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Wikipedia:Articles for deletion/Ninja Strike Force

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was keep. – Rich Farmbrough 16:38, 1 May 2005 (UTC)

Ninja Strike Force
Non-notable subgroup of a contestably notable hacker group. In other words, vanity. Delete. --Sn0wflake 03:50, 18 Apr 2005 (UTC)
 * Delete. CDC themselves are noteworthy, largely because of the extremely popular Back Orifice program, but this subgroup isn't. Firebug 04:42, 18 Apr 2005 (UTC)
 * Keep . I'm a member of cDc (we've done a lot more than BO, btw), though, so maybe that should be taken into account.  --Myles Long 04:47, 18 Apr 2005 (UTC)
 * I doubt it. The fact that you are a member of CULT OF THE DEAD COW doesn't seem relevant at all.  The fact that CULT OF THE DEAD COW has done more than Back Orifice would be relevant were we discussing the CULT OF THE DEAD COW article.  But we aren't.  We're discussing Ninja Strike Force.  Are you a member of Ninja Strike Force?  Can you include in this article, which currently reads like a combined membership roster (Wikipedia is not a directory) and community noticeboard (Wikipedia is not a free hosting service), any reason that it is encyclopaedia-worthy?  Remember that stuff that is too secret for Wikipedia won't help. Uncle G 11:21, 2005 Apr 18 (UTC)
 * Yawn. No, I'm not a member of NSF, but I do have a vested interest in its well-being, that's all I meant.  The NSF isn't a subgroup, either...it's more like a semi-autonomous collective under the cDc umbrella.  But whatever.  I didn't mean that cDc's having done more than BO was relevant to this discussion; I was merely responding to the previous "delete" vote that seemed to imply that it did.  I was actually about to suggest that the NSF article be reverted to a redirect to CULT OF THE DEAD COW, but I see that you've already suggested that.  So, that's my vote. Redirect for now, until when/if there's ever more notable content.  And what does Sn0wflake mean by cDc being "contestably notable?"  Just curious.  I have no interest in arguing about this. --Myles Long 12:33, 18 Apr 2005 (UTC)
 * It becomes clear now. Your original paragraph can be read two ways.  I read it as your putting forward the fact that you are a cDc member as the actual rationale for keeping this article, rather than as your simply providing full disclosure of a personal bias.  I cannot answer your question about what Sn0wflake wrote; but it wasn't really addressed to me.  In turn my second question still stands, addressed to the world in general. Uncle G 16:37, 2005 Apr 18 (UTC)
 * Yeah, I realize that my original comment was ambiguous. I just meant to disclose personal bias.  And no, right now, I don't think the NSF is particular encyclopedic.  Hence my vote for redirect.  That isn't to say that it will not someday be encyclopedic. --Myles Long 17:01, 18 Apr 2005 (UTC)
 * Delete, not notable, promo.Megan1967 08:18, 18 Apr 2005 (UTC)
 * Take out the membership directory and the community noticeboard, and the only content that is left is either content that we can already find in CULT OF THE DEAD COW or a nearly-substub description of an apparently less-than-stellar low-budget martial-arts film. Redirect (nothing to merge) to CULT OF THE DEAD COW unless someone writes something worthwhile about the movie. Uncle G 11:21, 2005 Apr 18 (UTC)
 * Given GRider's recent additions to the article (which I think constitute someone writing "something worthwhile about the movie"), I am changing my vote back to Keep, where my vote shall stay. --Myles Long 18:11, 19 Apr 2005 (UTC)
 * Delete Andrew Lenahan - St ar bli nd 17:49, Apr 20, 2005 (UTC)
 * May I ask why? Just curious.  The movie seems to warrant its own article now, in the very least.--Myles Long 19:43, 20 Apr 2005 (UTC)
 * Keep, at least the movie should stay. Grue 17:08, 21 Apr 2005 (UTC)
 * Keep and expand the movie. merge the CULT OF THE DEAD COW stuff to that article, leaving only a link at the top of the page. I also don't understand why the disambig template is there. Thryduulf 23:31, 21 Apr 2005 (UTC)
 * keep this please its a real movie Yuckfoo 00:55, 23 Apr 2005 (UTC)
 * Keep and expand the film and merge the cDc content into its parent article. Next.  —RaD Man (talk) 07:27, 23 Apr 2005 (UTC)
 * Keep, now that the movie information is there, merge the cult stuff to its article. (I can understand why this page was originally nominated, and would have voted to delete if the page had remained the way it was when it the tag was added)--BaronLarf 08:26, Apr 23, 2005 (UTC)
 * Keep, at least as a movie (GRider's been doing some good after all). If the CDC stuff is merged with the CDC article, then a link should remain at the top of the page --Kieran 13:47, 24 Apr 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


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Chrysler Pacifica (crossover)

The Chrysler Pacifica is a mid-size crossover produced by Chrysler from 2003 to 2007, for the model years 2004 to 2008.

The Pacifica was the first jointly engineered product of the 1998 DaimlerChrysler "merger of equals." Chrysler developed the vehicle in 30 months at a cost below $1 billion. The CUV was inspired by the 1999 Chrysler Pacifica and 2000 Chrysler Citadel concept cars. The production model was first introduced at the 2002 New York International Auto Show. Chrysler marketed the Pacifica as a "sports-tourer," building the vehicle at the Windsor Assembly Plant, alongside the long-wheelbase minivans from January 2003 through November 2007. The "Pacifica" name was briefly used as a trim package on the Dodge Daytona for 1987–1988 after the Chrysler Laser was discontinued.

In January 2016, the Pacifica name was revived for a 2017 model year minivan, which debuted at the North American International Auto Show as a replacement for the Chrysler Town & Country.

2004
Initially, the Pacifica came in just one trim level.

2005 and 2006
Starting in 2005, the Pacifica was expanded into four trim levels: Base, Touring, Limited, and a special-edition Signature Series. The interior was also slightly restyled. Faux wood trim came standard in Pacifica Touring and Limited models, while the base-model "Pacifica" (later Pacifica LX), offered interior colored plastic trim. Signature Series models had metal clad interior trim and two-tone leather seats.

2007
The Pacifica's exterior was slightly restyled for 2007, including its headlights, hood, fenders, grille, front fascia and wheels. The brand new 4.0 L SOHC V6 engine was added, to complement the standard 3.8 L EGH V6. With the addition of the new engine and transmission, Dual Exhaust was added. New options included a rearview camera incorporated into the navigation system, stain, odor, and static-resistant seat fabric and new wheel options.

2008 (discontinuation)
Chrysler announced on November 1, 2007 discontinuation of the Pacifica, producing the last Pacifica that same month. The final Pacifica rolled off the assembly line on November 23, 2007.

Powertrain
The Pacifica crossovers were equipped with "Autostick" transaxles, Chrysler's version of a manually controlled automatic transmission. Other features include five-link rear suspension, self-leveling rear shock absorbers, and variable assist rack-and-pinion steering. The Pacifica offered a towing capacity of 3500 lb.

At first, Pacifica was powered by a 3.5-liter V6 with 250 hp and 250 lbft of torque. Reviewers faulted the gruff engine, which was barely up to the task of battling the Pacifica's formidable mass, especially on fully loaded all-wheel-drive models. The 3.5-liter V6 with 250 hp and 250 lbft was standard on all but the base front-wheel-drive model in 2005 using the 3.8-liter V6. The 3.8-liter V6 with 210 horsepower and 240 lbft was eliminated for 2006, leaving the 3.5-liter unit as the sole available engine. For 2007, the 3.8-liter engine returned in the base front-wheel-drive model, this time rated at 200 hp, and a new 4.0-liter V6 replaced the 3.5-liter V6 in all other models. The 4.0-liter engine produced 255 hp and 265 lbft and was mated with a new six-speed automatic transmission (the base engine continued with the four-speed unit) which allowed a respectable 0-60 mph time of 7.4 seconds.

Safety
In 2006 the Chrysler Pacifica won an award from the Insurance Institute for Highway Safety as the "best pick frontal". In 2007, the Pacifica won a five star front and side crash test rating. The Pacifica received this award for being equipped with traction control, four wheel disc brakes with anti-lock braking system, all-row side curtain air bags, Electronic Stability Program, and tire pressure monitoring system.

Features
During the first model year, Pacificas were equipped lavishly and were expensive as a result, as they included costly luxury features such as a navigation system, DVD entertainment system, and a load-leveling suspension. In later model years, additional trim and equipment levels were added.

Third row seating was standard on all but the entry-level Pacificas released after 2004. Front row seats featured an eight-way power driver seat and four-way power passenger seat on all standard Pacificas. The Limited and Touring included a ten-way power seat for the driver. The Pacifica could be optioned with a seating preference memory system that also controlled mirrors and pedals. Seats were available with stain and odor resistant fabric or leather on all seats and six different fabric designs. Cargo space was 79.5 cuft with the second and third rows folded.

