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Brookshire's Food & Pharmacy

Brookshire Grocery Company is a Tyler, Texas-based supermarket chain. There are more than 200 stores operating in Texas, Louisiana, Arkansas, and Oklahoma under their five banners, Brookshire's, Super 1 Foods, Fresh by Brookshire's, Spring Market, and Reasor's.

History
The company began its operations in 1928, it was founded by Wood T. and Louise Brookshire when they opened their first 25 x 100 ft store on Tyler's downtown square.

Brookshire's was originally part of the Brookshire Brothers chain, which was founded seven years earlier in Lufkin, Texas. The companies split up in 1939 when Wood T. Brookshire took control of the Tyler-area stores in exchange for his share in the Brookshire Brothers partnership. The companies are no longer related except by name.

In the 1940s, the company expanded to other neighboring communities and opened its first shopping center location. Brookshire's first warehouse opened in Tyler in 1953.

In the 1960s, the company expanded into Louisiana and the construction of a 175,000-square-foot (16,300 m2) distribution center in Tyler.

In 1984, the company opened the first Super 1 Foods store in Alexandria, LA. Super 1 Foods was originally a no-frills, warehouse format. Initially, stores were opened in recycled buildings to cut down on costs, but later then the company began building stores. In several cases (#608 in Shreveport and #612 in Longview), existing Brookshire's stores were closed and demolished to build a Super 1 Foods store. In Marshall and Longview, existing Brookshire's stores were converted to the Super 1 format.

The company opened several Super 1 Foods stores in the Dallas/Fort Worth area in the late 1990s and early 2000s, some of which were replacements for nearby Brookshire's locations. The company sold all of their metro area stores to (now defunct) Fleming, which re-branded them as Rainbow Foods. All Rainbow stores were closed when Fleming went out of business.

In 2012, a new format Super 1 Foods store was built in Carencro, LA., with a floorplan and decor package that would be rolled out to all other stores. A similar store was built to replace #610 in Tyler; others have since opened.

The Brookshire Grocery Company also opened "FRESH by Brookshire's" in Tyler, TX on March 10, 2011. The store was designed to give an upscale shopping experience and features a bakery and many organic items. The first annual FRESH 15 Road Race was held on March 1, 2014, and continues yearly. The second FRESH by Brookshire's location opened in Fate, TX on March 2, 2022, as the anchor store to a new shopping district.

Along with the FRESH 15, Brookshire's and Super 1 Foods host a half marathon, 5K, and Kids 1K named Heroes Run, benefiting local first responders and military heroes. This event takes place in Shreveport, LA with 1,500 participants in 2016, raising $40,000 for charity.

In June 2016, Brookshire's purchased 25 stores formerly owned by Wal-Mart (formerly their Wal-Mart Express brand). The stores, located in Texas (20 stores) and Louisiana (five stores) were re-branded as Spring Market.

In November 2021, Brookshire's announced their acquisition of all 17 Reasor's locations in the northeast Oklahoma, to be finalized in 2022.

The Present
Today, the company has more than 14,000 employee/partners at over 200 locations in four states - Texas, Louisiana, Arkansas and Oklahoma. BGC has five brands: Brookshire's, Super 1 Foods, Fresh by Brookshire's, Spring Market, and Reasor's.

The company also operates three distribution facilities — two based in Tyler, TX, and one in Monroe, LA — with more than 2 million total square feet and a company fleet of 72 tractors and more than 300 trailers. BGC's internal manufacturing facilities include bakery, dairy, ice cream, yogurt, fresh-cut, ice and water/drink plants in the Tyler area.

Mississippi operations
In 2002, Brookshire's bought four Albertsons stores in Mississippi. These stores were located in North Jackson, South Jackson, Ridgeland, and Flowood. The North Jackson store was the newest of the four locations, having opened in 2001, while the three other area stores opened in 1997.

