text:
Ruth Krauss

Ruth Ida Krauss (July 25, 1901 – July 10, 1993) was an American writer of children's books, including The Carrot Seed, and of theatrical poems for adult readers. Many of her books are still in print.

Early life and education
Ruth Krauss was born July 25, 1901, in Baltimore, Maryland to Julius Leopold and Blanche Krauss. As a child, Ruth had numerous health problems, including the rare autoimmune disorder pemphigus. She began writing and illustrating her own stories while still a child, hand sewing her pages into books.

Ruth went to a local high school but left in 1917 after her sophomore year to focus on the study of art. She enrolled in the Maryland Institute for the Promotion of the Mechanic Arts (now known as the Maryland Institute College of Art). The school's focus on applied arts did not suit her and she left after about a year. Her next stop was a girls camp, Camp Walden in Maine, where she discovered her love for writing; the camp yearbook for 1919 contains her first published piece of writing. After the camp, she spent some time studying violin in the Peabody Institute of Music's preparatory program. She was considered a gifted but undisciplined musician by her teachers.

Ruth's father died in late 1921, requiring Ruth to drop out of school. She took a series of office jobs. In 1927, she decided to enroll at the Parsons School of Design in New York. Graduating from Parsons in 1929, as the Great Depression was beginning, she found it difficult to get work as an illustrator. Among the work she did find in this period was the first pictorial book jacket for the Modern Library (Alice in Wonderland, 1932).

Ruth was a member of the Writers' Laboratory at the Bank Street College of Education in New York during the 1940s.

In the 1930s, Ruth was married to journalist and crime novelist Lionel White; they divorced shortly before World War II.

Personal life and career
Ruth Krauss married children's book author Crockett Johnson in 1943. They collaborated on many books, among them The Carrot Seed, How to Make an Earthquake, Is This You? and The Happy Egg.

Another eight of her books were illustrated by Maurice Sendak, starting with A Hole Is to Dig (1952), which launched Sendak's career. The Krauss-Sendak collaborations spawned a host of imitators of their "unruly" and "rebellious" child protagonists. The peculiar definitional phrasing of Krauss's writing in this book—with sentences like "A party is to make little children happy"—became something of a cultural phenomenon when the book was first published and has helped to maintain its popularity.

Krauss also illustrated a few of her own books. In addition to her books for children, Krauss wrote three collections of poetry and plays in verse for adults.

Recognition
Two books that Krauss wrote were runners-up for the prestigious Caldecott Medal, which is awarded to children's book illustrators: The Happy Day (1950) and A Very Special House (1954).

Maurice Sendak characterized Krauss as a giant in the world of children's literature, saying: "Ruth broke rules and invented new ones, and her respect for the natural ferocity of children bloomed in to poetry that was utterly faithful to what was true in their lives". He honored her in the New Yorker cover illustration for Sept. 27, 1993, which shows a homeless boy using Krauss's book A Hole Is to Dig as a pillow and another child holding I Can Fly as they sleep.

Children's books

 * A Good Man and His Good Wife, illustrated by Ad Reinhardt (1944); re-illustrated by Marc Simont (1962)
 * The Carrot Seed, illus. Crockett Johnson (1945)
 * The Great Duffy, illus. Mischa Richter (1946)
 * The Growing Story, illus. Phyllis Rowand (1947)
 * Bears, illus. Rowand (1948); re-illus. Maurice Sendak (2005)
 * The Happy Day, illus. Marc Simont (1949) —a Caldecott Medal Honor Book for Simont
 * The Big World and the Little House, illus. Simont (1949).
 * The Backward Day, illus. Simont (1950)
 * I Can Fly, illus. Mary Blair (1950)
 * The Bundle Book, illus. Helen Stone (1951)
 * A Hole is to Dig: A First Book of First Definitions, illus. Sendak (1952)
 * A Very Special House, illus. Sendak (1953) —a Caldecott Medal Honor Book for Sendak
 * I'll Be You and You Be Me, illus. Sendak (1954)
 * How To Make An Earthquake, illus. Johnson (1954)
 * Charlotte and the White Horse, illus. Sendak (1955)
 * Is This You?, by Krauss and Johnson (1955)
 * I Want to Paint My Bathroom Blue, illus. Sendak (1956)
 * Monkey Day, illus. Phyllis Rowand (1957)
 * The Birthday Party, illus. Sendak (1957)
 * Somebody Else's Nut Tree, and Other Tales from Children, illus. Sendak (1958)
 * A Moon or a Button: A Collection of First Picture Ideas, illus. Remy Charlip (1959
 * Open House for Butterflies, illus. Sendak (1960)
 * Mama, I Wish I Was Snow; Child You'd Be Very Cold, illus. Ellen Raskin (1962)
 * A Bouquet of Littles, illus. Jane Flora (1963
 * Eyes, Nose, Fingers, Toes, illus. Elizabeth Schneider (1964)
 * What a Fine Day for ..., illus. Remy Charlip, music by Al Carmines (1967)
 * The Happy Egg, illus. Johnson (1967)
 * This Thumbprint: Words and Thumbprints (1967)
 * The Little King, the Little Queen, the Little Monster and Other Stories You Can Make Up Yourself (1968)
 * If Only (1969)
 * I Write It, illus. Mary Chalmers (1970)
 * Under Twenty (1970)
 * Everything Under a Mushroom, illus. Margot Tomes (1973)
 * Love and the Invention of Punctuation (1973)
 * Little Boat Lighter Than a Cork, illus. Esther Gilman (1976)
 * Under Thirteen (1976)
 * When I Walk I Change the Earth (1978)
 * Somebody Spilled the Sky, illus. Eleanor Hazard (1979)
 * Minnestrone (1981)
 * Re-examination of Freedom (1981)
 * Love Poems for Children (1986)
 * Big and Little, illus. Mary Szilagyi (1987)
 * And I Love You, illus. Steven Kellogg (1987)

Poetry and verse plays

 * There's A Little Ambiguity Among the Bluebells and Other Theater Poems (1968)
 * The Cantilever Rainbow, illus. Antonio Frasconi (1965)
 * This Breast Gothic (1973)

title: Ruth Krauss


text:
Shibata

Shibata may refer to:

Places

 * Shibata, Miyagi, a town in Miyagi Prefecture
 * Shibata District, Miyagi, a district in Miyagi Prefecture
 * Shibata, Niigata, a city in Niigata Prefecture
 * Shibata Station (Niigata), a railway station in Niigata Prefecture
 * Shibata Station (Aichi), a railway station in Aichi Prefecture

Other uses

 * Shibata (surname), a Japanese surname
 * Shibata clan, Japanese clan originating in the 12th century
 * Shibata coupler, Train Coupler

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

title: Shibata


text:
Talk:Shōnen-ai

First header
A previous version of this page stated that the English term "BoyLove" had displaced 'shonen-ai' in Japan. This is untrue; "boylove" is a (probably mostly English) euphemism for what the Japanese would call shotacon.

 * Serves me right for not doing better research. I put in the new paragraphs about "Boys Love" et al., mostly taken from the Japanese Wikipedia. 'Scuse while I clean the egg off my face. --Aponar Kestrel 19:09, 2004 Jul 29 (UTC)

The SAMPA pronunciation was also removed, being probably unnecessary. --Aponar Kestrel 00:02, 2004 Jul 29 (UTC)

"the relationships depicted are between boys, ... and are often completely psychologically impossible" This sounds a bit POV to me. Do you want to clarify?--Asbestos 2004 Oct 24

I assume someone will revert the edit an anonymous user did, but it's obvious what they intended. Gravitation is the only one of the listed series that is actually considered BL, I believe. And instead of listing "series that include shōnen-ai elements of various degrees" I think it might be better to list well-known actual BL series? --Galaxiaad 7 July 2005 04:11 (UTC)

I'm for making seperate lists of BL manga, shounen-ai manga (made durring the period the phrase was used) & "BL innuendo" series, as in heavily implied but hardly the center focus of the series.

I must agree with Asbestos about the rather ambiguous comment referring to the "unrealistic dynamics" and "psychological impossibility" of shounen-ai. There is very little explaination offered, and one is left wondering exactly what the implications of such a statement may be...

June???
Girls whom own Japanese BL websites have told me that June isn't just a magazine, it's a genre related to BL & yaoi. The problem is that they either can't give a straight answer as to what it is or their answers don't match. So far I've been given the impression that it's "original BL novel." what the heck is it?

Alternate Spellings
Aside for the fact that entering the kanji for "shounen ai" in Google Search will get you 90% fewer legitimate results that entering BL in Google Japan, on these sights I've noticed warnings in English about the content. The most common romaji spellings are "Syota" & occasionaly "Syounen Ai." (the latter trying to describe what BL is to those who both read nglish & use the dated term).

Cleanup
Did some general cleanup and made things look a little neater. Hopefully the government of Liechtenstein will be pleased. Wilybadger 02:45, 2 September 2006 (UTC)

Pedophilia
Does Shōnen-ai really carry connotations of pedophilia? I know the word currently means "pederasty" in Japanese, but that's a slightly different thing... 惑乱 分からん 16:40, 10 September 2006 (UTC)
 * The term shonen-ai in japan is usually used to describe a relationshiip involving a young boy.
 * I've been studying this genre for two decades, and I never once have heard "shounen ai" used in Japanese to refer to an adult man's love for a young boy. True, the term is used by social historians in that sense, but it has probably not been used that way in colloquial Japanese for a century. It might be appropriate, though, to add a note about the use of the term in social history. Matt Thorn (talk) 11:56, 30 July 2008 (UTC)

The impression that BL/Shounen-ai often involve pre-pubescent boys
The article keeps making mention of "young boys", even going as far as mentioning age ranges ("as far down as ten"). However, Shounen Ai most often deals with boys and men who are teenagers and older. In fact, Shounen ai rarely deal with boys who aren't yet teenagers.

For an actual term for depictions of homosexual relationships between pre-pubescent boys: Shotacon (often abbreviated as Shota). Though the Shotacon genre is almost exclusively X-rated in content, the term itself describes homosexual relationships involving at least one boy who's not yet a teenager.

Unless people object, I'm gonna edit the article heavily.

(FallenAngelII)

 * I understood that shonen-ai is teens-college age young men (say maybe 16-22) and they're usually past puberty. Go ahead and hack away, FallenAngelII.  These things need to be clarified.  Shotacon and shounen-ai are not one and the same, just as lolicon and shoujo-ai aren't.  Jaguara  03:57, 6 February 2007 (UTC)

 * I just edited this article heavily. It lost about 33% of its text. Every single mention of "young boy" or "ages whatever to" was deleted as was some random babble about most viewers or readers probably initially coming in contact with shounen-ai when being introduced to it by friends. (FallenAngelII)
 * From what I have heard from my people and sources, shonen-ai is a term used to describe a relationship involving at least one underage boy. —Preceding unsigned comment added by 24.119.210.17 (talk) 15:09, 14 January 2008 (UTC)
 * Well, here's the problem of using the term as if this is a living genre, and not a historical one. Manga that are called shounen ai are almost by definition stories of love between pubescent or adolescent boys. Anything elsejust ain't shounen-ai. It's either boys' love (which today commonly has protagonists in their twenties or thirties, or in which one partner may even be in his fifties) or shotacon. Yaoi, boys' love, and to a lesser degree shotacon all have their roots in shounen-ai, so it doesn't make sense to talk about them as if there's no connection, but conflating these terms is obviously a problem. Unless someone is willing to create a historical article that is truly only about shounen ai, then I suggest having the terms "shounen ai", "yaoi", and "boys' love" all redirect to an article titled "boys' love" (since that is the common term used in Japan today), and talk about shoun ai as the ancestor of yaoi and boys' love. Shotacon is really a different sort of phenomenon, owing more to lolicon than to shounen ai, and so deserves a separate article (if it deserves one at all). Matt Thorn (talk) 12:17, 30 July 2008 (UTC)

References and original research
While trying to track down why some maintenance tags where added to some articles, I noticed that someone has put a disputed tag on this article. I removed the tag, but I also noticed that the article doesn't use any references and one section Some anime and manga with stories that include some shounen-ai can be viewed as original research since a few of the titles are arguable.