All Pacifica models came with AM/FM radio along with CD player and a seven speaker, 200-watt Infinity audio system. Limited models came with a year subscription of Sirius satellite radio, 6-disc DVD player capable of playing MP3, DVD audio, DVD video, DVD-R and DVD-RW discs, and an available eight-speaker 385-watt Infinity "Intermezzo" audio system with subwoofer. Standard models included dual-zone manual temperature control while the Limited and Touring offered automatic temperature control system. Limited and Touring models offered an available navigation system, along with an optional rear-view camera. A hands-free communication system was also available. All trims featured power windows and door locks, remote keyless entry, and a full array of safety equipment.

Trim levels
All editions were available in front-wheel drive or all-wheel drive.
 * Base • 2004–2007 - Included: cloth upholstery, power locks and mirrors, power windows with automatic driver's side window, four 12V power outlets, keyless entry, power front seats, and an AM/FM stereo with single-CD player, steering wheel controls, and 200 watt 7 speaker infinity system.
 * LX • 2008 - Included: 3.8L V6 on FWD models, 4.0L V6 on AWD, cloth upholstery, power seats with heated front row seats, an AM/FM stereo with single-CD player and 6 speakers, keyless entry, security alarm, and power locks, windows with automatic driver's side window.
 * Touring • 2005–2008 - Added: premium cloth or leather-trimmed upholstery, electronic vehicle information control, universal garage door opener, leather wrapped shift knob, storage bin, and an AM/FM radio with single-disc CD/DVD video/audio with MP3 capability, and 200-watt Infinity system with 7 speakers.
 * Limited • 2005–2008 - Added: leather upholstery, floor mats, power mirrors with auto-dimming driver's mirror, a sunroof, cargo net, memory drivers seat, pedals and radio presets, leather-wrapped steering wheel, and an AM/FM stereo with in dash 6-disc CD/DVD changer with MP3 capability, SIRIUS Satellite Radio, and 200 watt Infinity sound system with 7 speakers.
 * Signature Series • 2005–2008

Reception
The Pacifica was the first jointly engineered product of the 1998 Chrysler-DaimlerBenz "merger of equals." Chrysler developed the vehicle in 30 months at a cost below $1 billion. Parent DaimlerChrysler's other entry in the luxury SUV market, the M-Class (badged as the ML) appeared to be a rushed engineering job from the Mercedes-Benz truck division yet it was a great success, leading to the second-generation M-Class that used a crossover instead of a light truck platform.

DaimlerChrysler heavily touted the Pacifica as the next "big thing" in the fledgling crossover market, forecasting sales of 100,000 per year. These estimations proved to be wildly optimistic, as sales never came close to expectations. There was stiff competition from other luxury crossovers like the Lexus RX and BMW X5; the RX was the volume leader and widely considered the benchmark for the class. Despite the Mercedes-like interior and other Mercedes-derived technologies, however, the Pacifica may have been overpriced for its marque, as general public perception did not consider Chrysler a luxury brand like BMW, Lexus, and Mercedes-Benz. Indeed, DaimlerChrysler was reluctant to heavily promote the fact that the Pacifica (as well as several other jointly engineered vehicles such as the Crossfire and 300) featured technologies from its Mercedes division due to fear of cannibalization, as Benz vehicles had much higher prices and profits than their Chrysler equivalents. A three-year, multimillion-dollar contract was signed with singer Celine Dion in 2003, with advertisements designed to reposition Chrysler as a premium marque. However, the promotional campaign was widely considered a flop and so DaimlerChrysler ended it just one year later. Ending up, however, DaimlerChrysler lost money on every Pacifica sold, as it used a modified minivan platform, but it didn’t have any interior commonality with other Chrysler, Dodge or Jeep vehicles.

Positioned as a large crossover, the Pacifica was designed to combine the convenience of a minivan, the elevated position of an SUV, and the handling of a sedan, as the minivan's popularity was being eclipsed by the SUV which in turn lost favor due to high gas prices. Compared to traditional (light truck-based) luxury sport utility vehicles such as the Lincoln Navigator, the Pacifica had less heavy cargo-hauling and towing capacity but otherwise it was superior in handling, comfort, interior, and amenities. Crossovers with three-row seating tend to be inferior to minivans in passenger room; the Pacifica was no exception as its third-row seats were considered too small compared to that of the Chrysler Town & Country which was less expensive and more fuel-efficient. However other luxury automakers have no minivans in most of their lineups which avoids cannibalization of the sales of their large crossovers, so it didn't help that the Pacifica inevitably drew comparisons to the Town & Country. Furthermore, DaimlerChrysler was unable to convince the public that the Pacifica was a pioneer of new category of vehicle, as consumers preferred more traditional SUV-style crossovers, and they faced the same problem with the release of the 2006 Mercedes-Benz R-Class in 2005. Like the Pacifica the R-Class is supposed to share the attributes of the minivan, SUV, and a wagon, and despite the R-Class being more upscale and sophisticated (based on a rear-wheel drive platform) with a better executed launch (while the Pacifica was plagued with production and marketing flaws), it has sold poorly compared to the GLK and M-Classes.

The Pacifica was widely praised for its carlike ride and handling, as its sophisticated suspension soaked up the bumps well, while the steering was fairly crisp and linear. However the 2004-06 model years of the Pacifica were fuel thirsty and vastly underpowered considering its hefty weight, with its weak 250 hp 3.5-liter V6 and aging four-speed automatic transmission, which gave poor performance considering the price of this vehicle. This was only rectified in 2007 with a new V6 engine and a new six-speed automatic which was nonetheless too late to salvage sales. Throughout its lifetime there were few engine options, yet despite client requests there was never an available Hemi or SRT version like the 2005 Chrysler 300.

Reliability
The initial production models of the Pacifica gave the nameplate a bad reputation, due to poor mechanical reliability of the transmission and engine, liner and interior flaws, electrical glitches, and low build quality. Furthermore, Chrysler was slow to react in fixing these problems.

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

title: Chrysler Pacifica (crossover)


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Ed Healey

Edward Francis Healey Jr. (December 28, 1894 – December 9, 1978) was an American professional football player in the National Football League (NFL). Regarded as one of the best linemen in the league's early days, Healey was inducted into the Pro Football Hall of Fame as part of its second induction class in 1964. He was also named in 1969 to the NFL 1920s All-Decade Team. In 1974, he was also inducted into the College Football Hall of Fame.

A native of Springfield, Massachusetts, Healey played college football at College of the Holy Cross in 1914 and at Dartmouth College in 1916, 1917, and 1919.

Healey played professional football as a tackle in the NFL for the Rock Island Independents from 1920 to 1922 and for the Chicago Bears from 1922 to 1927. He never played for a team with a losing record during his NFL career and, in 1922, became the first player in NFL history to be sold to another team. He was named as a first-team All Pro player by at least one selector for five consecutive years from 1922 to 1926.

Early years
Healey was born in 1894 in Indian Orchard, a neighborhood at the northeast end of Springfield, Massachusetts. His parents, Edward F. Healey Sr. and Nora Healey were the children of Irish immigrants, both born in Massachusetts. His father worked in the street sprinkler business and later as a contractor in the wood business. Healey had four older sisters and one younger sister.

Healey attended Central High School in Springfield, Massachusetts. He then attended and played college football at the College of the Holy Cross in Worcester, Massachusetts, in 1914 and at Dartmouth College in Hanover, New Hampshire, for three years. In Healey's three years with the Dartmouth football program, the teams compiled records of 5–2–2 (1916), 5–3 (1917), and 6–1–1 (1919). Walter Camp reportedly called Healey "the best tackle I ever saw."

Rock Island Independents
Healey began playing professional football with the Rock Island Independents in 1920, the inaugural season of the National Football League (known as the American Professional Football Association until 1922). He helped lead the 1920 Rock Island team to a 6–2–2 record, good for fourth place out of 14 teams.

Healey remained with Rock Island during its 1922 season when the team compiled a 4–2–1 record and finished in fifth place out of 21 teams.

Healey began the 1922 NFL season with Rock Island. The team opened its season with a 19–14 victory over the Green Bay Packers before losing a close game, 10–6, against the Chicago Bears. George Halas, owner, coach and player for the Bears, was impressed with Healey's tough tackling, including tackling of Halas, and bought Healey's contract for $100. Healey thus became the first NFL player to be sold to another club. Healey later recalled his pleasure at joining a team with superior facilities: "At Rock Island, we had no showers and seldom a trainer. At Wrigley Field, we had a nice warm place to dress and nice warm showers."

Chicago Bears
Healey spent six seasons with the Bears from 1922 to 1927. During Healey's tenure with the Bears, the club never had a losing season, winning at least nine games in five of the six seasons. Healey was selected as a first-team All-Pro by at least one major selector each year from 1922 to 1926.

In 1924, he ran more than 30 yards to tackle teammate Oscar Knop who ran the wrong way after intercepting a pass. In 1925, he was the only player to be selected as a first-team All Pro by Collyers Eye magazine, the Green Bay Press-Gazette, and Joseph Carr. In 1926, the Green Bay Press-Gazette called him "the best tackle in the Pro loop," and Bears owner George Halas later called Healey "the most versatile tackle of all time".