On February 11, 2010, after a decline in market grocery shares against Kroger and Walmart, Brookshire's exited Mississippi with the sale of the Flowood and Ridgeland stores to Kroger and the closure of the two Jackson stores. In late 2011, Brookshire's sold their South Jackson store to Kosciusko, MS based supermarket chain Food Depot, operated by Potter and Sims Foods. The North Jackson location was converted into a Virginia College location. Virginia College closed in December 2018. The former grocery store still remains vacant.

title: Brookshire's Food & Pharmacy


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Wikipedia:Peer review/MCMXC a.D./archive1

MCMXC a.D.
I've spent a couple of days writing this up, and I'd like to receive some constructive comments and suggestions about the article, style, sentence and content-wise. I'm not really targetting this for FAC, since it seems to be quite a long shot, but I'd appreciate it if someone could help me in giving out comments or contributing to it. :) Thanks, Andylkl (talk) 19:42, Jun 6, 2005 (UTC)
 * When you say that 'Back to the Rivers of Belief, begins slowly with the five-toned notes from Stephen Spielberg's movie, Close Encounters of the Third Kind', it might be helpful to refer to the composer of those notes, John Williams (composer). Also, I think the description of the album itself is too brief. And what has its impact been on the dance scene? This album catapulted Gregorian chants into (short) fame, but what have been the long-term effects? -- Cugel 21:48, Jun 7, 2005 (UTC)

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


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User:GLaDOS

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Stay a while and have a slice of Delicious Cake the cake is a lie. .

Tip of the day: Did you know you can donate one or all of your vital organs to Wikipedia? It's true!

Involvement with Wikipedia
I've been involved with Wikipedia for over 12 years, contributing to articles and fighting against vandalism, using Huggle. Feel free to post a message on my talk page if you have anything you would like to discuss.

My Edit Count /sand

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title: User:GLaDOS


text:
Weakening

Weakening may refer to

 * Weakening (logic), a structural rule in proof theory
 * Weakening (linguistics), a sound change that can be described as weakening a consonant

title: Weakening


text:
Talk:OPM (band)

NPOV?
OPM's sound hardly seems to be so different as to merit the word 'unique', they sound a lot like Sublime (band) to me with similar mixtures of Reggae, Punk and Hip-Hop. Also I don't see how a discussion of UK tour dates (year not given) fits into the structure of this article. However, I do know that I couldn't write an NPOV article about OPM, not when they are one of my top picks for snowboarding music -- pcrtalk 19:43, 6 Jun 2005 (UTC)

European Tour
Their Webpage says that they've been on tour this year in Europe. I think, this article is out of date at the moment. -- 84.177.228.141 15:03, 8 August 2005 (UTC)

More info required
I've removed references to tour dates. Now, anyone wanna tell us what the initials OPM stand for? Where does the band come from? Also, a complete list of band members would be nice. TheMadBaron 10:21, 26 October 2005 (UTC)
 * The name 'OPM' probably derives from 'opium'. --MartinUK 22:15, 18 June 2006 (UTC)
 * 1. plenty of names are applicable. "In the opmden" and "california poppy" titles indicate you're right on opium. Though there is the planned dvd which hasn't shown up called "Opening People's Minds". Other suggested names included "Other People's Money" and the commentary on evolution "Over priced monkeys".
 * 2. On the former members part, there was 2 guys i recall that performed on tour as guitarists Avrem and Alfunction (they performed along side Geoff Turney). Though i don't think they were ever part of the band as such. Alfunction (who now plays with Six on the 1605 records i think) toured in 2000 with them. Avrem i think was on the 2001 European tour where they supported Everlast). Avrem was also a former room mate of the former Bassist Ettienne Francs (who's now with Check in the dark).
 * 3. I've considered Santa Cruz as being their home town though the basis for this is probably just my imagination. [[User:Phil_Nolte|Phil_Nolte] 22:00, July 19, 2008 (UTC)

Genre = Christian Rap? WTF?
Listen to El Capitan on Menace to Sobriety if you think this is "Christian Rap". lol

Any group that is obsessed with drugs and alcohol, loose women and saying fuck all the time, really can't be Christian rap!

 * you and me, sir have different definitions of what christians like :) —Preceding unsigned comment added by Phil Nolte (talk • contribs) 18:43, 8 September 2008 (UTC)

 * May i note that i see one user Ibaranoff24 has changed the type of music on this page and on the golden state of mind page to rap rock. i find this to be very simplistic. indeed, while the music is influenced by hip hop, there is a whole lot more influences like reggae and other such music. to call it rap rock is simplistic, and doesn't do justice to the music. i like to think the music is a mixture of reggae, pop, rock and hip-hop with a bit of sweet jazz added in to make one gorgeous pot of music. Phil Nolte (talk 21:03, 26 March, 2009 —Preceding undated comment added 21:04, 26 March 2009 (UTC).