Well, the word is "can be". Meaning not all of them are totally arguable. Also, it does depend on when one draws the line at. Clear subtext, In-your-face canon or subtle but obvious? Don't forget, there's a reason why the category is called containing "Some shonen-ai". Sakura rin24 14:04, 30 August 2007 (UTC)

Shōnen-ai/Yaoi/Shota
Although I don't really know much about most of the anime/manga listed, I've noticed that some of them don't really seem to be shōnen-ai, which is sexually implicit, but instead Yaoi or Shotacon, with more sexually explicit themes. Should these be removed and/or placed in the appropriate listings? Just wondering - Bored461 05:39, 20 July 2007 (UTC)

 * I think that the yaoi and shota have to be removed from the list. I mean, you can't just put shota and yaoi in a list of shounen-ai titles; They're very and distinctly different genres. I'll take them off. Abby724 19:06, 14 August 2007 (UTC)

 * Another note on this: the article is listed in the Category:Yaoi. I'll remove this cat now and will propose a Category:Shōnen-ai on the WP:Anime talk page. Ninja neko 08:11, 24 August 2007 (UTC)

"Partly containing shōnen-ai" section
What is the point of having that section? There is a section listing all shōnen-ai manga, so readers can find them. But why do we need a list of every manga that contains a gay character? And as mentioned above, there is A LOT of OR in there. I don't think this section has any added value. Also, don't just remove tags, they're there for a reason. Ninja neko 07:34, 31 August 2007 (UTC)

Well, this section also encompasses anime not just solely manga. More importantly, what about the future listing of anime which shonen-ai are significant but not pertinant to the storyline or only between supporting characters? Aside from it, well.. since a number of people did contribute to it, I was unsure of just removing it like that. And, yes I removed the OR tag as it seems to be the basis for removal of the section plus discussion didn't seem to say one way or the other and perhaps anyone could help clean it up and make it less OR. ..Do you really want the section done away with? Sakura rin24 11:59, 31 August 2007 (UTC)

 * Personally, yes. I don't think it adds anything to the article. Readers wanting to know about shōnen-ai can find good examples in the first section. The 'partially' section's titles will always remain a matter of debate I think, because where would you draw the line? A gay main character, a gay minor character, a gay relationship between minor characters? I think the criteria for 'partially' would be based on personal opinions. Ninja neko 15:02, 2 September 2007 (UTC)

 * I'd still like to delete this section, and rename the other section to 'Notable shōnen-ai anime and manga' - or replace it (and the video game section) with Category:Shōnen-ai. Can I go ahead? Ninja neko 10:05, 24 September 2007 (UTC)

In other words, both the anime lists will still be maintained, presumebly just not in this current shonen-ai article? If so, feel free to go ahead but could you put a link to the section back here? Sakura rin24 18:33, 29 September 2007 (UTC)

 * I went ahead and removed the sections and replaced it with a link to the category. Anime, manga and games which have noteable shōnen-ai themes should be collected into the category. This will also avoid having every single title with a gay character listed in this article. Title of the new section is Shōnen-ai, but if anyone can think of a better way to word it (not too long please), feel free to change. Ninja neko 06:28, 24 October 2007 (UTC)

Personally, I liked this section. If the Yuri/shoujo-ai article has this section, then why can't the shounen-ai article have it? DeidaraNoAijin 18:04, 11 November 2007 (UTC)
 * Because some people keep reverting removals of the sections. The inclusion of the lists in other articles is not a sign of support for shojo-ai and not shonen-ai.--SeizureDog 20:24, 11 November 2007 (UTC)

 * JEEZ, JUST BRING BACK THE "SHONEN-AI AS AN ADDITIONAL ELEMENT" ..........PLEASE!!!!!!!!!! Jonica c —Preceding unsigned comment added by 119.95.76.189 (talk) 15:53, 21 July 2008 (UTC)
 * Let's use our inside voices, Jonica c. (^_^;) Matt Thorn (talk) 12:20, 30 July 2008 (UTC)

Nitpicking about"anime"
Am I the only one who feels uncomfortable with the consistent placement of the word "anime" ahead of the word "manga" in this article? I know that a lot of non-Japanese may first encounter shounen ai via anime, but virtually every shounen ai anime ever made was based a manga that preceded it. Original anime with male homosexual themes that is not based on a manga is invariably of the yaoi/boys' love type. (In other words, "post shounen ai".) I know that a lot of Western fans seem to think of manga as "anime that doesn't move", and therefore secondary to anime, but in Japan, it is manga that dominates, particularly in the field of shounen ai/yaoi/boys' love. This was even more true back in the 1970s and 1980s, when original anime in this genre would simply have not been cost-effective. Sometimes the original work is a novel, rather than a manga, but rarely is the anime the original product. Am I making sense here? Matt Thorn (talk) 14:07, 30 July 2008 (UTC)

Merged and reassessed
As part of the merge to yaoi, I've changed the class on the talk banners to be Not Applicable, as shonen-ai is no longer its own article but a redirect. Previously, the article was rated as Start class by all three projects. -Malkinann (talk) 12:42, 3 August 2008 (UTC)

title: Talk:Shōnen-ai


text:
Lincoln, Maine (disambiguation)

There are a few places in Maine named Lincoln:

 * Lincoln, Maine, a town of 5,200
 * Lincoln (CDP), Maine, a census-designated place in the town
 * Lincoln Plantation, Maine, in Oxford County

title: Lincoln, Maine (disambiguation)


text:
Wikipedia:WikiProject United States politicians

Other related projects: Presidents, Congress, Courts and Judges, Governors, and State Legislatures

Major projects

 * Remaining Cabinet Secretaries
 * See also: Requested_articles/Social Sciences and Philosophy
 * By President (those with incomplete Cabinets): Fillmore, Pierce, Buchanan, A. Johnson, Grant, Hayes, Garfield, Arthur, Cleveland, T. Roosevelt, Taft, Wilson, Harding, Coolidge, Hoover, FDR, Truman, Eisenhower, Kennedy, LBJ, Nixon, Ford, Carter, Reagan
 * By department (those with article gaps): Sec'y of War, Sec'y of the Navy, Postmaster General, Sec'y of the Interior, Sec'y of Agriculture, Sec'y of Labor, HHS Sec'y, HUD Sec'y, Sec'y of Transportation, Sec'y of Energy (2), Sec'y of Education (2), VA Sec'y (~2), HEW Sec'y
 * Remaining United States Senators (about 1100 to go, see: Category:United States Senators)
 * States with to-dos: AL (2), AZ, AR, CO, CT, DE, FL, GA, HI (1), ID, IL, IN, IA, KS, KY, LA, ME, MD, MA, MS, MO, MT, NE, NV, NH, NJ, NM, NY, ND, OK, OR, PA, RI, SC, SD, TN, TX, UT, VT, VA, WA, WV, WI, WY
 * Remaining U.S. state governors (not including territorial or colonial govs.)
 * States with to-dos: AZ, CO, CT, DE, FL, GA, ID, IL, IN, IA, KS, KY, LA, ME, MD, MA, MI, MS, MO, MT, NE, NV, NH, NJ, NM, OK, OR, PA, RI, SC, SD, TX, UT, VT, VA, WA, WV, WI, WY

Major projects: DONE! :)

 * Remaining Associate Justices of the Supreme Court of the United States|Supreme Court Justices - DONE! :)
 * Remaining Speakers of the U.S. House of Representatives - DONE! :)
 * U.S. state governors for AL, AK, AR, CA, HI, MN, NY, NC, ND, OH, TN - DONE! :)
 * U.S. Senators for AK, CA, MD, MI, MN, OH - DONE! :)
 * Cabinet heads: Sec'y of State, Sec'y of Treasury, Sec'y of Defense, A.G., Sec'y of Commerce, Sec'y of Homeland Security - DONE! :)

Minor projects

 * Congresspersons
 * State and local representatives
 * Non-Supreme federal judges
 * Articles for state legislatures

 * South Dakota politicians

Resources

 * Biographical Directory of the United States Congress 1774 to Present: The big Kahuna
 * National Governors Association Governors Database: Complete through Iowa, not PD, but useful for facts, etc.
 * History of the Federal Judiciary: Federal judges, from Supremes on down
 * The Political Graveyard: Lawrence Kestenbaum practically did this all already
 * WorldConnect Family Trees: Good resource for dates when otherwise unavailable online

Proposed Navtable

 * Organized by United States order of precedence, assuming location is neutral, federal positions take precedence over state positions.


text:
Talk:Shojo-ai

A previous version of this page stated that the English term "GirlLove" had displaced 'shoujo-ai' in Japan. This is untrue; "girllove" is a euphemism (probably mostly English, although Google gives Polish the first hit) for what the Japanese would call rorikon.

 * ... then again, maybe it accurately has. But regardless, I would like to take this opportunity to thank Jim Breen for his wonderful, wonderful tool that allowed me to obtain glosses of the text of webpages where 「少女愛」 was used without having to actually (ick) see the page itself.  [obsenity redacted]  pedophiles. --Aponar Kestrel 23:06, 2004 Jul 29 (UTC)
 * That would be like giving an obsenity toward enilikophiles or gerophiles. Do you even know what these mean? lysdexia 14:41, 1 Nov 2004 (UTC)

The SAMPA pronunciation was also removed, being probably unnecessary. --Aponar Kestrel 00:06, 2004 Jul 29 (UTC)

Considering that yuri is lesbianism, while shojoai is only concerning young women or girls, why should the two articles be merged? 132.205.15.4 02:50, 14 Oct 2004 (UTC)

I may be missing something, but why is the article called shojo-ai when it mainly talks about yuri? Mark1 08:51, 8 Dec 2004 (UTC)

Further, does anyone want to rewrite the article so that it is about shojo-ai rather than yuri? If not, I'll move it back to yuri. Mark1 10:09, 13 Dec 2004 (UTC)

Done, thanks. Mark1 08:35, 17 Dec 2004 (UTC)

title: Talk:Shojo-ai


text:
Baltimore School for the Arts

The Baltimore School for the Arts (BSA) is a public performing arts high school located in Mount Vernon, Baltimore, Maryland, United States and is part of the Baltimore City Public Schools system. Established in 1979, The Baltimore School for the Arts offers art concentrations in vocal music, instrumental music, acting, theater production, dance, visual arts and film. The high school has produced numerous "Presidential Scholars" in the Arts and its students have gone on to attend major conservatories and Ivy League Schools.

In 2020, BSA was named a Silver Medal School by the U.S. News & World Report magazine and was ranked 1,173th nationally and 29th in the state of Maryland (first overall in Baltimore City).