Family, later years, and honors
Healey married Lucille Falk in November 1927. After retiring from football, Healey and his wife lived in South Bend, Indiana, where he worked as a salesman and later sales manager for France Stone Company. Healey and his wife had a son, Thomas, in approximately 1938. The family later moved to Niles, Michigan.

Interviewed in 1949, Healey opined that, with the development of the platoon system, modern linemen were "something akin to sissies" and added, "In the old days we used to go on the field prepared for 60 minutes of work and nothing short of a broken leg, arm, or ankle could get us out of there."

During his retirement, Healey received numerous honors for his contributions to the sport of football. These honors include the following:

 * In February 1964, Healey was elected to the Pro Football Hall of Fame as a member of its second group of inductees.
 * In August 1969, he was selected by the Pro Football Hall of Fame as a tackle on the NFL 1920s All-Decade Team.
 * In April 1974, Healey was also elected to the College Football Hall of Fame in the pioneer category.

Healey's wife died in September 1975. Healey died three years later in December 1978 at age 83 from multiple causes, including malnutrition, cardiac and pulmonary failure, and cancer of the stomach and lung. He died at the Cardinal Nursing Home in South Bend, Indiana. His funeral service was held in Niles, Michigan, and he was then buried at Calvary Cemetery in that city.

title: Ed Healey


text: Category:CP/M software

title: Category:CP/M software


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Talk:Mime Jr.

Picture?
Didn't this article used to have a picture? What happened to it? -- 69.138.229.246 16:04, 19 February 2006 (UTC)

Discussion
For a May 2005 deletion debate over this page see Votes for deletion/Manene

Let's not have another Laxbe. I am removing speculation of the english name now. —The preceding unsigned comment was added by Pleasehelp (talk • contribs).

In several scenes during the movie, Manene is seen mimicing the actions of other humans around it, thus proving that it really is the pre-evolution to Mr. Mime.
 * That's proof? Sonic Mew | talk to me 16:55, 12 October 2005 (UTC)
 * Hardly, but the cards denote that it evolves. That line isn't really needed, so I've omitted that part about it. We don't need stuff "proving what it is", really. —The preceding unsigned comment was added by Tetsuya-san (talk • contribs).

Soundproof?
How can we be sure that Manene has soundproof as its ability if Diamond and Pearl havent been released yet? I can see this as partial speculation (since Manene evolves into Mr. Mime), but not confermation. It should at least say predicted, speculation, or somthing. Cabby2 18:04, 6 February 2006 (UTC)

I deleted that, as it is pure speculation, seeing as several Pokemon change abilities when they evolve, such as Poochyena and Mightyena. On another note, how do we know it's a Psychic type? 69.138.229.246 16:03, 19 February 2006 (UTC)

Coro Coro confirms it's a Psychic type. When you deleted that sentence, all you really had to do was state that the Soundproof ability was an ability predition as everything else in that sentence was known about it. Side note: James's Manene happens to know Teeter Dance. (source: Bulbapedia) Cabby2 16:13, 28 February 2006 (UTC)

Known Attacks
What happened to its attacks?--Rat235478683-- —The preceding unsigned comment was added by Rat235478683 (talk • contribs).

I fixed it.--Rat235478683-- —The preceding unsigned comment was added by Rat235478683 (talk • contribs).

I happen to know one move of mime jr's, and if you've heard about or seen how it acts, you'll believe me. its attack (that also plays a big roll in its Evolution) is mimic. —The preceding unsigned comment was added by 4.184.242.93 (talk) 14:09, 21 October 2006 (UTC)

Reproduction
How does Mr. Mime...you know...make babies? Sam 20:03, 22 April 2007 (UTC)
 * They're not actually all misters. Besides, Ditto can even breed with a lot of genderless or one gender only Pokémon like Electrode, Jynx, and Tauros.—Ｌｏｖｅはドコ？ (talk • contribs) 20:12, 22 April 2007 (UTC)

title: Talk:Mime Jr.


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Palace Theatre (New York City)

The Palace Theatre is a Broadway theater at 1564 Broadway, facing Times Square, in the Midtown Manhattan neighborhood of New York City. Designed by Milwaukee architects Kirchhoff & Rose, the theater was funded by Martin Beck and opened in 1913. From its opening to about 1929, the Palace was considered among vaudeville performers as the flagship venue of Benjamin Franklin Keith and Edward Franklin Albee II's organization. The theater had 1,648 seats across three levels.

The modern Palace Theatre consists of a three-level auditorium at 47th Street, which is a New York City designated landmark. The auditorium contains ornately designed plasterwork, boxes on the side walls, and two balcony levels that slope downward toward the stage. When it opened, the theater was accompanied by an 11- or 12-story office wing facing Broadway, also designed by Kirchhoff & Rose.

The Palace was most successful as a vaudeville house in the 1910s and 1920s. Under RKO Theatres, it became a movie palace called the RKO Palace Theatre in the 1930s, though it continued to host intermittent vaudeville shows in the 1950s. The Nederlander Organization purchased the Palace in 1965 and reopened the venue as a Broadway theater the next year. The theater closed for an extensive renovation from 1987 to 1991, when the original building was partly demolished and replaced with the DoubleTree Suites Times Square Hotel; the theater was reopened within the DoubleTree in 1991. The DoubleTree Hotel was mostly demolished in 2019 to make way for the TSX Broadway development. As part of this project, the Palace closed again in 2018 and was lifted 30 ft in early 2022. The renovation was completed in May 2024.

Buildings
The Palace Theatre is at 1568 Broadway, at the southeast corner of Seventh Avenue and 47th Street, in the Theater District of Midtown Manhattan in New York City. It faces Duffy Square, the northern end of Times Square. The theater's site abuts the I. Miller Building and Embassy Theatre to the south.

The Palace Theatre was designed by Milwaukee architects Kirchhoff & Rose and was completed in 1913. The theater was funded by Martin Beck, a vaudeville entrepreneur. The theater has been housed in three buildings over the years. While the interior space dates to the 1913 design by Kirchhoff & Rose, the original theater building was partly demolished in 1988 and the theater space was renovated inside the DoubleTree Suites Times Square Hotel, completed between 1990 and 1991. The DoubleTree Hotel was itself demolished in 2019 to make way for the TSX Broadway development.

Original building
The Palace Theatre was originally composed of an office wing along Times Square, as well as the theater wing on 47th Street that contained the auditorium. The original building's site was assembled from ten land lots at 1564–1566 Broadway and 156–170 West 47th Street, which were arranged in an "L" shape. The Broadway lots collectively measured 40 by, while the 47th Street lots measured 137 by. This structure was designed by Kirchhoff & Rose, with James J. F. Gavigan as an associate architect. The steelwork was constructed by the George A. Just Company. The office wing was an 11-story or 12-story structure, which served as the theater's main entrance. In the original building's later years, the entrance had a marquee. The office wing had an ornate marble facade, as well as two public elevators and a private one inside. The theater entrance was 40 ft wide and contained an outer lobby with either Pavanazzo or yellow Carrara marble and a Siena-marble inner lobby. The lobbies were accessed by two sets of stained-glass, bronze-framed screen doors. There were stairs to the upper floors in the inner lobby. Past the two lobbies was a foyer that led directly to the auditorium (see ).

The theater wing measured 88 by. It had a brick or terracotta facade on 47th Street. The interior had French decorations. The auditorium originally had a seating capacity of 1,820, with double balcony levels and 20 boxes arranged in tiers. It was characterized as having an ivory-and-bronze color scheme. Five massive girders spanned the auditorium; each measured 86 ft long and 8 ft deep, weighing 30 ST. There were also 32 or 36 dressing rooms.

DoubleTree Suites
An Embassy Suites hotel (later a DoubleTree Suites), designed by Fox & Fowle, was built on the site between 1987 and 1991, replacing the office wing on Broadway. The hotel had 460 suites and was 43 stories tall. The theater's facade was almost entirely hidden behind 10000 ft2 of billboards for the first 120 ft of the hotel's height, as per zoning regulations governing buildings on Times Square. The hotel leased the unused air rights above the Palace Theatre to achieve a greater height than would normally be allowed under zoning regulations. The hotel was placed above and around the theater's original auditorium and stage house. The hotel rooms were supported by four steel-and-concrete "super columns", which each measured 145 ft tall and were placed to the west and east of the auditorium. Resting on the columns were two concrete-encased steel trusses, measuring 130 ft long by 57 ft tall and connected by 17 crossbeams.

The theater's lobby, as well as the hotel's entrance and some retail shops, were on the ground story. The entrance to the theater was at approximately the same location as in the original building, and the lobby from the old office wing was preserved. The theater lobby was divided into two sections leading into a foyer. Above that was a five-story atrium with some of the hotel's public spaces, which were placed between the beams, and 36 guestroom stories. A 12 ft emergency exit was preserved on the eastern side of the theater. Within the theater itself, mezzanine restrooms, an air-conditioning system, and an elevator to the second balcony were installed. Furthermore, the backstage facilities were enlarged. The Palace Theatre's original facade on 47th Street, consisting of rusticated limestone blocks at the first floor and brick on the upper stories, still remained but was not protected as a New York City landmark. The theater's lobby was also not protected as a landmark.