=Singles= I am concerned at the list of singles. What classifies as a single for the list? i don't recall 3/4's of the songs being released a singles Phil Nolte (talk 20:49, 7 July, 2009 (UTC)
 * I have finally got rid of the contentious singles that were included. to do this, i consulted amazon.co.uk, amazon.com and discogs.com to see if they were released. I consulted the singles page to see how a single is defined here and am satisfied. Maybe the others, were released to radio stations but not to the general public? Phil Nolte (talk) 10:15, 2 August 2010 (UTC)
 * Well done. I think a lot of theis page was originally written by a fan or someone close to the band, there was a lot of NPOV, and I suspect the extra singles were a boast. 86.134.126.234 (talk) 13:09, 4 November 2010 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on OPM (band). Please take a moment to review my edit. You may add after the link to keep me from modifying it, if I keep adding bad data, but formatting bugs should be reported instead. Alternatively, you can add to keep me off the page altogether, but should be used as a last resort. I made the following changes:
 * Attempted to fix sourcing for http://www.freeagencymusic.com/

When you have finished reviewing my changes, please set the checked parameter below to true or failed to let others know (documentation at ).

Cheers.—cyberbot II  Talk to my owner :Online 02:54, 31 March 2016 (UTC)

title: Talk:OPM (band)


text: Template:Atlanta hospitals

title: Template:Atlanta hospitals


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Christine Zukowski

Christine Zukowski (born August 9, 1989, in Philadelphia, Pennsylvania) is an American former competitive figure skater. She is the 2006 World Junior bronze medalist.

Zukowski started skating at age five. She changed coaches to Priscilla Hill before the 2007 U.S. Championships, where she placed 10th. After missing the 2007–08 season, she announced her retirement in April 2008 due to a chronic back injury.

Competitive highlights
GP: Grand Prix; JGP: Junior Grand Prix

title: Christine Zukowski


text:
Mount Thullier

Mount Thullier, also known as Mount Thuillier, is a mountain on Great Nicobar Island, located in the Indian Ocean and bordering on the Andaman Sea. At 642 m above sea level, it is the highest point on the island and in the Nicobar Islands.

The mountain is composed of parallel ridges of folded turbidite sandstone.

The island's five perennial rivers – the Galathea, Jubilee, Amrit Kaur, Dak Aniang, and Dak Tayal – all originate from Mount Thullier. The Galathea River is the longest, flowing southwards for about 30 km to empty into the sea at Galathea Bay near the southern tip of the island.

The hill is thought to have arisen due to tectonic activity in the region.

title: Mount Thullier


text:
Halloween 5: The Revenge of Michael Myers

Halloween 5: The Revenge of Michael Myers is a 1989 American slasher film co-written and directed by Dominique Othenin-Girard, and starring Donald Pleasence and Danielle Harris. The fifth installment in the Halloween series, it follows serial killer Michael Myers who again returns to the town of Haddonfield to murder his traumatized niece, Jamie Lloyd, with whom he now shares a telepathic connection.

After the success of the previous installment, Halloween 4: The Return of Michael Myers (1988), Halloween 5: The Revenge of Michael Myers was rushed into production by executive producer Moustapha Akkad. The original screenplay, which was still under revision at the time filming began, introduced elements of supernatural horror, including Jamie possessing a telepathic link to Michael Myers, as well as a storied subplot in which Myers, under the influence of a cult centered around the ancient rune of Thorn, is driven to kill his bloodline. While the final cut of the film features a mysterious "Man in Black" character, the "Curse of Thorn" subplot was largely minimized, resulting in audiences and critics expressing some confusion, though it was expanded upon in the following film, Halloween: The Curse of Michael Myers (1995).

Filmed in Salt Lake City in mid-1989, Halloween 5: The Revenge of Michael Myers was released theatrically in North America in October of that year by the independent studio Galaxy Releasing. The film received generally negative reviews from critics and was a box office disappointment, only grossing $11.6 million domestically against a $5.5 million budget, becoming the lowest-grossing film in the franchise.

Plot
On October 31, 1988, Michael Myers is shot down a mine shaft by Sheriff Ben Meeker and the Illinois state police, but manages to crawl out before dynamite is dropped down to assure his death. He floats down a river and stumbles upon the shack of an elderly hermit who nurses him back to health. One year later, he awakens and kills the hermit before returning to Haddonfield to resume the hunt for his niece, Jamie Lloyd.