History
In 1979, the president of the board of school commissioners authored a charter creating the Baltimore School for the Arts. This charter followed many years of effort to create an arts high school, including a 1978 recommendation of a special Task Force appointed and given strong support by then Mayor William Donald Schaefer, (1921–2011), [served 1971–1986]; [later Governor of Maryland, 1987–1995, Comptroller of Maryland, 1999–2007]. The BSA was created as part of the Baltimore City Public Schools system, however the charter provided the BSA with the structure and the authority to design and implement policies and programs.

The school was originally founded with programs in vocal music, instrumental music, acting, theater production. dance, and visual arts however in December of 2016 Mark Joseph made a three million dollar donation to the school to support a new film and visual storytelling program. The donation was the largest in the school's history. The program was first launched in fall of 2017.

Mission
The Baltimore School for the Arts is a school that intends to prepare its students for careers in the arts. The school provides qualified students with training in one of five arts disciplines: music (vocal/instrumental), visual arts, theatre (acting/stage design and production), dance, or film in combination with a college preparatory academic program. The theater and music majors are split into two groups each: for the theater department, there is both acting and Stage Design and Production, and the music department is split into vocal and instrumental.

Arts
The Baltimore School for the Arts is a four-year public high school that provides young people with pre-professional training in the arts. Students pursue any one of five disciplines—the visual arts, music (vocal or instrumental), theater (acting or theater production), dance and film. In addition, the school maintains artistic relationships with local organizations such as the Baltimore Symphony Orchestra, Center Stage, the Hippodrome Foundation, and the Walters Museum.

Academics
Students follow a college-preparatory curriculum that intends to emphasizes the core values commonly found in a liberal arts education. BSA has a graduation rate of 95 percent sends 99% of their students into higher education. The academic program includes honors-level courses in English, Spanish, Physics, Chemistry, Biology, World History, and U.S. History. AP classes in American Government, English Composition, English Literature, Calculus AB, and Spanish Language & Culture are also offered. In 2022, 131 BSA students took a total of 194 AP exams in English Language and Composition, English Literature, English Composition, and Calculus. Students spend half of each day, four or five periods, in academic courses and half of each day, four or five periods, in their art discipline.

Extracurricular Activities
Due to the focus of many of the student's on their artistic discipline the school only began hosting extracurriculars in the 2000s and still retains a limited selection. The BSA has no sports. The BSA's official in-school newspaper is The Muse which runs bi-monthly and is independent from the school.

Admission
About 400 students attend the school, coming from public and private schools in and around Baltimore. Students are accepted by an audition or portfolio review only– without regard to grades or academic performance. The audition process varies by artistic discipline. Rising 9th and 10th graders may apply to attend. Of the 1,000 or so students that audition each year, about 115 are accepted for enrollment.

Campus and facilities
Situated in Mount Vernon, a historic cultural district immediately north of downtown Baltimore, BSA is located in two buildings on the corner of Madison Avenue and Cathedral Street. It occupies the former Alcazar Hotel and a historic brownstone. Workspaces consist of music practice rooms, art and dance studios, a film editing lab, a costume/scene shop, and a Center for Collaborative Arts and Technology (CCAT) located in the third floor library. Performance spaces include a black box theater, a recital hall, an art gallery and a theater for larger performances and galas.

In media

 * The Mount Vernon Cultural Walk includes the Baltimore School for The Arts as a stop.

 * The school in the film 2006 film Step Up was a fictionalized version of BSA, called The Maryland School for the Arts. There are some significant differences between the institution portrayed in the film and the real school, and some parts of the movie were filmed in the school.
 * The Maryland School for the Arts also provided the setting for the 2008 film sequel to Step Up, Step Up 2 the Streets although most of the actual filming of the movie did not take place inside BSA.

Notable alumni

 * Tupac Shakur, rapper, songwriter, and actor
 * Jada Pinkett Smith, actress
 * Mia Brownell, artist
 * Christian Siriano, Fashion designer and Project Runway winner
 * Tracie Thoms, actress
 * Makeba Riddick, songwriter
 * Josh Charles – Actor
 * Antonio Hart, Jazz saxophonist
 * Katherine Needleman, classical oboist
 * Larry Gilliard Jr., actor
 * Stefania Dovhan, Soprano
 * Sara VanDerBeek, photographer
 * Shalita Grant, actress
 * Shinique Smith, Painter, sculptor, Installation and Video Artist
 * Jacqueline Green, American ballet dancer
 * Bresha Webb, actress
 * Moses Ingram, actress
 * Rachel Hilson, actress

title: Baltimore School for the Arts


text:
Sd.Kfz. 251

The '''Sd.Kfz. 251' (Sonderkraftfahrzeug 251'') half-track was a World War II German armored personnel carrier designed by the Hanomag company, based on its earlier, unarmored Sd.Kfz. 11 vehicle. The Sd.Kfz. 251 was designed to transport the Panzergrenadier (German mechanized infantry) into battle. Sd.Kfz. 251s were the most widely produced German half-tracks of the war, with at least 15,252 vehicles and variants produced by seven manufacturers. The utility of this vehicle led the German Army to develop the similar looking but shorter and lighter Sd.Kfz. 250 as a supplement.

Some sources state that the Sd.Kfz. 251 was commonly referred to simply as "Hanomags" by both German and Allied soldiers after the manufacturer of the vehicle; this has been questioned, and may have been only a postwar label. German officers referred to them as SPW (Schützenpanzerwagen, or armored infantry vehicle) in their daily orders and memoirs.

Design
There were four main model modifications (Ausführung A through D), which formed the basis for at least 22 variants. The initial idea was for a vehicle that could be used to transport a single squad of 10 panzergrenadiers to the battlefield protected from enemy small arms fire, and with some protection from artillery fire. In addition, the standard mounting of at least one MG 34 or MG 42 machine gun allowed the vehicle to provide suppressive fire for the rifle squad both while they dismounted and in combat.

The armour plates were designed to provide protection against standard rifle/ machine gun bullets (like the 7.92×57mm Mauser bullet). The front-facing plates were 14.5mm thick; the sides were steeply angled, V-shape 8mm thick plates. This level of armour provided protection against normal (non-tungsten) rifle AP round, which could pierce about 8mm of vertical armour.

Positive aspects of the open top included greater situational awareness and faster egress by the infantry, as well as the ability to throw grenades and fire over the top of the fighting compartment as necessary while remaining under good horizontal cover. The downside, as with all armored personnel carriers of the era, was a major vulnerability to all types of plunging fire; this included indirect fire from mortars and field artillery, as well as small arms fire from higher elevated positions, lobbed hand grenades, Molotov cocktails, and strafing by enemy aircraft.

The first two models (Ausf. A and B) were produced in small numbers from 1939. Ausf. A and B models can be identified by the structure of the nose armor, which comprised two trapezoidal armor panels - the lower of which had an engine cooling vent. The B model, which began production in 1940, eliminated the fighting compartment's side vision slits. The C model, which started production in mid-1942, featured a simplified hexagonal-shaped forward armored plate for the engine. Models A through C had rear doors that bulged out. The C model had a large production run, but was quite complex to build, involving many angled plates. From early 1943, the D model was developed with the purpose of halving the number of angled body plates, simplifying the design and thus speeding up the production. D models can be easily recognized by their single piece sloping rear, with flat doors.

The standard personnel carrier version was equipped with a 7.92 mm MG 34 or MG 42 machine gun mounted at the front of the open compartment, above and behind the driver. A second machine gun could be mounted at the rear on an anti-aircraft mount.

Variants were produced for specialized purposes, including with anti-aircraft guns, light howitzers, anti-tank guns and mortars or even large unguided artillery rockets, as well as a version with an infrared search light used to spot potential targets for associated Panther tanks equipped with infrared detectors.

A strong design feature of the Sd.Kfz. 251 was the large track area, with the characteristic "slack track" design with no return rollers for the upper run of track. The Sd.Kfz. 251 also had the Schachtellaufwerk system of overlapping and interleaved main road wheels common to virtually all German halftracks of the period. This lowered the ground pressure and provided better traction, at the cost of much greater complexity in maintenance. The Sd.Kfz. 251 also had tank steering, whereby the normal steering wheel moved the front wheels, but after more turning of the steering wheel, the tracks are braked to cause turning, like on a tank. However, the interleaved and overlapping main road wheels shared a major problem with the Tiger I and Panther tanks that also used such roadwheel configurations - in muddy or winter weather conditions, such as those during a mud season (rasputitsa) or the winter conditions, accumulated mud and snow could freeze solid between the road wheels, immobilizing the vehicle.

Use
The early production models of this vehicle were issued to the 1st Panzer Division in 1939 as the 'Ausf.A' or 'A-version'. There were 232 estimated Ausf.A units produced, which took place in Hannover's Hanomag, Büssing-NAG of Berlin-Oberschöneweide, Weserhütte of Bad Oeynhausen, Wumag of Görlitz, and F. Schichau shipyard of Elbing facilities.

These vehicles were meant to enable Panzergrenadiere to accompany panzers and provide infantry support as required. In practice, there were never enough of them to go around, and most Panzergrenadier units had to make do with trucks for transport.

In August 1943, Romania acquired a total of 27 armored half-tracks, of both the 251 and 250 types followed in 1944 by 251 type and other types of armored cars to convert two cavalry divisions into armored or mechanized divisions. Sd.Kfz. 251s were known as SPW mijlociu ("medium SPW") in Romanian service, while Sd.Kfz. 250s were referred to as SPW ușor ("light SPW").

The Army of the Independent State of Croatia received 15 Sd.Kfz. 251 in spring 1944 and the Ustashe Militia received 12 in autumn 1944.

Variants

There were 23 official variants, and sundry unofficial variants. Each variant is identified by a suffix to the model number; however, there was some overlap in the variant numbers.

