and otherwise obscured on the building's public face. Originally there were 397 offices and fourteen committee rooms in the Cannon Building; the 1932 remodeling resulted in 85 two- or three-room suites, 10 single rooms, and 23 committee rooms. During the late 1960s, the House Beauty Shop, a salon which catered to Congresspersons, their spouses, and employees, was relocated to the Cannon House Office Building from the smaller Longworth House Office Building under the auspices of the Beauty Shop Committee.

2015 renovations
In January 2015, a top-to-bottom renovation of the Cannon House Office Building began. Completion is expected to take ten years and cost $752.7 million. Initially, renovation will be focused on upgrading the building utilities, but will progress on to a wing-by-wing exterior and interior reconstruction. According to Bill Weidemeyer (Superintendent of the House), the building "is plagued by safety, health, environmental and operational issues that are rapidly worsening. Many of the building’s systems are original from the 1908 construction."

Architecture
Architecturally, the elevations are divided into a rusticated base and a colonnade with an entablature and balustrade. The colonnades with thirty-four Doric columns that face the Capitol are echoed by pilasters on the sides of the building, and very inspired by the Louvre Colonnade in Paris. The Cannon Building is faced with marble and limestone; while the Senate's Russell Building's base and terrace are gray granite.

Modern for its time, the building initially included such facilities as forced-air ventilation systems, steam heat, individual lavatories with hot and cold running water and ice water, telephones, and electricity. Both the Cannon Building and the Russell Building are connected to the Capitol by underground passages.

Of special architectural interest is the rotunda. Eighteen Corinthian columns support an entablature and a coffered dome, whose glazed oculus floods the rotunda with natural light. Twin marble staircases lead from the rotunda to an imposing Caucus Room, which features Corinthian pilasters, a full entablature, and a richly detailed ceiling.

Cannon Tunnel
The Cannon Tunnel connects the Cannon House Office Building to the Capitol. The tunnel is lined with artwork from the annual Congressional Art Competition for high school students. Branching off the entrance to Cannon Tunnel is a separate tunnel to the Longworth House Office Building, and entrances to a cafeteria, shoe shiner/cobbler, and a Legislative Resource Center. Unlike the tunnels from the Capitol to the Senate Office Buildings and the Rayburn tunnel, the Cannon Tunnel has no subway line, and is primarily a pedestrian pathway. In addition, a separate tunnel runs between the building and the neighboring James Madison Memorial Building, a part of the Library of Congress.

title: Cannon House Office Building


text:
AASI Jetcruzer

The AASI Jetcruzer was an American single turboprop light civil transport made by Advanced Aerodynamics and Structures Inc. The Jetcruzer had an unusual configuration, with a single turboprop engine driving a pusher propeller, a prominent canard, and fins mounted at the ends of its swept wings. The plane has seating for up to six people including the pilot. The Jetcruzer is noteworthy for being the first aircraft to have achieved a spin resistance certification from the United States FAA.

Jetcruzer 450
Design work on the Jetcruzer commenced in March 1983, with prototype construction starting in 1988. The aerodynamic design was undertaken in the UK by Sandy Burns from 1984-1985, layout prepared by Ladislao Pazmany, structural design undertaken by David Kent of Light Transport Design in the UK, and the wind tunnel test done by University of San Diego. Prototype construction started in June 1988 and was first exhibited at the NBAA show in October 1988 with a 420 horsepower Rolls-Royce 250-C20S engine. The Allison 250-C20S prototype first flew on January 11, 1989. This initial version, designated the Jetcruzer 450 seated six people (including the pilot). The first flight of the Jetcruzer 450 forerunner was 11 January 1989 (N5369M). Preproduction prototype (N102JC) made its first flight in April 1991 while the first flight on production form (N450JC) was done on September 13 1992.

It received its Federal Aviation Regulations Part 23 certification on 14 June, 1994, and was intending on receiving a single-engine FAA Part 135 public transport IFR certification Three prototypes were built, but AASI chose not to market this aircraft, in order to focus on more advanced versions. A spin recovery system for use in the flight test program was designed for the aircraft by Butler Parachute Systems which also worked on one for the Sino Swearingen SJ-30.

Jetcruzer 500
The first version developed from the 450 was the Jetcruzer 500, a slightly stretched version powered by a Pratt & Whitney Canada PT6A-66A featuring cabin pressurization. Two of the model 450 prototypes were converted to this configuration. The prototype Jetcruzer 500 (N102JC) made its first flight on August 22, 1997 with the second prototype (N200JC) making its first flight on 7 November 1997. The first public appearance was at NBAA Las Vegas October 1998. The third prototype (N136JC) of the new build was scheduled to be flown in early 2000. This was the version selected for production, and at one point, AASI had orders for some 200 aircraft at $US 1.6 million each. A military version, the ML-2 had also been offered, as well as a UAV, the ML-1.

None of these orders would be filled, however, as the Jetcruzer 500 remained uncertified and its development slowly stagnated. Specific problems with the aircraft's noise, high stall speed, and center of gravity were not overcome before all work on it was suspended in 2002. Nearly 20 years of work had still not resulted in a marketable aircraft.

Jetcruzer 650
In December 1992, construction work began on the prototype of an even larger variant, the Jetcruzer 650, which was to seat up to thirteen. This was quickly abandoned as the company's financial problems required resources to be focused on the 500. A military version would have been the ML-4.

Stratocruzer 1250
Similarly, a turbofan-powered version was planned as the Stratocruzer 1250, but never left the drawing board. Design work had started in September 1991 to provide a business jet with intercontinental range. A military version, the ML-5 intended for surveillance duties, was also planned. Work was abandoned after AASI failed to attract financial backers for the project in 1995.

Post AASI Era

In November 2003, AASI (by now, MASG) offered the entire Jetcruzer project for auction, and sold it to Innova Aircraft in February 2004. Shortly after the purchase, Innova announced its intentions of offering a new version of the aircraft in kit form, marketed by a new subsidiary, Jetcruzer LLC. This will feature a modified wing to overcome the problems faced by the Jetcruzer 500, and will be powered by a pair of Pratt & Whitney Canada JT15D turbofans. It was expected to fly by late 2004 or early 2005, but development ceased before the flight can happen.

In 2017, all the aircraft and intellectual properties were acquired by Jetcruzer International, LLC., based in Ontario, California, and production resumed. All Jetcruzer components and subassemblies including wings, landing gear, fins, control surfaces and fittings are manufactured in the company's Ontario facility. The composite fuselage is subcontracted to a composite manufacturing company currently producing advanced composite parts for the transport aerospace industry. A Jetcruzer 500E was restored with new avionics, electrical wirings and a new engine. The first flight of this aircraft is planned in September 2022.

title: AASI Jetcruzer