Jamie has been admitted to the Haddonfield Children's Clinic after attacking her foster mother. She has been rendered mute due to psychological trauma and exhibits signs of a telepathic link with her uncle. Dr. Sam Loomis learns of this connection and wants to use it to defeat Michael for good. Meanwhile, Michael kills Jamie's foster sister Rachel and begins stalking her friend, Tina Williams. Jamie senses whenever her loved ones are in danger, triggering episodes of convulsions that disturb those around her.

After unknowingly encountering Michael posing as her boyfriend that he killed, Tina attends a Halloween party at the Tower Farm with her friends, Sam and Spitz. Sensing that Michael is following them, Jamie (having partially regained her ability to speak) escapes the clinic with her stuttering friend, Billy Hill, to warn Tina of the danger. As Spitz and Sam have sex in a barn, Michael impales the former with a pitchfork and decapitates the latter with a scythe, and also kills two bumbling deputies Loomis had entrusted to protect Tina. Jamie and Billy find Tina as Michael tries to run them down with a car. Tina ultimately sacrifices herself to save Jamie. With nothing left to lose, Jamie agrees to help Loomis stop Michael once and for all.

Loomis and Meeker create a set up at the abandoned Myers house to lure Michael back to his childhood home. The police receive a call saying Michael has broken into the clinic, prompting Meeker and most of the officers to leave; however, this call is merely a diversion. Michael appears and kills the remaining officers. Loomis tries to reason with him, but Michael slashes him and throws him over the stair banister. He pursues Jamie throughout the house and up to the attic, where she finds the bodies of Rachel, her dog Max, and Tina's boyfriend. As Michael raises his knife to stab her, Jamie addresses him as "Uncle," causing him to pause. He agrees to remove his mask and let Jamie see his face, shedding a brief tear. However, when Jamie touches his face he goes into a fit of rage and chases her again. Loomis reappears and uses Jamie as live bait to lure Michael into a trap. He shoots Michael with a tranquilizer gun and beats him unconscious with a wooden plank before suffering from a stroke and collapsing on top of him.

Meeker and the police return and take Michael into custody. He is locked in a cell at the police station until he can be transferred to a maximum security facility for the rest of his life. As Jamie prepares to return to the clinic, a mysterious man in black who has been quietly observing all day arrives and shoots up the station. Jamie finds the bodies of Meeker and several officers, as well as Michael's cell broken open and empty. Realizing he has escaped again, she sobs in despair.

Development
Development on a fifth Halloween was fast tracked to meet a pre-set release deadline of October 1989. Producer Moustapha Akkad turned to Halloween 4: The Return of Michael Myers writer and director Alan B. McElroy and Dwight H. Little to return for their respective duties on the fifth film, however both declined. Ramsey Thomas assumed producing responsibilities from the fourth film's Paul Freeman, and opted to hire playwright Shem Bitterman as screenwriter. Bitterman's script, entitled Halloween 5: The Killer Inside Me, which was written in the span of three days, featured an evil Jamie Lloyd and resurrected Michael Myers once again. However, Akkad was adamant about making Myers the sole antagonist of the film. Nevertheless, Bitterman penned a second draft by February 1989 and Jeff Burr, director of From a Whisper to a Scream, was being courted to helm the film. Burr's producing partners Darin Scott and William Burr were also in the mix to co-produce alongside Thomas. The directing job was seemingly Burr's until series co-creator Debra Hill met director Dominique Othenin-Girard at the 1989 Sundance Film Festival, and recommended him to Akkad.

After being instated as director, he infamously threw Bitterman's draft into a trashcan in front of Akkad. He brought in Robert Harders, of Home Movies, to write an entirely new draft, which saw a Frankenstein inspired story where Myers is resurrected and no longer evil but is pursued by an angry mob. Harders's pitch was rejected, leading Othenin-Girard to pitch a new concept with co-writer Michael Jacobs. The duo's initial title was Halloween 5... And Things That Go Bump In the Night. After reviewing the screenplay, director Othenin-Girard added Jamie's inability to speak to the draft, along with the supernatural plot device of her telepathic visions connected to Michael.

Another departure from previous films in the series was Othenin-Girard's attempt to persuade the audience to relate to the Michael Myers character, whom he intended to appear "more human [...] even vulnerable, with contradicting feelings inside of him." He illustrated these feelings with a scene where Michael removes his mask and sheds a tear. Girard explains, "Again, to humanize him, to give him a tear. If Evil or in this case our boogeyman knows pain, or love or demonstrate a feeling of regrets; he becomes even more scary to me if he pursues his malefic action. He shows an evil determination beyond his feelings. Dr. Loomis tries to reach his emotional side several times in [Halloween 5]. He thinks he could cure Michael through his feelings."