TSX Broadway
During the late 2010s and early 2020s, the DoubleTree/Palace site was redeveloped as part of TSX Broadway, a $2 billion mixed-use structure with a 669-room hotel, which was built around, above, and below the Palace's auditorium. The new structure retains the lowest 16 stories of the DoubleTree structure. The area occupied by the 1987 lobby was replaced with retail space, extending three levels below ground. This required the auditorium to be raised by about 30 ft. The auditorium is supported by columns that, in turn, rest on caissons extending 45 ft deep.

About 10000 ft2 of back of house space was created as part of the project. The main entrance was also relocated to 47th Street, where the facade was raised and a marquee sign was installed. Escalators along 47th Street connect the new entrance to a new orchestra-level lobby next to the raised auditorium. In total, the theater was expanded from 40,000 to 80,000 ft2.

Auditorium
The auditorium, which the New York City Landmarks Preservation Commission (LPC) has protected as a city landmark, is the only portion of the original theater that survives. It is placed in a rigid enclosure that is structurally separate from the buildings within which it has been housed. The auditorium has boxes, two balconies above an orchestra level, and a large stage behind an oversized proscenium arch. The auditorium's width is slightly greater than its depth. The foyer and lobby were designed with plaster decorations in high relief, which alluded to the vaudeville presented at the Palace, while the stage itself was originally sloped. Though the auditorium's orchestra level was originally at the ground story, it was raised to the third story when TSX Broadway was built.

The New York Times described the auditorium as "Baroque with Beaux-Arts influences". Many of the original design features were removed over the years and were restored in the 2020s using plaster molds and historical photographs.

Seating areas
, the theater has 1,648 seats; prior to its closure in 2018, the auditorium had 1,743 seats. The orchestra level has a raked floor that slopes downward toward the stage. Both balcony levels have curved fronts and cantilever above the orchestra, sloping downward toward the stage. All three levels contain promenades, which have cornices on their ceilings. Staircases behind each promenade connect the three levels of seating. One of the staircases was nicknamed the "Judy Garland staircase" because the actress Judy Garland would use it for surprise entrances. In addition, an elevator connects all three seating levels.

The first balcony level extends half the depth of the orchestra and contains two staircases about halfway through. The front of the balcony has decorative moldings with classical masks, while its underside contains plaster moldings of ropes. The second balcony contains rope moldings on its underside, which form a rectangular pattern. The front edge of the second balcony's underside contains guilloche moldings interspersed with oak branches, above which are decorative moldings with masks. The second balcony's side walls have decorative pilasters that support a frieze, as well as exit doors with curved pediments. The ceiling of the second balcony has ventilation grates, which are not part of the original design.

The orchestra level has boxes on either side, divided by white-marble barriers with black-marble baseboards. On either side of the proscenium are arched niches with a doorway at orchestra level and a box at the first balcony level. Each niche's box contains a doorway with pilasters on either side, which are topped by console brackets that support a curved pediment with a tympanum. The niches are topped by a recessed lunette that resembles a shell or sunburst. The niches originally contained three boxes each, but these were extensively altered in a 1965 renovation. Additional boxes exist on both sides of both balcony levels. The first balcony level has one additional box behind each niche. The second balcony level has five curved boxes on each side in a terraced arrangement, with higher boxes being further from the stage. The fronts of the balcony-level boxes have decorative moldings, while the undersides of these boxes contain foliate ornamentation. Originally there were 20 boxes at orchestra level, 23 at the first balcony, and 12 at the second balcony. There was also a projection booth behind the balcony for film screenings, which was built in the 1930s and removed in the 2020s.

Other design features
Pendentives at each corner of the auditorium support a wide coved ceiling. The cove is divided into a set of panels with different types of scrolls and floral moldings. The front of the cove, near the sounding board, has a cartouche with putti. There is a flat ceiling surface with a pair of curved triangular panels, as well as a dome with modillions, rosettes, and fruit-and-flower moldings. There is an old-ivory bronze chandelier measuring 14 ft across, which hangs from a pendant on the ceiling.

The proscenium arch measures 44 ft across. It contains pellet, egg-and-dart, and acanthus-leaf moldings surrounding a band of acanthus leaves. The top of the arch consists of a keystone with a molding of a child's head. A sounding board rises above the proscenium arch, with foliate bands at the perimeter. At the center of the sounding board, above the stage, is a circular panel depicting a lyre. The orchestra pit is at the front of the orchestra seating level, in front of the proscenium. It dates from a 1965 renovation and contains high walls. The stage is behind the proscenium arch and orchestra pit. The stage historically had a Wurlitzer Opus 303 organ. The orchestra and stage both have stage lifts.

History
The vaudevillian Martin Beck was the operator of the Orpheum Circuit, which in the early 20th century was the dominant vaudeville circuit on the West Coast of the United States. Its East Coast complement was the Keith–Albee circuit, composed of Benjamin Franklin Keith and Edward Albee, who operated venues both by themselves and through their United Booking Office. The Orpheum and Keith–Albee circuits had proposed a truce in 1906, wherein Orpheum would control vaudeville west of Chicago and Keith–Albee would control vaudeville east of Chicago, including New York City. This truce was implemented in 1907.

Development
Beck and Herman Fehr announced in December 1911 that they had leased the site with plans to construct a venue, the Palace Theatre. Beck's representatives initially said the Palace would not be part of the Orpheum interests and, therefore, would not be used to show vaudeville. Beck subsequently recanted, saying he would use the Palace for vaudeville. In February 1912, Kirchhoff & Rose and Gavigan filed plans with the New York City Department of Buildings for a theater building at Broadway and 47th Street.

Due to the truce between Orpheum and Keith–Albee, Edward Albee initially said any vaudeville act that played the Palace would not be allowed on the Keith–Albee circuit. Albee demanded that Beck turn over three-quarters ownership to use acts from the Keith–Albee circuit, to which Beck acquiesced. Albee moved the B. F. Keith office to the fifth floor, and the UBO office moved to the office wing as well. Furthermore, Willie Hammerstein held the exclusive franchise to vaudeville performances around Times Square. Because of the vaudeville restriction, Werba & Luescher obtained an option on the new theater in mid-1912. Hammerstein initially refused to sell his exclusive vaudeville franchise to Albee, but Hammerstein agreed to a $200,000 settlement in May 1913, after the theater had opened. The Palace's programming was still unknown to the public until February 1913, when The New York Times announced the theater would be "something along the lines of English music halls", with events such as ballets, rather than "strict vaudeville".

Vaudeville

The theater finally opened on March 24, 1913, with headliner Ed Wynn. Tickets cost $1.50 for matinees and $2.00 for nighttime performances. The screenwriter Marian Spitzer wrote of opening day: "The theatre itself, living up to advance publicity, was spacious, handsome and lavishly decorated in crimson and gold. But nothing happened that afternoon to suggest the birth of a great theatrical tradition." Rather, the public mostly considered its $2 admission fees to be expensive. The media widely mocked the opening bill; four days after the Palace opened, Variety magazine printed an article entitled "Palace $2 Vaudeville a Joke: Double-Crossing Boomerang". Also problematic was the presence of Hammerstein's Victoria Theatre, a much more successful and established vaudeville venue. The Variety article noted that, while the Victoria had played to capacity two days in a row, the Palace had to give out free coupons to half the guests and still struggled to fill the balcony seats.

The Palace's first success was the one-act play Miss Civilization, featuring Ethel Barrymore, six weeks after the theater opened. It was only after an appearance by French actress Sarah Bernhardt on May 5, 1913, that the Palace became popular. Except for a period from May to December 1913, the Palace had performances every day for the next two decades. By December 1914, Variety was characterizing the Palace as "the greatest vaudeville theater in America, if not the world". The death of Willie Hammerstein the same year, and the subsequent closure of the Victoria, contributed to the Palace's popularity. Keith also died in 1914, giving Albee even more control of the Palace. Albee sometimes traded on the performers' desire for this goal by forcing acts to accept smaller profits. To "play the Palace" meant that entertainers had reached the pinnacles of their vaudeville careers. The theater itself was nicknamed the "Valhalla of Vaudeville". Performer Jack Haley wrote:

"Only a vaudevillian who has trod its stage can really tell you about it ... only a performer can describe the anxieties, the joys, the anticipation, and the exultation of a week's engagement at the Palace. The walk through the iron gate on 47th Street through the courtyard to the stage door, was the cum laude walk to a show business diploma. A feeling of ecstasy came with the knowledge that this was the Palace, the epitome of the more than 15,000 vaudeville theaters in America, and the realization that you have been selected to play it. Of all the thousands upon thousands of vaudeville performers in the business, you are there. This was a dream fulfilled; this was the pinnacle of Variety success."