 * Sd.Kfz. 251/1 - Schützenpanzerwagen. Standard personnel carrier.
 * Sd.Kfz. 251/1 Ausf. A Ungepanzerte. Made with plain steel 5mm plates instead of armour, to make up numbers due to slow initial 251 production. Around 350 made up to mid 1940.
 * 251/1 I - with intercom facilities
 * 251/1 II - Rocket launcher (called "Stuka zu Fuß" (Walking Stuka) or Wurfrahmen 40) equipped with six side-mounted frames for launching 280 mm or 320 mm Wurfkoerper rockets.
 * Sd.Kfz. 251/1 - Falke Infrared imaging equipment for driver and MG 42 or MG 34 machine gun operator, to be used in combination with Sd.Kfz. 251/20 Uhu. Mostly Ausf. D variants.
 * Sd.Kfz. 251/2 - Schützenpanzerwagen (Granatwerfer). 81 mm Mortar carrier. Carried 66 rounds for the GrW34. A base plate was also stored so that the mortar could be offloaded and used.
 * Sd.Kfz. 251/3 - mittlerer Kommandopanzerwagen (Funkpanzerwagen). Communications vehicle, fitted with extra radio equipment for command use in Ausf. C and Ausf. D versions.
 * 251/3 I - FuG8 and FuG5 Radios
 * 251/3 II - FuG8 and FuG5 Radios
 * 251/3 III - FuG7 and FuG1 Radios (for ground to air coordination)
 * 251/3 IV - FuG11 and FuG12 Radios (with 9 m telescopic mast); Command vehicle variant (Kommandowagen)
 * 251/3 V - FuG11 Radio
 * Sd.Kfz. 251/4 - Schützenpanzerwagen für Munition und Zubehör des leIG18. Gun-towing tractor, initially for use with the 7.5 cm leichtes Infanteriegeschütz 18. Later used to tow the 50 mm Pak 38, 75 mm PaK 40 and 10.5 cm leFH 18 light field howitzer.
 * Sd.Kfz. 251/5 - Schützenpanzerwagen für Pionierzug. Assault Engineer vehicle with inflatable boats stored in the side storage lockers, and light dismantleable assault bridges stored inside through loss of a seat for more storage space. Early command vehicles for Pioneer platoons (Pionierzug) were equipped with a 37 mm Pak 36 anti-tank gun mount.
 * Sd.Kfz. 251/6 - mittlere Funkpanzerwagen (Kommandopanzerwagen). Command version equipped with map boards, cipher and encoding machines, and Enigma equipment. Probably only made in versions Ausf. A and Ausf. B. Replaced by the 251/3 IV command SPW.
 * Sd.Kfz. 251/7 I - Pionierpanzerwagen. Another assault engineer vehicle; this had fittings to carry assault bridge ramps on the sides.
 * 251/7 II - As above but with different radio.
 * Sd.Kfz. 251/8 I - Krankenpanzerwagen. Armored ambulance capable of carrying up to 8 seated casualties or 4 seated casualties and 2 stretcher cases.
 * 251/8 II - As above but fitted with FuG5 radio and 2m rod antenna. Assigned to HQ and Panzer units.
 * Sd.Kfz. 251/9 - Schützenpanzerwagen (7.5 cm KwK37). Equipped with a 75 mm L/24 low velocity gun, using the same pedestal gun mount employed on the StuG III. Nicknamed "Stummel" ("stump"). In 1944, a revised modular gun mount was introduced to facilitate production that also incorporated a coaxial MG42. This universal gun mount was also used to create the Sd.Kfz. 250/8 variant and the Sd.Kfz.234/3.
 * Sd.Kfz. 251/10 - Schützenpanzerwagen (3.7 cm PaK). Equipped with a 37 mm Pak 36 anti-tank gun mount. Issued to platoon leaders as a fire support vehicle. Early versions used the whole top half of a Pak 36 with full gunshield, but later ausf. C & D used a much smaller half-size gunshield so that the vehicle didn't advertise its firepower, so it looked more like a regular 251/1.
 * Sd.Kfz. 251/11 - Fernsprechpanzerwagen. Telephone line layer.
 * Sd.Kfz. 251/12 - Messtrupp und Gerätpanzerwagen. Survey and instrument carrier for artillery units. Never built.
 * Sd.Kfz. 251/13 - Schallaufnahmepanzerwagen. Sound recording carrier for artillery units. Never built.
 * Sd.Kfz. 251/14 - Schallaufnahmepanzerwagen. Sound ranging carrier for artillery units. Never built.
 * Sd.Kfz. 251/15 - Lichtauswertepanzerwagen. Flash spotting carrier for artillery units. Never built.
 * Sd.Kfz. 251/16 - Flammpanzerwagen. Fitted with two flame projectors and initially a rear-mounted flamethrower, detachable but still connected to the vehicle, to be operated by dismounted infantry. This was in addition to the standard forward machine gun mount. Six Sd.Kfz. 251/16 Flammpanzerwagens were authorised for issue to each Panzergrenadier regiment or in the Pioneer battalion. Though vulnerable, they were used very successfully at night to quickly attack enemy infantry who had just captured German trenches, hitting the enemy before they could consolidate and bring up the heavy weapons that would make them much costlier to defeat later. Late ausf. D versions had larger gunshields.
 * Sd.Kfz. 251/17 - Schützenpanzerwagen (2 cm). Anti-aircraft vehicle armed with a 2 cm KwK38 on a pedestal mounting with a small armored turret to protect the gunner. Late war, it was issued as a platoon commander's vehicle to replace the Sd.Kfz. 251/10.
 * Sd.Kfz. 251/18 I - Beobachtungspanzerwagen. Artillery observation vehicle.
 * 251/18 Ia - Differences unknown, likely different radio fit.
 * 251/18 II - Armored observation vehicle.
 * 251/18 IIa - Different radio.
 * Sd.Kfz. 251/19 - Fernsprechbetriebspanzerwagen. Telephone exchange vehicle.
 * Sd.Kfz. 251/20 - Schützenpanzerwagen (Infrarotscheinwerfer) Introduced in late 1944, it mounted a 60 cm infrared searchlight with a range of 1.5 km for illuminating targets at night. Known as "Uhu" (Eagle Owl), they guided IR sight-equipped Panther tanks to targets that were out of range of their own smaller infrared searchlights.
 * Sd.Kfz. 251/21 - Schützenpanzerwagen (Drilling MG151s). Anti-aircraft and ground support variant equipped with a triple-mount ("Drilling" in German means "triple") of MG151 autocannon; early version being MG151/15 mm cannon, later being MG151/20 mm Luftwaffe cannon, on a Kriegsmarine triple mount. Strong firepower, especially when organised into platoons of 6 SPW. However, with a combined rate of fire of 2000 RPM, it could fire off its full load of 3000 rounds in just 90 seconds.
 * Sd.Kfz. 251/22 - 7.5 cm PaK40 L/46 auf mittlerem Schützenpanzerwagen. Fitted with a 75 mm PaK 40 anti-tank gun. Probably too big a gun for the carriage, overloaded but effective, and the Yugoslav military was still using captured examples into the 1950s.
 * Sd.Kfz. 251/23 - 2 cm Hängelafette 38 auf mittlerem Schützenpanzerwagen. Reconnaissance variant intended to replace the Sd.Kfz. 250/9 and fitted with the same turret mounting as the Sd.Kfz. 234/1 armoured car. Probably never built.
 * OT-810 - Czechoslovakian modified version known as Tatra OT-810 was made by Podpolianske strojárne Detva. About 1,500 vehicles were built during 1958–62, they have had an air-cooled diesel engine made by Tatra and armored roof over the troop compartment for better protection in case of nuclear war. The vehicle was not liked by those who used it and was nicknamed "Hitler's revenge". Last vehicles were removed from Czech Army magazines in 1995.
 * Field modified variants - Various field modified variants also existed during World War II. There was a kit for installing an armoured map table in place of the forward MG34 mount in use in 1941. One interesting variant was made at the closing stages of the war, when German forces removed the armored bodies of damaged Sd.Kfz. 251s and installed them on light truck chassis, resulting in a wheeled variant of the Sd.Kfz. 251. At least two were made in this way judging by their number plates.

title: Sd.Kfz. 251


text:
Toyosaka

Toyosaka can refer to:

 * Toyosaka, Hiroshima
 * Toyosaka, Niigata
 * Toyosaka Station

title: Toyosaka


text:
Gavdos

Gavdos (Γαύδος, ) is the southernmost Greek island, located to the south of its much larger neighbour, Crete, of which it is administratively a part, in the regional unit of Chania. It forms a community with surrounding islets and was part of the former Selino Province.

Name
Gavdos has been known by a wide variety of names. For example, it appears in the biblical account of Paul's journey to Rome in Acts 27 as "Clauda" (Κλαῦδα) or "Cauda" (Καῦδα). The island was also referred to as "Cauda" by Roman geographer Pomponius Mela, and as "Gaudos" by Pliny. Ptolemy called Gavdos "Claudos" (Κλαῦδος). The Venetians called it "Gotzo", perhaps in imitation of the Maltese island "Gozo". From the 17th to the 19th centuries, the island was known as "Gondzo". A Turkish name of Godzo was "Bougadoz".

Geography
The island is 26 nmi south of Chora Sfakion. The area of the municipality, which includes the small island Gavdopoula, is 32.424 km2. The island is roughly triangular in shape. Its highest point is Mount Vardia, 345 m. The southeastern corner is a rocky peninsula with a natural arch carved by the elements, called Trypiti. A concrete sculpture of an oversized chair, built by a group of Russians who came to the island in the 1990s, sits on top of Trypiti.

Environment
There is an islet called Gavdopoula (Γαυδοπούλα, "little Gavdos") to the north west of Gavdos. Gavdos and Gavdopoula are covered with phrygana (φρύγανα), low-lying shrubs. Both are important stops for migrating birds. Local birds include the Eurasian scops owl and the European shag. Both Gavdos and Gavdopoula have been designated by BirdLife International as an Important Bird Area (IBA). Gavdos also has a variety of other vegetation, such as maquis as well as forests of pines and junipers.

Climate
Gavdos is the southernmost island in Greece and all of Europe. The island has a borderline hot semi-arid climate (Köppen climate classification: BSh). Summers are constantly hot, with daily temperatures reaching around 33 C in July and August. Extremes are occasional, sometimes reaching up to 40 C, and it has extremely mild winters by European standards. January, the coldest month, has an average temperature around 14 C. The Mediterranean Sea is an important thermal regulator that surrounds its island in all its directions, while maintaining the high temperature of the sea, especially in summer passing from 26 C. The mild climate is aided by hot winds blowing from the Sahara Desert. As a result of the Subtropical High of the Azores precipitation is concentrated in winter, making summers dry with no precipitation days during July and August. It is one of the sunniest places in Europe, with the highest amounts of radiation: between 1800 and 1900 kWh/m2 (ideal for solar panels), values closer to North Africa and the Middle East. It falls in plant hardiness zone 11a.

Demographics
There are only a small number of year-round residents of Gavdos and services for tourists are basic. , the resident population of Gavdos was 142. In the summer the total people on the island can reach over 3,500, most of whom are campers and tourists. The largest man-made harbour is at Karave. The island's capital is Kastri. The southernmost populated village is Vatsiana, with a total permanent population of 31 people. Fokia (with Korfos beach area), Ampelos and the area around Sarakiniko beach are the other main populated places.

History
Gavdos has supported a permanent population since Neolithic times and the Bronze Age.

Gavdos has been identified as a possible site of the mythical Ogygia where Kalypso held Odysseus prisoner. Archaeological evidence showed that the Roman empire was active on the island. During that time the flora of the island was overexploited and that started a process of erosion which has continued to this day.

Gavdos, under the name of Cauda, was briefly referenced in the Bible's New Testament in the book of Acts. In chapter 27 whilst Paul is a prisoner being transported to Rome by ship they encounter a storm, in verse 16 it reads "As we passed to the lee of a small island called Cauda, we were hardly able to make the lifeboat secure...". (NIV Version) They eventually shipwrecked in Malta.

Gavdos had approximately 8,000 inhabitants by 900 AD. During the Ottoman Empire's reign on the island, which lasted from 1665 until 1895, Gavdos was known as Gondzo. During this period the population decreased considerably to only 500 by 1882. A reference to Saracens on the island survives: the beach Sarakiniko ("of the Saracens").

In the 1930s the island was used as a place of exile of communists; more than 250 people were exiled including leading figures of the Greek movement, such as Markos Vafiadis and Aris Velouchiotis. During World War II, Allied forces evacuated some forces to Gavdos following the German victory in the battle of Crete. Gavdos was then occupied by the Axis powers from June 1941 until liberation in October 1944.