In the original closing scene, after Jamie finds that Michael has escaped from the police station, she is approached by a black-cloaked figure. At the time of filming, it was unknown who this figure was. It would only be expanded on and explained in the subsequent film, Halloween: The Curse of Michael Myers (1995), and the scene in question was attached to the beginning of the Producer's Cut of that film as a flashback. Though the cuts made to the beginning and ending of the film largely diminish this subplot, the "Man in Black" character still appears momentarily on several occasions in the film, which led to some confusion among audiences upon its original release.

Casting
Returning from Halloween 4 was Donald Pleasence as Dr. Sam Loomis, along with Danielle Harris, Ellie Cornell, and Beau Starr, as Jamie Lloyd, Rachel Carruthers, and Sheriff Ben Meeker, respectively.

Though enthusiastic of reprising her role as Rachel, Cornell was disappointed to learn that her character would be killed early in the film. In the original screenplay, her character died after Michael shoved a pair of scissors down her throat, but Cornell felt that this would be too gruesome, and requested that the writers change it; as a result, she is instead stabbed in the chest.

Karen Alston, who portrayed Darlene Carruthers in the previous film, reprised her role in the beginning of the film showing the anonymous person in the mask stabbing her as she falls into the bathtub of water. Her voice-over was recorded by Wendy Kaplan. Kaplan won the role of Tina Williams, the loud and wily friend of Rachel's. After Rachel's demise, Tina inherits the role of Jamie's protector.

George P. Wilbur, who had portrayed The Shape in the previous film, did not express interest in returning to play the role (although he did work as a stunt player on the film). Don Shanks was cast to play the speech-less, white-masked murderer. Shanks had already played a similar character in the first two Silent Night, Deadly Night films. Shanks also had a double role as the Man in Black. Wilbur, who had to wear hockey pads to appear to have a bigger build, would later portray the Shape again in the next installment, Halloween: The Curse of Michael Myers. Shanks did not have to wear the hockey pads because he already had a larger build.

Max Robinson would play Maxwell Hart, the doctor who assists Jamie when she is having one of her nightmares in the beginning of the film. Betty Carvalho appears as his assistant, Nurse Patsey, who has a "motherly" feel to Jamie. Jeffrey Landman portrayed Billy Hill, Jamie's best friend, who has a stutter. Landman worked with a coach who taught him about stuttering to help him prepare for the role.

Newcomers such as Tamara Glynn, Matthew Walker, and Jonathan Chapin appear as Samantha Thomas, Spitz, and Mike, who are friends of Tina and Rachel. Walker would later appear in another slasher film, Child's Play 3 (1991).

Filming
Principal photography began on May 1, 1989, in Salt Lake City, Utah, as well as the surrounding communities of Provo and Ogden. Several prior filming locations from Halloween 4: The Return of Michael Myers are featured in the film, including the Carruthers residence, as well as the local general store. At the time the shoot began, the film's screenplay was still unfinished.

According to actress Wendy Kaplan, Donald Pleasence exhibited utmost professionalism to the material, and while filming, treated it "like he was doing Shakespeare."

Unable to find a lookalike Myers house that matched the original Halloween, the filmmakers chose a bigger, more mansion-like house because they needed one that could provide wide rooms, hallways, an attic, a basement, and a laundry chute.

Donald Pleasence accidentally broke Don Shanks' nose on the set when they were filming the scene where Dr. Loomis beats The Shape with a 2×4 block of wood.

Don Shanks was also injured when he was filming the scene where The Shape crashes Mike's Camaro into the tree. Othenin-Girard had forgotten to yell "Cut!" and fire was beginning to emerge from the car (Shanks put this down to Othenin-Girard being sidetracked by seeing stunts take place during his first major directing job). Finally, stunt coordinator Don Hunt told Othenin-Girard to finally yell "cut". Wendy Kaplan was also injured in this scene, as the car almost ran over the top of her.

Filming completed on June 11, 1989.

Post-production
The film had originally been given an X rating from the Motion Picture Association of America (MPAA) due to its graphic depiction of violence, particularly the sequence in which Jamie, hiding in the laundry chute, is stabbed in the leg by Michael.