A typical bill would have nine acts, who would perform twice a day. The bills were rotated every Monday. Consequently, the Monday matinee was generally considered among vaudevillians to be the most important of any given week, with the harshest audience. A failed act would generally be eliminated from the evening shows. Because of the constant rotations of acts, Variety observed in 1914 that the theater was "using up headliners at an alarming rate". At its peak, the Palace's annual profit was $500,000, and the average bill was paid $12,000. About three-quarters of revenue was from subscriptions, and many patrons who regularly visited the Monday afternoon shows were subscription holders. Performing comedians would select "stooges" from the Palace's box seats. The audience members in the right-side first-balcony boxes would generally assist the performers.

Vaudeville headliners
Throughout vaudeville's heyday, the headliners (usually billed next to the closing act) included:

 * Ed Wynn (1913)
 * Ethel Barrymore (1913)
 * Nora Bayes (1914)
 * Fritzi Scheff (1914)
 * Nan Halperin (1915)
 * Will Rogers (1916)
 * Blossom Seeley (1917)
 * Lillian Russell (1918)
 * Leon Errol (1919)
 * Marie Cahill (1919)
 * Olga Petrova (1919)
 * The "Dixie Duo" (Noble Sissle and Eubie Blake) (1919)
 * Bert Williams (1919)
 * Marie Dressler (1919)
 * Aileen Stanley (1920, 1926, 1930, 1931)
 * The Marx Brothers (1920)
 * Lou Clayton and Cliff Edwards (1921)
 * Bessie Clayton (1921)
 * Fanny Brice (1923)
 * Isabella Patricola ("Miss Patricola") (1923, 1926, 1927, 1938)
 * Cecilia Loftus (1923)
 * Trixie Friganza (1924)
 * Florence Mills (1924)
 * Cliff Edwards (1924)
 * Doc Rockwell (1925)
 * Weber and Fields (1925)
 * Hamilton Sisters and Fordyce (the Three X Sisters) and Jerry and Her Baby Grands (1925 or 1926)
 * Eva Tanguay (1926)
 * Barto and Mann (1927, 1929)
 * Ethel Waters (1927)
 * Julian Eltinge (1927)
 * the Duncan Sisters (1927)
 * Clark and McCullough (1928)
 * Clayton, Jackson & Durante (1928)
 * Buck and Bubbles (1928, 1929)
 * Harry Langdon (1929)
 * Mary Hay and Clifton Webb (1929)
 * Phil Baker (1930, 1931, 1932)
 * George Jessel (1930)
 * Adelaide Hall (1930, 1931, 1933)

Other performers
Other performers appearing at the Palace included:

 * Burns and Allen
 * Jack Benny
 * Sarah Bernhardt
 * Eddie Cantor
 * Vernon and Irene Castle
 * Gus Edwards
 * Frank Fay
 * Benny Fields
 * Bob Hope
 * Eddie Leonard
 * George Jessel
 * Helen Kane
 * Bert Lahr
 * Ethel Merman
 * Bill Robinson
 * Blossom Seeley
 * Kate Smith
 * Sophie Tucker

Decline
The circuit became Keith–Albee–Orpheum in 1925 and it acquired film companies the following year. With the Great Depression came a rise in the popularity of film and radio, and vaudeville saw a steep decline. The Paramount Theatre of 1926 and Roxy Theatre of 1927, in particular, were major competitors to the Palace. Many bills were held at the Palace for several consecutive weeks due to their popularity, which turned away subscription holders who wished for more variety; furthermore, many acts demanded increased salaries. After Keith–Albee–Orpheum merged with RCA and the Film Booking Office to form RKO Pictures in 1928, the circuit's vaudeville houses became movie houses. In 1929, the Keith's booking office relocated from the fifth floor of the office wing to the sixth.

To attract vaudeville-goers, the Palace added an electric piano in the lobby and colored lights in the auditorium during the late 1920s. Vaudeville was still popular as late as 1931, when Kate Smith had a ten-week-long run. After considering a three-a-day production, the Palace moved to four shows a day in May 1932 and lowered its admission prices. A fifth show was subsequently added, but this failed to increase the number of attendees.

Movie palace use
The last week of straight vaudeville at the Palace premiered July 9, 1932, featuring Louis Sobol. Afterward, the Palace instituted a mixed policy of vaudeville before a feature film, which continued for several months. The last vaudeville accompaniment took place on November 12, 1932, with Nick Lucas and Hal Le Roy appearing on the closing bill. Thereafter, the Palace was converted to a movie palace, showing films exclusively under RKO Pictures. The film-only policy was not initially successful because many major studios already operated their own theaters in Times Square. Theatrical historian Louis Botto said that "from the 1930s on, it was a constant struggle for survival" for the Palace, which frequently flipped between film-only, vaudeville/film, and live performance formats.

The Palace reverted to a vaudeville-before-film policy on January 7, 1933, two months after it started showing films exclusively. The venue spent the next two years alternating between film-only and vaudeville-before-film formats. For fourteen years beginning in 1935, the Palace showed movies almost exclusively. The booking office in the Palace Theatre's office wing moved several blocks away to Radio City Music Hall. There was a brief return to a live revue format in 1936, when Broadway producer Nils Granlund staged a series of variety shows, beginning with "Broadway Heat Wave" featuring female orchestra leader Rita Rio. Among the films shown at the RKO Palace was the RKO picture Citizen Kane, which had its world premiere at the theater in 1941.

In preparation for the 1939 New York World's Fair, RKO began to erect a 40 by marquee in front of the office wing in April 1939. The next month, RKO announced the Palace would be renovated. The alterations included renovating the outer lobby with black-and-white granite walls and the inner lobby with zebra wood and black marble walls. Additionally, aluminum and bronze frames were installed in the outer lobby. The work also included installing doors between the inner and outer lobbies. The renovations were finished in August 1939. Further renovations followed in the early 1940s, when some of the boxes were removed since they did not have a good view of the cinema screen.

Attempted revival of vaudeville
The RKO Palace was closed for a $60,000 renovation in early 1949. It received new seats and carpets; upgraded acoustic features and stage; and a new ticket booth in the lobby. Beginning in May 1949, under RKO vice president Sol Schwartz, the RKO Palace tried to revive vaudeville with a slate of eight acts before a feature film. Within two months of vaudeville being reintroduced, Schwartz said patronage was "very encouraging". The Palace was closed for a two-week renovation in October 1951. After the Palace reopened, Judy Garland staged a 19-week comeback at the venue, supported by acts such as Max Bygraves. This was the first occurrence of two-a-day vaudeville at the Palace in nearly 18 years. The Palace also attracted acts including Lauritz Melchior, José Greco, Betty Hutton, Danny Kaye,  Dick Shawn, and Phil Spitalny. Garland returned for a successful run in 1956, this time with Alan King.

While the shows were successful, they did not lead to a revival of the vaudeville format. According to theatrical historian Ken Bloom, the Palace "limped along into the fifties with an occasional good week", but the popularity of television had restricted the profitability of the Palace's vaudeville. Performances by Jerry Lewis and Liberace, in 1957, failed to attract enough audience members. As a result, the Palace dropped its vaudeville policy in July 1957. Its film screenings began with James Cagney's Man of a Thousand Faces on August 13, 1957. The films included The Diary of Anne Frank, which premiered in 1959. The Palace hosted one more vaudeville performance by Harry Belafonte in December 1959.

Nederlander conversion
The RKO Palace was no longer profitable as a cinema by March 1965, and RKO considered selling it to Sherman S. Krellberg for conversion into a Broadway theater. That July, the Nederlander Organization agreed to purchase the Palace from RKO for about $1.4 million   or $1.6 million. The Nederlanders also acquired the ground lease, which had 52 years remaining in its term. The last film to play the RKO Palace was Harlow in August 1965, and the Nederlanders formally acquired the theater the same month. The Nederlanders incorporated the All State Amusement Corporation to operate the theater. For the Palace to break even, each production would have to gross $65,000 a week.

The Nederlanders spent $500,000 to renovate the venue into a legitimate theater. Many of the decorations that were added after the theater's opening were removed, revealing the original design. Among the decorations uncovered were ironwork, marble balustrades, and the molded ceiling of the lobby. In the basement, workers found a gold vault that was filled with paint cans, as well as crystal chandeliers. The auditorium was outfitted with red decorations and gold-and-cream walls, while the basement was renovated to include a dressing room for the primary performer. Two bars were installed: one in the lobby and one in the basement. The renovations made the Palace the only Broadway theater that was actually on Broadway, and, with 1,732 seats, the largest Broadway house. Ralph Alswang oversaw the restoration of the Palace. The Stage magazine printed the Palace Theatre's programs, competing with Playbill magazine, the traditional publisher of stage programs.