Later on, the general phase of urbanization that started in other parts of Greece in the 1960s took place in the 1950s on Gavdos. During that period the islanders exchanged their land on Gavdos with ex-Turkish land on Crete, which had now become exchangeable via the state. Upon settling in Crete they created a community known as Gavdiotika, which is part of the town of Paleochora.

Economy
There are many abandoned terraces on Gavdos where farmers used to grow crops on the hillsides. There still is some agriculture on Gavdos. During the summer, the population of the island swells to a few thousand because of tourists, although there are few facilities for tourists. There is one year-round cafe in Karave, run by Evangelina Tsigonakis. There is a modern non-functioning reproduction lighthouse tower on Gavdos which now serves as a cafe during the summer season; the complex also contains a museum on the history of the original lighthouse with several rooms of photos and antique equipment. Gavdos has an FM radio station, Gavdos FM 88.8, which is also available online.

Transport
Ferries connect the port of Karave with those of Paleochora, Sougia, Agia Roumeli, Loutro and Hóra Sfakíon. There is a heliport in the northern part of the island. Bus services connect the island's main locations. The island's road network is a mixture of paved, unsurfaced and dirt roads.

Politics
Following years of isolation, in 1996 the island came to media prominence. In a NATO exercise Gavdos was the focal point of a confrontation between Greece and Turkey. Following that, Prime Minister Costas Simitis visited Gavdos and announced a five-year, €1.5 million plan for the island's development.

In 2001, Costis Stephanopoulos, the Greek President, inaugurated a telemedicine centre on Gavdos, an island which has not had a full-time doctor in recent memory. This effort, however, was marred as the island's infrastructure could not provide the necessary power required by the centre. For the purposes of the inauguration, generators were brought in, which were then removed. However, according to a 2008 BBC News report the island now features stable electrical power, and young medical graduates can serve for six months on Gavdos in lieu of compulsory military service. But visitors to Gavdos in June 2008 found that the power station was not functioning and that businesses were relying on gas generators operated for a few hours per night; locals stated that the power station worked initially, but no longer serves the entire island reliably.

In 2002, the island was in the news again, due to the arrests of members of the extremist Marxist group 17 November. The leader of this organization had been living openly for several years on Gavdos as a beekeeper.

For the first time, a military outpost was established on the Island of Gavdos by the Greek defence ministry on 30 November 2020. The ministry announced plans of doing the same at the Othonoi island, the westernmost point of the country, following the establishment at the southernmost point of Greece. A total of 9 soldiers were deployed at the outpost in Gavdos at the Cape Tripiti. The decision followed the announcement made by the ministry of expanding Greek territorial waters to 12 nautical miles in the Ionian Sea.

Gavdos in literature
Gavdos is featured in James Aldridge's 1944 novel The Sea Eagle, which tells the story of the escape of a Greek partisan and two Australian soldiers after the Battle of Crete. The three join an expedition to liberate some Cretan fishermen from a Metaxas-era prison on the eastern end of the island. The attack on the cliffs of Khavro Spahti Bay is described in Chapters 24–28.

title: Gavdos


text:
Tsubame

Tsubame (燕) is the Japanese name for the barn swallow.

Tsubame may also refer to:
 * Tsubame, Niigata, a city in Japan
 * Tsubame (train), the name of a Japanese train service
 * Tsubame Ozuno, a character in the anime and manga series Urusei Yatsura
 * Sanjō Tsubame, a character in the anime and manga series Rurouni Kenshin
 * Tsubame Otori, a character in the anime and manga series Akihabara Dennou Gumi (Cyber Team in Akihabara)
 * Two different satellites commonly referred to as Tsubame:
 * TSUBAME (satellite), a small gamma-ray observatory
 * Super Low Altitude Test Satellite, an experimental satellite in very low Earth orbit
 * Tsubame (supercomputer), a supercomputer in Japan
 * Tsubame Mizusaki (水崎ツバメ), a character in the anime and manga series Keep Your Hands Off Eizouken!
 * Tsubame Koyasu (子安つばめ), a character in the anime and manga series Kaguya-sama: Love Is War
 * "Tsubame" (song), by Yoasobi from the EP The Book 2

title: Tsubame


text:
User talk:Elcaro

Elcaro Wiki Discussion

title: User talk:Elcaro


text:
Backlot

A backlot is an area behind or adjoining a movie studio containing permanent exterior buildings for outdoor scenes in filmmaking or television productions, or space for temporary set construction.

Uses
Some movie studios build a wide variety of sets on the backlot, which can be modified for different purposes as need requires and "dressed" to resemble any time period or look. These sets include everything from mountains, forests, ships, to small-town settings from around the world, as well as streets from the Old West, to whole modern-day city blocks from New York City, Paris, Berlin, and London. There are streets that comprise an assortment of architectural styles, Victorian to suburban homes, and 19th century-style townhouses that encircle a central park with trees. An example of this is (the former) Warner Bros. Ranch in Burbank, California seen in the title sequence of Friends or, in the case of Universal Studios, the home of Norman Bates from the Hitchcock movie Psycho.

The shells, or façades, on a studio backlot are usually constructed with three sides and a roof, often missing the back wall and/or one of the side walls. The interior is an unfinished space, with no rooms, and from the back of the structure one can see the electrical wires, pipes, beams and scaffolding, which are fully exposed. Ladders are usually built into the structure, allowing performers to climb to an upper-floor window or the roof to perform scenes. Not all the buildings and houses are shells. Some are closed in with a fourth wall. When not otherwise in use, they serve as storage facilities for lighting and other production equipment. When in use, the structures are dressed by adding doors, window treatments and landscaping. L-shaped temporary walls are placed inside of doors to give the illusion of an interior. When not in use, the structures are usually stripped of this dressing.

Mel Brooks' Blazing Saddles offers a rare look into the Warner Bros. backlot, with scenes spilling off the Laramie Street set into various stages and eventually out of Gate 3 onto Olive Avenue in Burbank, California. Television shows such as Moonlighting and It's Garry Shandling's Show also broke the fourth wall and gave audiences a peek at life on the other side of the camera.

All the sets on a studio backlot are built to appear large, as if covering miles of ground on the big or small screen, while actually occupying only a few acres of the backlot.

At their peak, some backlots covered hundreds of acres around existing studios, and filmmakers rarely left the lot, as they would intercut the backlot shots with a handful of establishing shots filmed on location by a second unit.

Demise
Today many studio backlots are gone or nearly gone. There are several reasons for this. Los Angeles, like the rest of the United States, went through an economic boom after World War II. This caused real estate prices (and property taxes linked to fair market value) to rise dramatically.

At the same time, during the 1950s, 1960s, and 1970s (the period when Hollywood underwent the transition from the Golden Age to New Hollywood), global movie audiences were increasingly irritated by films which were supposedly set all over the world, but obviously had been filmed in California. The primitive special effects technology of the era made it difficult to remove clear signs that a film had been shot in California, such as chaparral-covered hills at the horizon line. Audiences wanted to see actors in locations which were both exotic and authentic, not cheap Hollywood facsimiles. The mediocre box office performance of the 1967 film Camelot was blamed in part on this issue, which in turn marked the end of large-scale backlot production in Southern California.

By the early 1970s, the industry had transitioned to location shooting for the majority of outdoor scenes, and backlots were widely viewed as an obsolete, unwanted capital expenditure and a tax burden on studios. Many were razed and the land was either sold to developers or repurposed for theme parks (e.g., Universal Studios Hollywood) or office buildings (e.g., Century City). Since the late 1990s, the increased use of CGI and blue/green screen effects in big budget movies has accelerated the decline in the use of studio backlots, as more films are shot completely indoors.

title: Backlot


text:
Elbert D. Thomas

Elbert Duncan Thomas (June 17, 1883 – February 11, 1953) was a Democratic Party politician from Utah. He represented Utah in the United States Senate from 1933 until 1951. He served as the Chair of the Senate Education Committee.

Biography
Thomas was born in Salt Lake City, Utah Territory, on June 17, 1883, to Caroline Stockdale and Richard Kendall Thomas. He was the fifth of 12 children. His parents loved the arts, especially the theater. They built the first Children's Playhouse west of the Mississippi River in a barn on their property, which they named the Barnacle. Elbert was involved in many plays held for the public in the Barnacle. His father was involved in local government and held conventions and political rallies at the Barnacle. His family later moved to a home across from what is now the Conference Center of the Church of Jesus Christ of Latter-day Saints (LDS Church). This home is listed on the National Register of Historic Places. While an undergraduate student at the University of Utah, Thomas helped found the Amici Fidissimi Society in 1902. The AF Society was a men's fraternal organization which later affiliated with Phi Delta Theta fraternity, an international college fraternity, in 1914, becoming the Utah Alpha Chapter of the Fraternity. Elbert was the first initiate into Phi Delta Theta at the University of Utah.

Thomas married Edna Harker on June 25, 1907, in the Salt Lake Temple and they had three daughters together. Edna died in 1942, and Elbert later married Ethel Evans in 1946 in the Salt Lake Temple.

Church service
Thomas served a mission to Japan for the LDS Church with his first wife, from 1907 to 1912. He was one of the first LDS missionaries sent to Japan, and his first daughter, Chiyo, was born there. Elbert developed a deep love for the Japanese people and learned to speak Japanese fluently. He was the author of Sukui No Michi, the Japanese translation of the Mormon tract Way of Salvation. For part of his five-year mission, Thomas was the president of the Japanese Mission. On his return from Japan, he became a Professor of Political Science and History at the University of Utah (where he had received his B.A. in 1906). He taught Latin, Greek and Japanese culture, as well as being a Political Science and History professor and eventually an Administrator on the Board of Regents at the University of Utah for many years.

Political office
Thomas was first elected to the Senate as a Democrat in 1932, defeating Republican Reed Smoot. He served on the Committee on Education and Labor (of which he was the Chairman), the Committee on Military Affairs, the Mines and Mining Committee, and the Committee on Labor and Public Welfare.

In April 1943 a confidential analysis of the Senate Foreign Relations Committee by British scholar Isaiah Berlin for the British Foreign Office characterized Thomas as: "a Mormon ex-missionary, whose work was mostly done in the Far East. He speaks Japanese fluently, and his attitudes towards post-war problems is coloured principally by his Far Eastern views which are summed up in his statement that 'the days of the white man's domination are over and the British Empire is almost certain to be dissolved in that part of the world.' He is an out and out internationalist and interventionist, who has voted with the Administration on all foreign measures. He is essentially a free trader but, nevertheless, occasionally votes with the Farm Bloc which is powerful in the agricultural State which he represents. He is an ardent champion of the Jewish army scheme."

Thomas was among twelve nominated at the 1944 Democratic National Convention to serve as Franklin D. Roosevelt's running mate in the presidential election that year. He served three terms before being defeated for reelection by Wallace F. Bennett in 1950. In 1951, he was appointed High Commissioner over the Trust Territory of the Pacific Islands. Elbert died in Honolulu, Hawaii Territory, on February 11, 1953. He was buried in the Thomas family plot in the Salt Lake City Cemetery.

Legacy
The Gibbs-Thomas House, in Salt Lake City, which was Thomas's sole residence in Utah, was listed on the National Register of Historic Places in 1984 in large part to recognize his association.

title: Elbert D. Thomas


text:
Ian Kennedy Martin

Ian Kennedy Martin (born 23 May 1936) is a British television scriptwriter who created the action drama series The Sweeney (1975–78).