Alternate opening
The film's original screenplay featured a young hermit who takes in the injured Michael at the beginning of the film, whose shack was filled with ancient runes, tablets, and other occult items used to perform necromancy. Though initially filmed as such, with Theron Read portraying the young man (known as "Dr. Death"), the sequence was later re-shot featuring an older actor, and the occult paraphernalia and theme removed. In subsequent years, the original footage featuring Read was thought to be lost. This original sequence had been intended to set the groundwork for a subplot that had Michael Myers under the "Curse of Thorn," controlled by a cult devoted to this ancient rune.

In April 2019, actor Don Shanks reported that film reels had been discovered which may contain the original lost opening scene. In August 2021, it was revealed that Scream Factory had obtained the original opening sequence of the film to be included as a bonus feature on their forthcoming UHD and Blu-ray, which was released October 5, 2021.

Music
Alan Howarth returned to compose the film. Similar to previous movies in the Halloween franchise, the soundtrack contains the score and songs heard throughout the film by bands and solo artists such as White Sister and Rhythm Tribe. There are also some unknown bands and solo artists on the soundtrack such as Becca, DV8, Eileen Clark, Diggy, and Mark Chosak. The soundtrack was released to Compact Disc, LP Vinyl Record, and Cassette Tape on September 11, 1989.

Box office
Halloween 5 opened theatrically in North America on October 13, 1989. It earned $5.1 million in its opening weekend, ranking number four at the United States box office. It continued to screen throughout November 1989, with a reported earning of $449,686 during the weekend of November 3, 1989, showing on 537 screens. The film's theatrical run lasted three months, concluding in December 1989, with an ultimate gross of $11.6 million domestically; the film stands as the least-attended in its franchise with approximately 2,917,858 tickets told during its initial theatrical run.

Critical response
Stephen Holden of The New York Times wrote that the film was "rather like taking another swing through the same all-too-familiar funhouse", but thought it was "a bit more refined in its details than the conventional horror movie". Variety called the film "pretty stupid and boring fare" and noted that the series had become "practically indistinguishable from the Friday the 13th pics". Richard Harrington of the Los Angeles Times criticized the film as being "a prime example of the principle of diminishing reruns" and Donald Pleasence for "a flat two-note performance", though he thought Danielle Harris was "actually pretty good" in her role.

Some critics derided the film for its obscure appearances of the "Man in Black" character, which was not elucidated in the final cut of the film. Gary Thompson of the Philadelphia Daily News noted this in his review, commenting that "his identity is never revealed, and his actions are never explained. What does this mean? It means the series has turned into a soap opera, attempting to keep the audience interested with cheap dramatic stunts borrowed from daytime television." The Hartford Courant's Malcolm L. Johnson, however, gave the film a favorable review, deeming it the best sequel in the series and praising Othenin-Girard's "arty touch to the stalkings and killings."

Home media
Halloween 5: The Revenge of Michael Myers was released on VHS and LaserDisc by CBS/Fox Video in 1990. In September 2000, Anchor Bay Entertainment released the film on VHS and DVD, including a limited edition DVD housed in a tin box with collectible lobby cards. Anchor Bay reissued the DVD with additional bonus materials in 2006 before releasing it on Blu-ray in 2012. In September 2014, the film was included in a Blu-ray box set of the entire Halloween film series, released by Scream Factory, in association with Anchor Bay, in both a standard and deluxe limited edition. On October 5, 2021, Shout! Factory sub-label Scream Factory released the film in a UHD and Blu-ray combination package, featuring a new 4K scan of the original film elements, as well as newly-discovered cut footage included as a bonus feature.


text: Wikipedia:Picture of the day/June 8, 2005


text: Wikipedia:POTD/June 8, 2005

title: Wikipedia:POTD/June 8, 2005


text:
Hedwig Eleonora of Holstein-Gottorp

Hedwig Eleonora of Holstein-Gottorp (23 October 1636 – 24 November 1715) was Queen of Sweden from 1654 until 1660 as the wife of King Charles X Gustav. She served as regent during the minority of her son, King Charles XI, from 1660 until 1672, and during the minority of her grandson, King Charles XII, in 1697. She also represented Charles XII during his absence in the Great Northern War from 1700 until the regency of her granddaughter Ulrika Eleonora in 1713. Hedwig Eleonora was described as a dominant personality, and was regarded as the de facto first lady of the royal court for 61 years, from 1654 until her death.