On January 29, 1966, the Palace opened as a Broadway venue with the original production of the musical Sweet Charity. The production ran at the Palace for 608 performances. The Nederlanders wished to keep the Palace Theatre open even when there was no theatrical engagement. For some time, the Palace showed films and presented concert performances between engagements. Judy Garland's performance in July 1967 was recorded for a live album, Judy Garland at Home at the Palace: Opening Night; it was followed the same year by a double bill with Eddie Fisher and Buddy Hackett. Later in 1967, the musical Henry, Sweet Henry had a relatively short run of 80 performances. More successful was George M!, which opened in 1968 and ran over 400 performances.

During the 1970s, the Palace hosted live performances from Josephine Baker, Bette Midler, Vikki Carr, Shirley MacLaine, and Diana Ross. The Palace additionally hosted the 25th Tony Awards in 1971. During this time, the theater hosted the musical Applause, which had opened in 1970 and ran for 896 performances over two years. The next hit was the musical Lorelei, which opened in 1974 and lasted ten months. The musical Man of La Mancha ran at the Palace for three months in 1977; it was followed in 1979 by the musical Oklahoma!, which had 301 performances. Yet another musical, Woman of the Year, opened in 1981 and stayed for two years. The Palace's most successful production in its first two decades was La Cage aux Folles, which opened in 1983 and ran for more than four years.

1980s renovation to mid-2010s
Developer Larry Silverstein had planned to build a skyscraper on the Palace Theater's site since the mid-1980s. Such a development was contingent on his ability to acquire a Bowery Savings Bank branch at the corner of 47th Street and Seventh Avenue, surrounded by the original Palace Theatre building. Even after acquiring that site, he had to wait until after the New York City Landmarks Preservation Commission (LPC) reviewed the theater for city-landmark status in 1987. If the landmark status was approved, Silverstein would have to build around the theater. This was part of the LPC's wide-ranging effort in 1987 to grant landmark status to Broadway theaters. Ultimately, only the interior was designated as a landmark; a similar status for the exterior was denied. The LPC wrote that the Palace Theatre would be "virtually uncontested" as the most famous Broadway theaters. In late 1987, the theater closed after the last performance of La Cage aux Folles.

The New York City Board of Estimate ratified the landmark designation in March 1988. The Nederlanders, the Shuberts, and Jujamcyn collectively sued the LPC in June 1988 to overturn the landmark designations of 22 theaters, including the Palace, on the merit that the designations severely limited the extent to which the theaters could be modified. The lawsuit was escalated to the New York Supreme Court and the Supreme Court of the United States, but these designations were ultimately upheld in 1992. Meanwhile, the office wing was demolished (except for the lobby ), as were two stories above the auditorium and two ancillary structures. Silverstein developed a 43-story Embassy Suites hotel on the site. The theater received a $1.5 million renovation as part of the $150 million hotel project. The hotel was completed in September 1990.

The Will Rogers Follies opened in the renovated theater on May 1, 1991, running until 1993. The Palace then presented Beauty and the Beast from 1994 to 1999, before it transferred to the Lunt-Fontanne. Aida, which ran from 2000 through 2004, had 1,852 performances. The theater also staged Legally Blonde: The Musical from 2007 to 2008; West Side Story from 2009 to 2011; Priscilla, Queen of the Desert from 2011 to 2012; and Annie from 2012 to 2014. As part of a settlement with the United States Department of Justice in 2014, the Nederlanders agreed to improve disabled access at their nine Broadway theaters, including the Palace. Also in early 2014, the orchestra seating was rearranged as part of a $200,000 renovation prior to the opening of Holler If Ya Hear Me; that musical opened in June 2014 and ran for six weeks. An American in Paris, a stage adaptation of the 1951 MGM film, opened in April 2015 for an 18-month run. The Illusionists: Turn of the Century ran a limited engagement from November 2016 to January 2017, and Sunset Boulevard also had a limited engagement from February to June 2017.

2010s and 2020s renovation
In 2015, the Nederlander Organization and Maefield Development announced another renovation in conjunction with the TSX Broadway development. The project would include a new lobby and entrance on 47th Street as well as dressing rooms and other patron amenities. The landmark interior would be raised 30 ft to accommodate ground-floor retail spaces. The LPC approved the plan in November 2015, even as many preservationists expressed concern over the idea. The New York City Council approved the plan in June 2018, allowing the redevelopment to progress. The musical SpongeBob SquarePants was the last show to play at the theater prior to the renovation, running from December 2017 to September 2018. Demolition of the existing structure began in late 2019.

The reconstruction was originally estimated to keep the Palace closed until 2021. The renovation was delayed during 2019 because the contractors needed to inspect an adjacent building, but the property's owners did not grant permission for the inspection for over a year. The old 1568 Broadway building was being demolished by early 2020. Work was only interrupted for three weeks during the COVID-19 pandemic in New York City, as the TSX Broadway project had hotel rooms and was thus classified as an "essential jobsite". Construction of TSX Broadway's superstructure began the next year. The theater also underwent a renovation, which involved restoring the plasterwork and original chandelier, adding sound insulation, and erecting a new box office and new restrooms.

The auditorium was raised starting in January 2022. During the lift, the bottom of the auditorium was cushioned by a 5 ft layer of concrete, installed by foundation engineer Urban Foundation Engineering. The lift was conducted using 34 hydraulic posts, which were sunk 30 ft into the ground. The posts consisted of telescoping beams, which moved the auditorium by 0.25 in an hour. After the theater had been raised 16 or, in March 2022, the lifting process was temporarily paused while the new structural frame was installed. The lifting process was completed on April 5, 2022, though the formal celebration was held the next month. Afterward, the permanent supports under the auditorium were installed. At the time, TSX Broadway was planned to be completed in 2023, though this was then delayed to the first quarter of 2024. Although the cost of the renovation was estimated in 2022 at $50 million, the project ultimately cost $80 million.

Mid-2020s to present
In March 2024, the Nederlander Organization announced that the theater would reopen on May 28, 2024, with a concert residency by Ben Platt. The residency lasted for 18 performances. This followed by the musical Tammy Faye, which is scheduled to open in November 2024.

Alleged haunting
The ghost of acrobat Louis Bossalina allegedly haunts the theater. Observers have said that the ghost is a white-clothed figure swinging in the air before emitting a "blood-curdling scream" and falling. Bossalina, who was a member of the acrobatic act the Four Casting Pearls, was injured when he fell 18 ft during a performance on August 28, 1935, before 800 theatergoers. Bossalina's act was not a trapeze but rather fixed towers in which the acrobats were "cast from one to the other". Comedian Pat Henning started his act in front of a curtain that was pulled right after the accident. Bossalina died in 1963. According to television channel NY1, sightings of Bossalina only occurred through the 1980s, though another source cited a sighting in the 1990s during a showing of Beauty and the Beast.

Notable productions
Productions are listed by the year of their first performance. This list only includes Broadway shows; it does not include vaudeville shows or films.

 * 1966: Sweet Charity
 * 1967: Henry, Sweet Henry
 * 1968: George M!
 * 1970: Applause
 * 1973: Cyrano
 * 1973: Bette Midler
 * 1974: Lorelei
 * 1975: Goodtime Charley
 * 1976: Home Sweet Homer
 * 1976: Shirley MacLaine Live at the Palace
 * 1976: An Evening with Diana Ross
 * 1977: Man of La Mancha
 * 1979: The Grand Tour
 * 1979: Beatlemania
 * 1979: Oklahoma!
 * 1981: Woman of the Year
 * 1983: La Cage aux Folles
 * 1991: The Will Rogers Follies
 * 1994: Beauty and the Beast
 * 1999: Minnelli on Minnelli: Live at the Palace
 * 2000: Aida
 * 2005: All Shook Up
 * 2006: Lestat
 * 2007: Legally Blonde
 * 2008: Liza's at The Palace....
 * 2009: West Side Story
 * 2011: Priscilla Queen of the Desert
 * 2012: Annie
 * 2014: Holler If Ya Hear Me
 * 2014: The Temptations and the Four Tops on Broadway
 * 2015: An American in Paris
 * 2016: The Illusionists: Turn of the Century
 * 2017: Sunset Boulevard
 * 2017: SpongeBob SquarePants
 * 2024: Ben Platt
 * 2024: Tammy Faye

title: Palace Theatre (New York City)


text:
LeeRoy Yarbrough

Lonnie "LeeRoy" Yarbrough (September 17, 1938 – December 7, 1984) was an American stock car racer. His best season was 1969 when he won seven races, tallied 21 finishes in the top-ten and earned $193,211 ($0 when inflation is taken into account). During his entire career from 1960–1972, he competed in 198 races, scoring fourteen wins, 65 finishes in the top-five, 92 finishes in the top-ten, and ten pole positions. Yarbrough also competed in open-wheel racing, making 5 starts in the USAC Championship cars, including 3 Indianapolis 500s, with a best finish of 3rd at Trenton Speedway in 1970. His racing number was 98. When asked about his passion, Yarbrough described racing as "what I call my life."