Career
He began his television career in the 1960s, first as a script editor on the military police drama series Redcap (1964) and then later as a writer on series such as The Troubleshooters (1965). In 1971 he worked on the popular BBC drama series The Onedin Line, which ran for nine years until 1980.

He also wrote the 1974 drama series The Capone Investment. He is best known for creating the popular police action drama series The Sweeney, produced by Euston Films for Thames Television, which ran on the ITV network from 1975 to 1978. It also spawned two feature film spin-offs. He is also known for writing the 1975 action film Mitchell.

Since the end of The Sweeney in 1978, Kennedy Martin has continued to write for various police and detective dramas. These have included the BBC's Juliet Bravo and The Chinese Detective during the 1980s and ITV's The Knock in the 1990s.

Martin has also written a number of novels, including Rekill and the dystopian science fiction novel The Last Crime, this last under the pseudonym John Domatilla. On 9 March 2009, his first play, The Berlin Hanover Express premiered at the Hampstead Theatre in North London.

Personal life
He is the younger brother of the scriptwriter Troy Kennedy Martin (Z-Cars, Edge of Darkness), with whom he worked on Redcap. It was Ian who originally came up with a concept for a robbery film set near a traffic jam that Troy eventually bought the rights for what eventually became The Italian Job (1969).

Filmography

 * Mitchell (1975)
 * Sweeney 2 - creator credit only (1978)

title: Ian Kennedy Martin


text: Category:Companies of Italy

title: Category:Companies of Italy


text:
Joshua Redman

Joshua Redman (born February 1, 1969) is an American jazz saxophonist and composer. He is the son of jazz saxophonist Dewey Redman (1931–2006).

Life and career
Joshua Redman was born in Berkeley, California, to jazz saxophonist Dewey Redman and dancer and librarian Renee Shedroff. He is Jewish. He was exposed to many kinds of music at the Center for World Music in Berkeley, where his mother studied South Indian dance. Some of his earliest lessons in music and improvisation were on recorder with gamelan player Jody Diamond. He was exposed at an early age to a variety of musics and instruments and began playing clarinet at age nine before switching to what became his primary instrument, the tenor saxophone, one year later. Redman has said he is self-taught on the saxophone and has cited John Coltrane, Ornette Coleman, Cannonball Adderley, his father Dewey Redman, as well as the Beatles, Aretha Franklin, The Temptations, Earth, Wind and Fire, Prince, The Police and Led Zeppelin as musical influences.

Redman graduated from Berkeley High School, class of 1986, after having been a part of the award-winning Berkeley High School Jazz Ensemble for all four years of high school. After graduation, Joshua frequented the classroom jam sessions of Bay Area pianist and professor of music (at Laney College in Oakland, California), Ed Kelly. It was there that he performed alongside saxophonist Robert Stewart.

In 1991, he graduated summa cum laude with a degree in Social Studies from Harvard University, where he was a member of Phi Beta Kappa Society. He had already been accepted by Yale Law School, but deferred entrance for what he believed was only going to be one year. Some of his friends had recently relocated to Brooklyn, and they were looking for another housemate to help with the rent. Redman accepted their invitation to move in, and almost immediately he found himself immersed in the New York jazz scene. He began jamming and gigging regularly with some of the leading jazz musicians of his generation and that of his father, including Brad Mehldau, Peter Martin, Mark Turner, Peter Bernstein, Roy Hargrove, Christian McBride, Kevin Hays, Jorge Rossy, Pat Metheny, Charlie Haden and Billy Higgins, among others.

Redman won the Thelonious Monk International Jazz Saxophone Competition in 1991, and began focusing on his musical career. He was signed by Warner Bros. Records and issued his first self-titled album in the spring of 1993, which subsequently earned Redman his first Grammy nomination. He continued to develop his style throughout the 1990s, beginning with a sideman appearance on Elvin Jones' Youngblood alongside Javon Jackson, and following up with an appearance on his father Dewey's 1992 record Choices. On his second album as a leader, Wish, he was joined by a notable lineup consisting of guitarist Pat Metheny, bassist Charlie Haden and drummer Billy Higgins; this group then toured as The Joshua Redman Quartet, featuring Christian McBride in place of Charlie Haden. He continued to work with various quartets, including one with pianist Brad Mehldau until forming a new trio, Elastic, with keyboardist Sam Yahel and drummer Brian Blade. The trio debuted under the moniker Yaya3, producing one album under this name. The same group of musicians made up the core on Redman's Elastic album, before becoming known as the Joshua Redman Elastic Band. Some of his works were featured on The Weather Channel's Local on the 8s. Redman performed in a fictitious supergroup, "The Louisiana Gator Boys", in the 1998 film Blues Brothers 2000, performing on "How Blue Can You Get?" and "New Orleans". Redman also appeared alongside Roy Hargrove and others on a series of albums released in the 1990s on RCA Novus by the Jazz Networks, an ensemble of American and Japanese musicians who focused on re-interpreting jazz standards primarily for the Japanese market.

2000s
In 1999, Joshua Redman was immortalized in the children's TV show Arthur on PBS. He appeared in the tenth episode of the fourth season ("My Music Rules"), where it was rumored by the characters that he would get in a fight with famed cellist Yo-Yo Ma, who also appeared in the episode. Instead, when the two meet they are revealed to be fans of each other's music and collaborate together on a song to entertain children.

In 2000, Redman was named Artistic Director for the Spring Season of the non-profit jazz-presenting organization SFJAZZ. Redman co-founded the SFJAZZ with Executive Director Randall Kline, as the SFJAZZ Collective, an ensemble distinguished by the creativity of its members and a primary emphasis on composition.

In 2004, Redman first sat in with Umphrey's McGee at their performance in Boston, Massachusetts, at the Paradise Rock Club. Redman has collaborated with Umphrey's McGee around 20 times since, including an all-improvised set in Madison, Wisconsin in January 2016.

In 2006, he performed with the New Zealand Symphony orchestra in composer John Psathas' concerto for saxophone and drumkit, Omnifenix, which was released in Rattle Records' album, View from Olympus. The album won Best Classical Album for 2007 in the New Zealand music awards.

In March 2007, Redman announced that he was taking a hiatus from both the SFJAZZ Artistic Directorship and the SFJAZZ Collective in order to focus on new projects. In April 2007, Nonesuch released Redman's first ever piano-less trio record, Back East, featuring Joshua alongside three bass and drum rhythm sections (Larry Grenadier & Ali Jackson, Christian McBride & Brian Blade, Reuben Rogers & Eric Harland) and three guest saxophonists (Chris Cheek, Joe Lovano and Dewey Redman). His January 2009 release, Compass, continued the trio tradition, and even included some tracks with a double-trio setup, featuring saxophone, two basses and two drummers.

2010s
Starting in late 2009, Redman began performing with a new collaborative band called James Farm, featuring pianist Aaron Parks, bassist Matt Penman and drummer Eric Harland. They released their first self-titled album on April 26, 2011 and their follow-up album, City Folk on October 27, 2014.

In 2011, Redman was also an inaugural member of the Independent Music Awards' judging panel to support independent artists.

In early 2013, it was announced that Redman would release a new collection of vintage and contemporary ballads featuring a jazz quartet and an orchestral ensemble titled Walking Shadows. Produced by Redman's friend and frequent collaborator Brad Mehldau, the album also features Larry Grenadier (bass) and Brian Blade (drums). It was released on May 7, 2013 on Nonesuch. About Walking Shadows, the New York Times says "there hasn’t been a more sublimely lyrical gesture in his 20-year recording career."

On Sunday, December 8, 2013, Redman joined a group of jazz all-stars onstage at the Kennedy Center Honors in Washington, D.C., to pay tribute to honoree Herbie Hancock in performance. The event aired on December 29, 2013 on CBS.

In 2015, Redman received his third Grammy nomination for his solo on "Friend or Foe" from the album The Bad Plus Joshua Redman.

In addition to his own projects, Redman has recorded and performed with musicians including Joey Alexander, Brian Blade, Ray Brown, Dave Brubeck, Chick Corea, The Dave Matthews Band, Jack DeJohnette, Bill Frisell, Aaron Goldberg, Larry Goldings, Charlie Haden, Herbie Hancock, Roy Hargrove, Roy Haynes, Billie Higgins, Milt Jackson, Elvin Jones, Quincy Jones, Big Daddy Kane, Geoff Keezer, B.B. King, The Lincoln Center Jazz Orchestra, Letieres Leite & Orkestra Rumpilezz, DJ Logic, Joe Lovano, Yo Yo Ma, Branford Marsalis, Christian McBride, John Medeski, Brad Mehldau, Pat Metheny, Marcus Miller, Paul Motian, Meshell Ndegeocello, Leon Parker, Nicholas Payton, John Psathas, Simon Rattle, Dewey Redman, Dianne Reeves, Melvin Rhyne, The Rolling Stones, The Roots, Kurt Rosenwinkel, John Scofield, Soulive, String Cheese Incident, Clark Terry, Toots Thielemans, The Trondheim Jazz Orchestra, Mark Turner, McCoy Tyner, Umphrey’s McGee, US3, Bugge Wesseltoft, Cedar Walton, Stevie Wonder and Sam Yahel.

As sideman

 * Bob Thiele Collective, Louis Satchmo (Red Baron, 1991)
 * John Hicks, Friends Old and New (Novus, 1992)
 * Elvin Jones, Youngblood (Enja, 1992)
 * Joe Lovano, Tenor Legacy (Blue Note, 1993)
 * Paul Motian, Paul Motian and the Electric Bebop Band (JMT, 1993)
 * Milt Jackson, The Prophet Speaks (Qwest, 1994)
 * Christian McBride, Gettin' to It (Verve, 1995)
 * Lionel Hampton, For The Love of Music (MoJazz, 1995)
 * Jonny King, Notes from the Underground (Enja, 1996)
 * Chick Corea, Remembering Bud Powell (Stretch, 1997)
 * Cedar Walton, Roots (Astor Place, 1997)
 * McCoy Tyner Super Group, Prelude and Sonata (Key'stone, 1998)
 * Kurt Rosenwinkel, Deep Song (Verve, 2005)
 * Sam Yahel, Truth and Beauty (Origin, 2007)
 * Brad Mehldau, Highway Rider (Nonesuch, 2010)
 * Trondheim Jazz Orchestra, Triads and More (MNJ, 2010)
 * Ferenc Nemeth, Triumph (Dreamer's Collective, 2012)

title: Joshua Redman


text:
Talk:Tapio

Untitled
Tapio Often refered to as 'the forest friend' or 'the gracious god of the woodlands' Tapio is the god of forests and woodlands. He is described has having eyebrows of moss and a beard of lichen. He is also said to be made entirely of trees. In the old times hunters would pray to him before going out to hunt. this might suggest that they thought he would protect them from predators.

By Callum — Preceding unsigned comment added by 203.166.96.240 (talk) 00:24, 29 July 2004 (UTC)

title: Talk:Tapio


text:
Herbie Nichols

Herbert Horatio Nichols (January 3, 1919 – April 12, 1963) was an American jazz pianist and composer who wrote the jazz standard "Lady Sings the Blues". Obscure during his lifetime, he is now highly regarded by many musicians and critics.