Early life
Hedwig Eleonora was born on 23 October 1636 in the Palace of Gottorp in Schleswig, to Duke Frederick III of Holstein-Gottorp and Marie Elisabeth of Saxony. She was the sixth of the couple's sixteen children. One day after her eighteenth birthday, she was married to King Charles X Gustav of Sweden on 24 October 1654. Charles Gustav was the second cousin of Hedwig Eleonora's mother. He and Hedwig Eleonora were also third cousins twice. The marriage was arranged as an alliance between Sweden and Holstein-Gottorp against their mutual enemy Denmark. Queen Christina of Sweden met Hedwig Eleonora in Holstein-Gottorp on her way to Rome after her abdication. Christina was concerned that Charles Gustav was unmarried, and so she suggested the match. The suggestion was immediately accepted by Holstein-Gottorp, who agreed to all demands from Sweden, which made the negotiations quick. Hedwig Eleonora was at the time engaged to Gustav Adolph, Duke of Mecklenburg-Güstrow, and Queen Christina recommended Hedwig Eleonora's elder sister, Magdalene Sibylle of Holstein-Gottorp. After having seen portraits of both sisters, however, Charles Gustav chose Hedwig Eleonora because of her beauty, and her current fiancé was instead married to Magdalena Sibylle. In the marriage contract, Hedwig Eleonora was granted a dowry of 20.000 riksdaler, 32.000 riksdaler as a dower, and the incomes of the fiefs of Gripsholm, Eskilstuna and Strömsholm.

Queen of Sweden
Hedwig Eleonora was welcomed by King Charles X Gustav at Dalarö in Sweden 5 October 1654, and stayed at Karlberg Palace before her official arrival at Stockholm for the wedding 24 October. She was greeted, dressed in silver brocade, by queen dowager Maria Eleonora of Brandenburg at the Stockholm Royal Palace, where the wedding was celebrated the same day. She was crowned queen at Storkyrkan 27 October. Shortly after, her husband left for Poland to participate in the Deluge (history). Hedwig Eleonora remained in Sweden for the birth of the future Charles XI the 24 November 1655 and the following Christmas. The spring of 1656, she left Sweden and followed Charles Gustav during his campaign, during which she displayed both physical and mental strength. She was present during the Battle of Warsaw (1656), during which she received the official praise from the Swedish army alongside her spouse. She returned to Sweden in the autumn of 1656. In Sweden, she took control over her dower lands, which she strictly controlled during her life. After the Dano-Swedish War (1657–1658)), she was called to join her husband at Gothenburg, then she followed him to Gottorp and Wismar. During the Dano-Swedish War (1658-1660), she and her sister-in-law Maria Eufrosyne of Pfalz lived at Kronborg in Denmark after it had been taken by the Swedish general Carl Gustaf Wrangel. At Kronborg, Hedwig Eleonora was visited by her husband and entertained the foreign ambassadors. She visited Frederiksborgs Palace and hunted in the woods with the English ambassador. During the Falster campaign, she entertained the ambassadors at Nyköbing Falster. Hedwig Eleonora left for Gothenburg in December 1659, where the Swedish parliament was to assemble in January 1660.

Regency
After the death of her husband on 13 February 1660, Hedwig Eleonora became regent of Sweden and chair of the Regency Council of her son Charles XI during his minority. According to the will and testament of Charles Gustav, Hedwig Eleonora was to be the chair and regent with two votes and a final say over the rest of the council: the power over the government was shared with five high officials, including Per Brahe, but her vote was to be the preferred one. The will was immediately contested by the council, especially because her former brother-in-law Adolph John I, Count Palatine of Kleeburg, had been given power over the army. The day after the death of her husband, Hedwig Eleonora sent a message to the council that she knew that they contested the will, and she demanded that it should be respected. The council answered that the will must first be discussed with the parliament. At the following council in Stockholm 13 May, the council tried to keep her from attending. They questioned whether it would be good for her health or suitable for a widow to attend council, and that if not, it would be hard to keep sending a messenger to her quarters. Her reply that the council would be allowed to meet without her and only inform her when they considered it necessary was met with satisfaction from the council. Hedwig Eleonora's ostensible indifference to politics came as a great relief to the lords of the guardian government.