Yarbrough was admitted to a mental institution on March 7, 1980, after trying to kill his mother by strangulation. All attempts to rehabilitate him (both in Florida or in North Carolina) failed and LeeRoy eventually died in 1984 after a fall. In 1990, he was inducted into the National Motorsports Press Association's Hall of Fame at Darlington Raceway in South Carolina. LeeRoy Yarbrough is not related to NASCAR champion Cale Yarborough.

Early stock car career
Yarbrough grew up on the west side of Jacksonville, Florida, and developed an affinity for speed at an early age. When he was sixteen years-old, Yarbrough put together his first car, a 1934 Ford coupe with a Chrysler engine. When he was 19, Yarbrough found his way to a local dirt track. He won that race at Jacksonville Speedway in the spring of 1957. Racing at Jacksonville Speedway Park on Saturday nights Yarborough developed a penchant for carrying excess speed into the third turn and diving under any car that was ahead of him. He would then slide through the turn and run the straightway 1" from the concrete wall. The style was evident in many of his last lap wins throughout his career.

Yarbrough started his racing career in NASCAR's lower tier Sportsman division. After winning 11 races, Yarbrough moved up to the more powerful Modifieds and won 83 features in a three-year span.

Yarbrough won two short-track races in the 1964 NASCAR Grand National season, the first year he competed in more than 14 races. Two years later, Yarbrough scored his first superspeedway win at Charlotte. Driving an unsponsored and lightly regarded Dodge Charger owned by Jon Thorne, Yarbrough dominated the race, leading for 450 of the 500 mi in the October 16 National 500. Factory-backed rides followed. His Junior Johnson-owned Ford team started out poorly early in the 1968 season. LeeRoy rebounded and won at Atlanta and Trenton.

1969 and later
In the 1969 Daytona 500, Yarbrough was trailing Charlie Glotzbach by 11 seconds with ten laps remaining. On the final lap, Yarbrough ducked to the low side to make the pass, but a lapped car was in that lane. Yarbrough dived to the low side in turn 3 to clear the lapped car, nearly clipping the apron. He took the lead from Glotzbach and dashed under the checkered flag a car length in front to win the Daytona 500. Next, he won Darlington's Rebel 400 in the final four laps, then won Charlotte's World 600, lapping the entire field at least twice. He also won the summer 400-miler at Daytona, prevailing in a late-race battle with Buddy Baker, making him the third driver in NASCAR history to sweep both Daytona races. Yarbrough won the summer race at Atlanta International Raceway despite a 102-degree fever. He captured The Southern 500 by passing David Pearson on the last lap. He won by a full lap at Rockingham in October, overcoming a lap deficit when a flat tire sent him into the wall. By season's end, Yarbrough had seven wins to his credit and was named American Driver of The year.

After his successful 1969 season, Yarbrough’s performance record trailed off. A victim of the factory withdrawal, Yarbrough had to scramble to locate rides in Grand National events. He won once in 1970 at Charlotte Motor Speedway, and only entered six races in 1971. In 1972, he accepted a ride in a Ford owned by independent campaigner Bill Seifert. He registered nine top 10 finishes in 18 starts. Yarbrough showed up for Daytona's 1973 Speedweeks, but failed to earn a starting berth for the Daytona 500. He virtually dropped out of sight after that, never again showing up at a NASCAR event.

Later career and life
On April 22, 1970, Yarbrough suffered head injuries while doing tire tests for Goodyear at Texas World Speedway. Yarbrough blew a tire between turns three and four and impacted the wall at over 160 mph. Yarbrough's head hit a roll bar inside the cockpit with such force that it cracked his helmet. He was released from the hospital that evening, and at the time, was not believed to have been a serious head injury. He was picked up at the airport by Cale Yarborough, but later had no memory of the crash, hospital, or meeting with Yarborough.

"I was unconscious for about an hour, but I feel okay today," Yarbrough said a day later. "As tightly as I was strapped in the seat, it's hard for me to believe my body moved that much. The straps made my shoulders black and blue and I'm pretty sore." Days later, Yarbrough qualified eighth at Martinsville but the race was postponed because of rain.

Yarbrough showed well in a few Indy Car starts, leading the inaugural California 500 at Ontario Motor Speedway late. After Al Unser retired with 14 laps remaining, Yarbrough inherited the lead. With a margin of two laps over second place, it appeared that Yarbrough would score an unlikely victory. But with eight laps remaining, Yarbrough suffered a broken piston and blew an engine, coasting to a stop in turn four. Yarbrough drew cheers from the crowd as he pushed his car back to the pits. Yarbrough then finished 3rd at Trenton Speedway in 1971.

After competing in three Indianapolis 500s in 1967, '69 and '70, Yarbrough was driving a Dan Gurney Eagle in practice on May 9th for the 1971 Indianapolis 500 when he spun and crashed hard in turn one, suffering head injuries. Cale Yarborough was at the track hospital when LeeRoy was brought in. "He was burned on the hands and neck, and he was woozy from another lick on the head. He was the palest live man I've ever seen." Yarbrough spent the next few months, June through November, in and out of the hospital with many different ailments and memory problems. He was rumoured to have contracted Rocky Mountain spotted fever from a tick bite, and also drank alcohol heavily. He most likely suffered brain trauma from the crashes in Texas and Indianapolis.

In 1977, a court, on recommendation from a psychiatric board, ruled him incompetent to handle his own affairs and he moved in with his mother, Minnie Yarbrough. Yarbrough had an alcohol problem and would sometimes collect empty bottles on the side of the road for the bottle deposits which he would use to buy beer. The alcohol abuse further irritated his brain damage. It was reported that by 1980, his drinking had reduced.

Yarbrough's mother noticed a change in his behavior in early 1980. He began spending most of his time in bed reading racing magazines, rarely leaving his bedroom. On Saturday, February 9, Yarbrough went out for a walk and someone bought him some beers. A policeman friend later brought him to a local hospital where he was released at 2 am. As his mother recalled, "they called me and told me nothing was wrong with him, except that he apparently had a drinking problem. I told them, 'Please keep him there. You don't know LeeRoy. I know my son. He needs help, and it's not the drinking.' But they released him."

On Wednesday, February 13, LeeRoy spent most of the day in bed, with his mother bringing him food. Terry Sweat, Minnie's grandson, had left the house to buy her cigarettes. While doing the dishes after dinner, LeeRoy entered the kitchen and remarked about his mouth, saying "'Mama, look how you've cut my mouth!' I said, Son, I haven't done anything to your mouth. Your mouth is all right.' LeeRoy opened his mouth. I looked at it. It was not cut." He left the kitchen and returned shortly, saying, "Mama, I'm going to do something, and I don't want to do it. I'm going to kill you." Yarbrough would proceed to strangle his mother. Terry Sweat returned and struck Yarbrough with a jelly jar until he released his mother. When police arrived, LeeRoy struck an officer in the face and needed several firefighters to subdue him.

Police arrested Yarbrough with charges of first-degree attempted murder for trying to kill his 65-year-old mother, plus assault on a police officer. Yarbrough was committed to the Florida State Hospital at Chattahoochee by Judge Hudson Oliff of Jacksonville on March 7, 1980. Judge Oliff ruled that Mr. Yarbrough was not guilty of attempted murder because he was unable to distinguish right from wrong at the time of the incident.

Yarbrough had no memory of the assault and was unaware of why he was imprisoned. For almost a month, his mother would not tell him the real reason he was in jail. Finally in early March, he received a newspaper that explained his charges. He called his mother in disbelief, saying, "Mama, is it true what the paper said? Mama, I wouldn't hurt you for nothing in this world."

In March 1981, Junior Johnson and auto racing chaplain Bill Baird had LeeRoy transferred to a mental hospital in Asheville, North Carolina and a fund was set up to pay for his expenses. Johnson said, "We haven't given up on getting LeeRoy treatment that will help him." Baird said that although the "prognosis originally was not good, the doctors who examined him are saying now that with continuing treatment at Asheville, his chances are moderate to good for significant progress. We’re told there’s a 25-30% chance he can function again in society." The Rod Osterlund Racing team, which fielded cars for defending champion Dale Earnhardt, offered Yarbrough a job with their team once his treatment was completed. Junior Johnson was also prepared to give Yarbrough a job. Unfortunately,  staff at the facility determined Yarbrough's brain damage was too severe for treatment and he returned to a Florida facility.

Death
While in the hospital on December 6, 1984, Yarbrough had a violent seizure and fell over striking his head. He fell unconscious immediately. He was rushed to Jacksonville's University Hospital where he died the morning of December 7, 1984. The doctors said he died of internal bleeding in the brain.

Upon Yarbrough's death, Junior Johnson said, "People should always have respect for LeeRoy. He'd have been among our greats if he hadn't been so unlucky to hit the walls a time or two too many."