Life
He was born in San Juan Hill, Manhattan, New York, United States, to parents from St. Kitts and Trinidad, and grew up in Harlem. During much of his career, he took work as a Dixieland musician while also pursuing the more adventurous kind of jazz he preferred. He is best known today for music that combines bop, Dixieland, and music from the Caribbean with harmonies from Erik Satie, Béla Bartók and other modernist composers.

His first known work as a musician was with the Royal Barons in 1937, but he did not find performing at Minton's Playhouse a few years later a very happy experience, as the competitive environment did not suit him. However, he did become friends with pianist Thelonious Monk.

Nichols was drafted into the Army in 1941. After the war, he worked in various settings, beginning to achieve some recognition when Mary Lou Williams recorded some of his songs in 1952. From about 1947, he persisted in trying to persuade Alfred Lion at Blue Note Records to sign him up. He finally recorded some of his compositions for Blue Note in 1955 and 1956, some of which were not issued until the 1980s. His tune "Serenade" had lyrics added, and as "Lady Sings the Blues" became identified with Billie Holiday. In 1957, he recorded his last album as leader for Bethlehem Records.

Nichols died of leukemia in New York City at the age of 44.

One of the four essays in A.B. Spellman's Four Lives in the Bebop Business (also known as Four Jazz Lives, 1966) is about Nichols. A biography, Herbie Nichols: A Jazzist's Life, written by Mark Miller, was published in 2009.

Influence
Nichols's music was energetically promoted by Roswell Rudd, who worked with Nichols in the early 1960s. Rudd released three albums featuring Nichols's compositions (Regeneration, issued in 1983 by Soul Note, and The Unheard Herbie Nichols (1997), issued by CIMP in two volumes), as well as a book The Unpublished Works (2000).

In 1984, the Steve Lacy quintet with George E. Lewis, Misha Mengelberg, Han Bennink, and Arjen Gorter performed the music of Nichols at the Ravenna Jazz Festival in Italy. That same year, they recorded an album titled Change of Season (Music of Herbie Nichols) (Soul Note, 1985).

A New York group, the Herbie Nichols Project (part of the Jazz Composers Collective) has recorded three albums largely dedicated to unrecorded Nichols' compositions, many of which Nichols had deposited in the Library of Congress.

In 2024, Sonic Camera Records released Tell the Birds I Said Hello: The Music of Herbie Nichols, an album by double bassist Ben Allison, guitarist Steve Cardenas, and saxophonist Ted Nash.

As leader
Compilations
 * 1952: Herbie Nichols Quartet (Savoy; first LP issue: Various Artists I Just Love Jazz Piano - Down And Out (1957), session sometimes reissued with the Gigi Gryce album Nica's Tempo)
 * The Complete Blue Note Recordings (Blue Note; reissued by Mosaic)

As sideman

 * 1953: Rex Stewart and his Dixielanders Dixieland Free-For-All (Jazztone, 1956)
 * 1958: Vic Dickenson & Joe Thomas, Mainstream (Atlantic, 1959)

title: Herbie Nichols


text:
Wallace F. Bennett

Wallace Foster Bennett (November 13, 1898 – December 19, 1993) was an American businessman and politician. A member of the Republican Party, he served as a US Senator from Utah from 1951 to 1974. He was the father of Bob Bennett, who later held his father's seat in the Senate.

Early life and education
Wallace Bennett was born in Salt Lake City, Utah, to John Foster and Rosetta Elizabeth (née Wallace) Bennett. His grandparents were English immigrants who came to the United States in 1868. He received his early education at local public schools and graduated from LDS High School in 1916. He then enrolled at the University of Utah, where he majored in English and won a varsity letter in debate.

Bennett, a member of the university's Reserve Officers' Training Corps, interrupted his college education to serve in the US Army during World War I. He was commissioned as a second lieutenant of the Infantry in September 1918 and was assigned as an instructor in the Student Army Training Corps at Colorado College. He later returned to the University of Utah and earned his Bachelor of Arts degree in 1919. For a year after his graduation, he served as principal of San Luis Stake Academy in Manassa, Colorado.

Family
In 1922, Bennett married Frances Marion Grant, the youngest daughter of Heber J. Grant (who served as President of the LDS Church from 1918 to 1945). The couple had three sons, Wallace, David, and Robert; and two daughters, Rosemary and Frances.

Frances served for a time as a member of the Primary General Board of the LDS Church.

Business career
In 1920, Bennett returned to Salt Lake City and became an office clerk at Bennett's Paint and Glass Company, which his father had established. He was later advanced to cashier, production manager, and sales manager. He became secretary-treasurer of the company in 1929 and, after his father's death in 1938, became president and general manager. He served in that position until 1950, when he became chairman of the board. In 1938, the company completed what Bennett described as the most modern paint manufacturing plant in the West.

In addition to his work in his family's business, Bennett organized a Ford dealership, the Bennett Motor Company, and served as its president from 1939 to 1950. He also served as president of the Cardon Jewelry Company and of the National Glass Distributors Association; vice-president of Glayton Investment Company and of the National Paint, Varnish and Lacquer Association; and director of Zion's Savings Bank and Trust Company, the Utah Oil Refining Company, and the Utah Home Fire Insurance Company. In 1949, he was elected president of the National Association of Manufacturers. He spent his year-long tenure as president traveling the country and preached "the partnership of the men who put up the money, the men who do the work, and the men who tie the whole thing together."

He hosted a daily one-hour program, The Observatory Hour, on KSL (1932–1933), and was president of the Salt Lake Civic Opera Company (1938–1941) and the Salt Lake Community Chest (1944–1945). In 1935, he became treasurer of the Latter-day Saints Sunday School General Board. He directed the chorus of student nurses of LDS Hospital (1942–1948) and wrote the words to God of Power, God of Right, which is Hymn #20 in the 1985 Latter-day Saints Hymnal. He authored Faith and Freedom (1950) and Why I am a Mormon (1958).

US Senate
In March 1950, Bennett announced his candidacy for a seat in the US Senate from Utah. After receiving the Republican nomination, he faced three-term Democratic incumbent Elbert D. Thomas in the general election. During the campaign, he accused Thomas of having communist positions and circulated pamphlets associating Thomas with communist organizations and figures. In November, he defeated Thomas by a margin of 54%–46%. He was subsequently re-elected to three more terms.

Silver problem
In the late 1950s, the US Treasury became a begrudging supplier of silver at $0.905 an ounce. Bennett warned that the lack of supply for the high demand would cause the deficit to fall on the Treasury Stocks. By 1961, the Treasury Stocks had unnecessarily been depleted. In 1963, the government had only 30 million ounces of free silver, but the annual coinage requirement for the United States was more than 75 million ounces. The price of silver per ounce was now $1.2929, but if the United States bought extra silver, the price would go above $1.29. The Silver Purchase Act of 1963 was supported by Bennett and repealed "existing silver purchase requirements and the transfer of tax of silver bullion." It also allowed the Federal Reserve to issue $1 and $2 notes to replace "silver certificates or the denominations thus making 1.6 billion ounces of silver available to the United States Treasury."

Bennett spoke at the Convention of the American Mining Congress in 1963 that declared the coin and silver problem had reached a catastrophic level. His views were faced with much criticism. Two years later, to function properly, the Treasury proposed a new set of coins. Bennett joined forces with the administration and worked on a solution, the Coinage Act of 1965, which he got through Congress to be enacted into law.

Leadership
During his 23 years in the Senate, Bennett earned a reputation as a conservative and a pro-business advocate by opposing government regulations and supporting right-to-work laws. He served as a member of the Senate Finance and Banking and Currency Committees, as well as the Joint Committee on Atomic Energy and Defense Production. Bennett was the vice chairman of Senate Ethics Committee. Bennett voted in favor of the Civil Rights Acts of 1957, 1960, 1964, and 1968, as well as the Voting Rights Act of 1965 and the confirmation of Thurgood Marshall to the US Supreme Court, but Bennett did not vote on the 24th Amendment to the U.S. Constitution. He also supported a measure that prohibited federal aid to schools that practiced racial discrimination. He opposed the Partial Nuclear Test Ban Treaty and the creation of Medicare. He also voted against the Equal Rights Amendment. He was also instrumental in bringing the Central Utah Project and the defense and aerospace industries to Utah. By the end of his political career, Bennett was the ranking Republican on Senate Banking, Housing and Urban Affairs Committee, and the Senate Finance Committee. He was "recognized as one of the nations leading fiscal and monetary experts."

Bennett declined to seek re-election in 1974 and resigned on December 20 of that year to let his elected successor, Jake Garn, take office early and gain seniority.

Later life
After his departure from the Senate, Bennett returned to Salt Lake City, resumed his business pursuits, and served on a variety of boards. When his son Robert was elected to his former Senate seat in 1992, the elder Bennett said, "Bob and I have made Utah history. We are the first father and son combination to be elected to the U.S. Senate in this state."

Bennett died at his home in Salt Lake City at the age of 95. He is buried at Salt Lake City Cemetery.

title: Wallace F. Bennett


text:
Cabo da Roca

Cabo da Roca or Cape Roca is a cape which forms the westernmost point of the Sintra Mountain Range, of mainland Portugal, of continental Europe, and of the Eurasian landmass. It is situated in the municipality of Sintra, near Azóia, in the south west of the Lisbon District. Notably, the point includes a lighthouse that started operation in 1772.

History
Cabo da Roca was known to the Romans as Promontorium Magnum and during the Age of Sail as the Rock of Lisbon.

Geography
The cape is within the Sintra-Cascais Natural Park, 42 kilometres west of the city of Lisbon and in the southwest of Sintra. A location (38.78333°N, -9.5°W) is inscribed on a stone plaque, located on a monument at the site.

The western coast is a mixture of sandy beaches and rocky cliff promontories: around Cabo da Roca, cliffs are more than 100 metres in height, and cut into crystalline rocks, composed of strongly folded and faulted sedimentary units. These forms are disturbed by dikes and small beaches. This promontory of "high" beaches is the extreme western immersion of the ancient eruptive Sintra massif, as evident from the rose-coloured granite in the north and syenite of the Ribeira do Louriçal in the south. In the vicinity of the Cape, there are geomorphological examples of gabbro-diorite, volcanic breccia, and granite.

Part of the granite formations show evidence of strong coastal erosion, while in other areas there are limestone deposits embedded in the granite.

Much of the vegetation on this cape is low-lying and adapted to saltwater and windy conditions. Once home to a variety of plant life, Cabo da Roca has been overrun with the invasive plant species Carpobrotus edulis. This creeping, mat-forming plant, a member of the Aizoaceae succulent family, was introduced as ground cover by local residents several decades ago, but now covers much of the arable land on Cabo da Roca.

Many migratory and marine birds roost temporarily along the cliffs and protected coves of the coastal area.

Climate
The climate present at Cape Roca is extremely moderated by the ocean. Due to seasonal upwelling, the area comprising the cape has cool, stable summers with little to no rainfall but very common occurrences of fog which boosts the humidity and decreases insolation. Summer is also the windiest season of the year with July and August averaging around 15 km/h. On the other hand, winters are rainy and have mild temperatures especially during the night, though the amount of precipitation received in this season is unparalleled with other places nearby such as the Sintra Mountains which can receive triple that precipitation. Due to the seasonal lag, September is the warmest month.

title: Cabo da Roca


text:
Dataflow

In computing, dataflow is a broad concept, which has various meanings depending on the application and context. In the context of software architecture, data flow relates to stream processing or reactive programming.