American open-wheel racing
(key) ( Races in bold indicate pole position )

NASCAR
(key) ( Bold – Pole position awarded by qualifying time. Italics – Pole position earned by points standings or practice time. * – Most laps led. ** – All laps led. )

title: LeeRoy Yarbrough


text: User talk:149.99.112.93

title: User talk:149.99.112.93


text:
Wikipedia:Articles for deletion/National-Anime

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. – Rich Farmbrough 16:40, 1 May 2005 (UTC)

National-Anime
Non-notable website vanity. Delete. --Sn0wflake 03:52, 18 Apr 2005 (UTC)
 * Delete, not notable, website promo. Megan1967 08:19, 18 Apr 2005 (UTC)
 * Del notability not established.  —msh210 17:45, 19 Apr 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Talk:Ed Healey

Untitled
If someone could fix the birthplace, because it is meant to be Indian Orchard, Massachusetts, but there is no article about Indian Orchard. Sarge 03:53, 18 Apr 2005 (UTC)
 * Done, 11 years later. Lizard  (talk) 17:14, 4 July 2016 (UTC)
 * Indian Orchard is actually a neighborhood in Springfield. I have clarified. Cbl62 (talk) 00:53, 11 December 2016 (UTC)

1925
One might note he seems the lone unanimous All-Pro in 1925. Cake (talk) 21:00, 11 December 2016 (UTC)
 * How is that possible? There are 11 positions. Were players not named at each position? Cbl62 (talk) 21:21, 11 December 2016 (UTC)
 * Not sure I follow the problem. I mean he was the one player to make first-team All-Pro for all three selectors cited. Cake (talk) 21:23, 11 December 2016 (UTC)
 * I understand now. I misread the initial comment.  Shows the wisdom or reading carefully before commenting. Cbl62 (talk) 21:26, 11 December 2016 (UTC)
 * BTW, I took your suggestion and added the point to the article. Cbl62 (talk) 04:56, 12 December 2016 (UTC)
 * I saw, and thanks. It was the reason I tried to find out about him. Cake (talk) 12:31, 12 December 2016 (UTC)

title: Talk:Ed Healey


text: User talk:68.1.89.87

title: User talk:68.1.89.87


text:
User talk:Zigbigidorlu

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Your edits to Rap
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Reynaldo Gianecchini

Reynaldo Fernandes Cisotto Gianecchini Júnior (born 12 November 1972) is a Brazilian actor and model.

Career
Gianecchini started acting at the age of 6, on the stage of his school in Birigüi, São Paulo. He graduated with a degree in law from the Pontifical Catholic University of São Paulo (PUC-SP) in 1997, but he never practiced it.

His dream of becoming an actor was delayed by his modeling career. He was a successful model for eight years, of which two were overseas, residing in Paris, but all the while he was traveling to such cities as New York, London, Berlin, and Milan. He was unhappy, though, and decided to resume his pursuit of an acting career.

In 2001, he landed his first significant regular role in the soap opera Laços de Família. He played the role of Edu, a doctor who was romantically involved with a woman many years older than he was, played by actress Vera Fischer.

In 2002, Gianecchini was chosen to be the exclusive top model for Armani in Brazil, a position he apparently still holds to this date (Maria Fernanda Candido, his co-star in Esperança, is the female equivalent for Armani).

Relationships
Gianecchini married journalist, actress and TV presenter Marília Gabriela in 1999. The two met in 1998 and five months later they were living together. The age difference between them – she is 25 years his senior – was the subject of considerable media attention. The couple divorced in 2006.

In an interview with O Globo in September 2019, he stated that although he has dated both women and men, he does not identify as any sexual orientation. In September 2020, he stated that he identifies as pansexual.

Health
Since August 2011, Gianecchini has been battling against cancer (angioimmunoblastic T-cell lymphoma) and has undergone chemotherapy treatment.

Theater

 * Cacilda
 * Boca de Ouro
 * O Príncipe de Copacabana
 * A Peça Sobre o Bebê
 * Vossa Excelência, o Candidato
 * Doce Deleite
 * Cruel
 * A Toca do Coelho
 * Os Guardas de Taj

Music

 * "Você" (with Marília Gabriela)

title: Reynaldo Gianecchini


text:
User:Yellow Ant

Just so you know, the name comes from Sim Ant.

Saving this here:  '''This article is trash. You can help Wikipedia by [ deleting it].'''

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User talk:Abasstrombonist

Welcome!

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title: User talk:Abasstrombonist


text:
QuickPar

QuickPar is a computer program that creates parchives used as verification and recovery information for a file or group of files, and uses the recovery information, if available, to attempt to reconstruct the originals from the damaged files and the PAR volumes.

Designed for the Microsoft Windows operating system, in the past it was often used to recover damaged or missing files that have been downloaded through Usenet. QuickPar may also be used under Linux via Wine.

There are two main versions of PAR files: PAR and PAR2. The PAR2 file format lifts many of its previous restrictions. QuickPar is freeware but not open-source. It uses the Reed-Solomon error correction algorithm internally to create the error correcting information.

Replacement
Since QuickPar hasn't been updated in 20 years, it is considered abandonware.

Currently, MultiPar is accepted as the software that replaces QuickPar. MultiPar is actively being developed by Yutaka Sawada.

64-bit versions
At present the command line version of QuickPar for Linux command line is available as a 64-bit version. None of the GUI versions available presently offer a 64-bit version.

title: QuickPar


text:
User talk:Dusar~enwiki

Hi! Your Brazilian actor substubs really need a bit more meat beyond "X is a Brazilian actor." Thanks. - Lucky 6.9 04:00, 18 Apr 2005 (UTC)

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Unreferenced BLPs
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title: User talk:Dusar~enwiki


text:
Hamilton Pool Preserve

Hamilton Pool Preserve is a recreational destination located in the Texas Hill Country west of Austin. Reservations are required to visit, and it is open for hiking and sight-seeing. Hamilton Pool is a natural pool that was created when the dome of an underground river collapsed due to massive erosion thousands of years ago. The pool is located about 23 mile west of Austin, Texas off Highway 71. Since the 1960s, Hamilton Pool has been a popular summer swimming spot for Austin visitors and residents. Hamilton Pool Preserve consists of 232 acre of protected natural habitat featuring a jade green pool into which a 50 ft waterfall flows with water temperatures reaching 50 degrees Fahrenheit.

The pool is surrounded by large slabs of limestone that rest by the water's edge; large stalactites grow from the ceiling high above. The ceiling and surrounding cliffs of the grotto are home to moss, maidenhair fern and cliff swallows. The Ashe juniper (cedar) uplands of the preserve are home to the endangered golden-cheeked warbler.

The natural pool and creek are not chemically treated, so water quality is monitored regularly and swimming is occasionally restricted. Hamilton Pool is part of the Balcones Canyonlands Preserve and is a protected environment.

History
Prior to the 19th century, the Tonkawa and Lipan Apaches lived in the area. In the mid-1860s, Morgan C. Hamilton owned the property now known as Hamilton Pool Preserve. His brother, Andrew Jackson Hamilton, evidently visited the grotto while serving as Texas governor (1865–66). In the 1880s, the Reimers' family, immigrants from Germany, bought the property to raise sheep and cattle. Legend says that their eight-year-old son discovered the collapsed grotto.

Although ranchers might have considered the grotto a safety hazard for their livestock, the Reimers soon realized its value as a recreational area and opened the property for public use. Around the turn of the 20th century, the site did not attract many visitors, but by the 1960s, and on into the 1980s, Hamilton Pool's popularity had increased. The land suffered from sheer numbers and few restrictions.

In addition to impact from the visiting public, cattle, sheep and goats grazed the delicate ecosystem for several decades, resulting in changes to the native vegetation. In 1980, the Texas Parks and Wildlife Department cited Hamilton Pool as the most significant natural area in rural Travis County. In 1985, Travis County purchased 232 acre from the Reimers family and implemented an aggressive land management plan to restore Hamilton Pool. Now, as a result of the restoration plan, the ecosystems of Hamilton Pool are recovering.

Ongoing land management practices at Hamilton Pool Preserve include prescribed burns, prairie restoration, endangered species surveys, biological inventories and water quality monitoring.

In February 2021, a series of five winter storms, including Winter Storm Uri and Winter Storm Viola, swept through Texas in rapid succession. Ice wedges formed in the overhanging cliff and the frequency of rockfalls greatly increased, resulting in the closure of the pool itself. A portion of pool re-opened for swimming in May 2022 but has intermittently closed since then due to high bacteria levels. The trail underneath the overhang remains closed.

Flora
The preserve is home to the chatterbox orchid (Epipactis gigantea) and the eastern red bay (Persea borbonia).

Filming location
The 1990 movie The Hot Spot, the 2007 film Teeth the 2010 film Predators, the 2011 film The Tree of Life, and the 2015 music video for the song "Charlie Gray" by the Dallas-based indie-rock band Valise all filmed scenes at Hamilton Pool.

Access
Hamilton Pool is open every day for hiking and sight-seeing. Reservations are required for entry and these are made online through the Travis County Hamilton Pool Preserve Website. The online reservation fee is $12. Additionally, there is an $8 Travis County Park entry fee per person, with various discounts for seniors, disabled veterans.

title: Hamilton Pool Preserve