Software architecture
Dataflow computing is a software paradigm based on the idea of representing computations as a directed graph, where nodes are computations and data flow along the edges. Dataflow can also be called stream processing or reactive programming.

There have been multiple data-flow/stream processing languages of various forms (see Stream processing). Data-flow hardware (see Dataflow architecture) is an alternative to the classic von Neumann architecture. The most obvious example of data-flow programming is the subset known as reactive programming with spreadsheets. As a user enters new values, they are instantly transmitted to the next logical "actor" or formula for calculation.

Distributed data flows have also been proposed as a programming abstraction that captures the dynamics of distributed multi-protocols. The data-centric perspective characteristic of data flow programming promotes high-level functional specifications and simplifies formal reasoning about system components.

Hardware architecture
Hardware architectures for dataflow was a major topic in computer architecture research in the 1970s and early 1980s. Jack Dennis of the Massachusetts Institute of Technology (MIT) pioneered the field of static dataflow architectures. Designs that use conventional memory addresses as data dependency tags are called static dataflow machines. These machines did not allow multiple instances of the same routines to be executed simultaneously because the simple tags could not differentiate between them. Designs that use content-addressable memory are called dynamic dataflow machines by Arvind. They use tags in memory to facilitate parallelism. Data flows around the computer through the components of the computer. It gets entered from the input devices and can leave through output devices (printer etc.).

Concurrency
A dataflow network is a network of concurrently executing processes or automata that can communicate by sending data over channels (see message passing.)

In Kahn process networks, named after Gilles Kahn, the processes are determinate. This implies that each determinate process computes a continuous function from input streams to output streams, and that a network of determinate processes is itself determinate, thus computing a continuous function. This implies that the behavior of such networks can be described by a set of recursive equations, which can be solved using fixed point theory. The movement and transformation of the data is represented by a series of shapes and lines.

Other meanings
Dataflow can also refer to:
 * Power BI Dataflow, a Power Query implementation in the cloud used for transforming source data into cleansed Power BI Datasets to be used by Power BI report developers through the Microsoft Dataverse (formerly called Microsoft Common Data Service).
 * Google Cloud Dataflow, a fully managed service for executing Apache Beam pipelines within the Google Cloud Platform ecosystem.

title: Dataflow


text:
User:Kyzer

Hello, visitor. I am Stuart Caie, a software engineer and fan of the old Amiga computers. I have strong interests in compression and music. I also keep a watchful eye on the so-called "animal rights" movement.

title: User:Kyzer


text:
The Chamber (novel)

The Chamber (1994) is a legal thriller written by American author John Grisham. It is Grisham's fifth novel.

Plot
In 1967, in Greenville, Mississippi, the office of Jewish lawyer Marvin Kramer is bombed, injuring Kramer and killing his two young sons. Sam Cayhall, a member of the Ku Klux Klan, is identified, arrested and tried for their murders, committed in retaliation for Kramer's involvement in the Civil Rights Movement. Sam's first two trials, engineered by his Klan-connected lawyer, each end in a mistrial. Thirteen years later, the FBI pressures a suspected associate to testify against Sam at a third trial. Sam is convicted and sentenced to death by lethal gas. He is sent to the Mississippi State Penitentiary and placed on death row.

Now without a lawyer, Sam becomes a pro bono case for a team of anti-death penalty lawyers from the large—and Jewish—Chicago law firm of Kravitz and Bane. Representing Sam is his own grandson, Adam Hall, who travels to the firm's Memphis office to aid Sam in the final month before his scheduled execution. Although lacking experience in death penalty cases, Adam is determined to argue a stay for his grandfather. Sam, despite his violent past, is one of the few living links to Adam's family history. Sam's alcoholic daughter, Lee Cayhall Booth, slowly reveals the family's tragic past to her nephew, Adam.

Initially uncooperative, Sam eventually opens up to Adam and reveals a remarkable depth of hard-won legal knowledge, regularly preparing his own briefs and court motions. Despite his Klan past, he readily helps Black fellow prisoners as well as White ones. Adam interviews the FBI agent in charge of the original case and realizes that Sam almost certainly did not commit the actual crime for which he had been found guilty, although he was present. Nevertheless, Sam has a long and largely-secret history of Klan-related crimes, including several murders. Dogan, the associate who testified against Sam at his third trial, has apparently been murdered by the Klan. Sam himself will not reveal if another associate exists, thus not violating the Klan's loyalty oath.

Adam desperately files motion after motion and argues some of them before judges. He seeks to persuade Mississippi's governor to grant a reprieve, knowing full well that such a move is politically impossible; Sam forbids such a move, suspecting that the governor is using him for political gain. All appeals are finally exhausted. Sam is now repentant, but does not want Adam as a witness to the execution. He faces the last moment with courage and fortitude, publicly repudiating his past with the Klan, and dies proud of his grandson and happy to have forged a strong link with him during this last month. The sentence is carried out, Sam having ordered Adam to walk away and not watch him die.

With Sam and Dogan dead, no one knows that Roland, the third man who prepared and set off the bomb, is still free and living nearby under a false identity and observing the progress of the case—having graduated from Klan member to a full-fledged "proud fascist" and neo-Nazi. The reader knows—but Adam never does—that Roland stalked the young lawyer and considered killing him, but concluded it was not necessary and that Sam would take his secret to the grave. Meanwhile, Adam, sickened but fascinated by the experience—and disliking the idea of having a career as a corporate lawyer—quits Kravitz and Bane. Instead he accepts a poorly-paid position with a group of anti-death penalty lawyers.

Lawsuit and dismissal
Lawyer and author Polly Nelson sued Grisham in 1995, alleging The Chamber had striking similarities to Defending the Devil, her nonfiction book about her experiences as lawyer for serial killer Ted Bundy. After Grisham prevailed in a lower court ruling in 1996, the case was dismissed on appeal in 1997.

Film adaptation
In 1996, The Chamber was made into a feature film starring Gene Hackman and Chris O'Donnell.

title: The Chamber (novel)


text:
Category:Governors of Michigan

Articles about governors of the U.S. state of Michigan. For a complete list with dates of office, see List of Governors of Michigan.

title: Category:Governors of Michigan


text:
Punta de Tarifa

Punta de Tarifa or Punta Marroquí (Tarifa Point or Moroccan Point) is the southernmost point of the Iberian Peninsula and Continental Europe. It is located in the province of Cádiz and the autonomous community of Andalusia on the Atlantic end of the Straits of Gibraltar. The coast of Morocco can be seen from this point.

The point is the southeastern tip of the former island, known as Isla de Las Palomas, located offshore and now connected to the mainland by a causeway. The island had a military base between the 1930s and 2001.

The name of Tarifa, both for the island and for the municipality, originates from Tarif ibn Malik, who in 711 started here the Islamic conquest of Hispania.

title: Punta de Tarifa


text:
Art Bergmann

Arthur Frank Bergmann (born February 8, 1953, in Vancouver, British Columbia) is a Canadian rock singer-songwriter who was one of the key figures in Canadian punk rock in the late 1970s. Bergmann was made a member of the Order of Canada in 2021.

Punk bands
Art Bergmann began his musical career with an Abbotsford band called the Mount Lehman Grease Band. After Mount Lehman folded, he founded his own band called the Notorious Smorg Brothers, which he stocked with a myriad of different support artists.

Bergmann was later the lead singer and songwriter for Vancouver punk stalwarts Young Canadians (formerly The K-Tels). Although the Young Canadians only recorded two independent EPs and a single before breaking up, their song "Hawaii" (co-written with Ross Carpenter) is one of the classic Canadian punk anthems. Although long out of print, the EPs, along with some unreleased live material, were reissued in 1995 as the album No Escape.

Solo career
In the 1980s, Bergmann played with Vancouver independent bands Los Popularos and Poisoned before the latter band signed to Duke Street Records in 1988. Due to confusion with the popular American band Poison which had marred the band's most recent tour, however, the label decided to bill the band's releases as solo albums by Bergmann.

He released his debut solo album, the John Cale-produced Crawl with Me, that year. He garnered a Juno Award nomination for Most Promising Male Vocalist at the Juno Awards of 1989, and James O'Mara and Kate Ryan were nominated for Best Music Video for Bergmann's "Our Little Secret".

1990's Sexual Roulette, produced by Chris Wardman, became Bergmann's mainstream breakthrough, spawning the rock radio hit "Bound for Vegas" and garnering him a deal with Polygram Records.

He followed up with a self-titled album on Polygram in 1991, again garnering significant radio airplay for the singles "Faithlessly Yours", "If She Could Sing" and "Message From Paul". In 1994 he collaborated with One Free Fall on a cover of Neil Young's "Prisoners of Rock and Roll" for the tribute album Borrowed Tunes, leading to a new deal with Sony Records for 1995's What Fresh Hell Is This?. That album won the Juno Award for Best Alternative Rock Album at the Juno Awards of 1996, but the album was not a strong performer on the charts and he was then dropped from the label. Bergmann quit the music business for a period following his release by Sony, performing sporadically between 1995 and 1998.

The 1998 Design Flaw, produced by Peter J. Moore and released on the independent label Other People's Music, was a reworking of tracks from his first three albums, plus a cover of Gram Parsons' "Sin City". The songs featured Bergmann on acoustic guitar, with backing by Chris Spedding on electric. Bergmann then released Vultura Freeway, a compilation of unreleased demo recordings from the early 1980s, in 2000, with liner notes from Pointed Sticks front man Nick Jones.

Following Vultura Freeway, however, Bergmann withdrew from the music business for several years, due to health difficulties with degenerative arthritis.

In 2009 Bergmann's bassist Ray Fulber compiled the CD Lost Art Bergmann, which featured early demo versions of most of the songs that appeared on the 1988 John Cale produced album. These demo recordings served as a tonic to many fans as they have a more guitar driven sound than the keyboard heavy Cale produced sessions.

On 26 August 2014, Bergmann released Songs for the Underclass on the independent label (weewerk).

On 13 May 2016, Bergmann released The Apostate, his first full-length album of new material since 1995, on weewerk Records.

On 12 May 2017, Bergmann released Remember Her Name, a remastered edition of his self-titled 1991 album.

On 30 December 2020, Bergmann was made a Member of the Order of Canada, for his "indelible contributions to the Canadian punk music scene, and for his thought-provoking discourse on social, gender and racial inequalities."

On 21 May 2021, Bergmann released Late Stage Empire Dementia on (weewerk) Recordings. On 29 September 2023, he followed up with ShadowWalk: Legacy of Love, an album inspired by the death in 2022 of his wife Sherri Decembrini.

Film appearances
Art Bergmann has appeared in two Bruce McDonald films, Highway 61 as Otto and Hard Core Logo as himself, and as a musician in Conjurer of Monikers. Additionally, he was featured in Bloodied but Unbowed, a film featured at the 2010 Vancouver Documentary Film Festival.

Discography

 * Crawl with Me (1988)
 * Sexual Roulette (1990)
 * Art Bergmann (1991)
 * What Fresh Hell Is This? (1995)
 * Design Flaw (1998)
 * Vultura Freeway (2000)
 * Lost Art Bergmann (2009)
 * Songs for the Underclass (2014)
 * The Apostate (2016)
 * Remember Her Name (2017)
 * Late Stage Empire Dementia (2021)
 * ShadowWalk: Legacy of Love (2023)

title: Art Bergmann