Despite her initial message, Hedwig Eleonora was in fact present at all council meetings except when she was away to administrate her dower lands. She used her position as regent foremost to protect her son's interests and rights toward the council, and thereby saw it as her duty to be informed and present in the decisions, although she did not take part in them. Adolph John of Kleeburg had lost command of the army and his status as a prince of Sweden, and her only support in the council came from Magnus Gabriel De la Gardie. Aware of the fact that she did not have enough support in the council to manage her own policy, she did not wish to risk being maneuvered from her position by challenging the council. She concurred with the anti-Danish and pro-French foreign policy during the regency years. She did, however, dislike war and gave her support to the peace party in the council: she gave her support to the Peace of Oliva, unsuccessfully opposed the war against Bremen, but successfully prevented a suggested war toward Russia, which is described as the only time when she forced her will upon the council. Hedwig Eleonora herself described how she disliked politics and diplomacy, and she did not participate much in politics during her regency. Her minor part in politics during her time as regent resulted in the fact that her son exempted her when he later accused the guardian government for power abuse during their regency. During her son's first appearances in Parliament, he talked only to the members of the government through her; he would whisper the questions he had to the Parliament to her, and she would ask them loud and clear.

After the death of her son on 5 April 1697, Hedwig Eleonora again became the regent of Sweden, as the chair of the Regency Council during the minority of her grandson Charles XII. This time, her regency only lasted until the declaration of her grandson's majority in December the same year. During her second regency, she supported the marriage alliance between Sweden and Holstein-Gottorp through the wedding of her granddaughter Hedvig Sophia of Sweden to the Duke of Holstein-Gottorp. She opposed the early declaration of majority of Charles XII, but was forced to concede. She also unsuccessfully protested against the fact that her grandson was not asked to make any oath at his coronation.

During her regency, she kept thorough records of her contracts and accounts. She spent significant sums to restore the grandeur of the court, since Queen Christina had taken many of the treasures on her abdication. She was able to cover these costs from the significant income from her personal lands. She oversaw the construction of multiple manors and palaces, including Drottningholm Palace.

Queen dowager
Hedwig Eleonora enjoyed great respect as queen dowager. She focused more on the administration of her dower lands and the upbringing of her son rather than to politics. In her upbringing of her son Charles XI, she focused on religion and moral and physical training and athletics rather than on academic studies, and she has been criticized for having spoiled him by not having forced him to attend to his studies. Although she herself was interested in culture and the sciences, she put no demands on him and allowed him to skip his studies: as he had a frail health during childhood, she found it more important for him to strengthen his body, and to discipline his moral by studies of religion.

In 1661, Hedwig Eleonora was considered a possible wife for King Charles II of England. Nothing came of it, however, as she refused the proposal: the official ground for her refusal was that she claimed that she wished to remain faithful to her dead husband. In 1667, the young nobleman Count Carl Gyllenstierna (1649–1723), was made chamberlain to Hedwig Eleonora. He became her favourite, served as her courier during the Scanian War, was promoted General-Governor of her dower lands in 1679 and was given the title of count in 1687. Carl Gyllenstierna was the favourite of Hedwig Eleonora and has been pointed out as her lover, and although this is not confirmed, his swift career at court was attributed to his good looks. There is a legend that the residence of Gyllenstierna, Steninge Palace, was built with a secret passage from his bedroom to the bedroom in the so-called Queen's Wing, which was used by Hedwig Eleonora during her frequents visits. During her later years, Hedwig Eleonora was criticized for her favourite, Anna Catharina von Bärfelt, whose influence led to an open conflict with Gyllenstierna. Bärfelt was known for taking bribes from supplicants to the queen dowager and rumoured to steal from her. Gyllenstierna made an ultimatum and asked Hedwig Eleonora to choose between him and Bärfelt, which eventually led to Bärfelt being banished from court after Gyllenstierna had formed an alliance with Christina Piper, Beata Sparre, the mistress of the robes Märta Berendes, Arvid Horn and the court chaplain Molin. The night before her departure, Gyllenstierna had to door to Hedwig Eleonora's bedroom locked to prevent Bärfelt from contacting the queen dowager.

Hedwig Eleonora corresponded with her German relatives and often entertained them as guests: she raised her niece Magdalena Sibylla of Hesse-Darmstadt as her foster child, as well as her late husband's niece, Juliana of Hesse-Eschwege. The latter was long unofficially understood to be the future queen by marriage to Charles XI when he became an adult, but the plan was abandoned when Juliana gave birth to a child outside of marriage (1672). Hedwig Eleonora had Juliana sent to the country side, but when she had a second child, she was forcibly married to the father and expelled.

Hedwig Eleonora had a very close relationship with her son, Charles XI, who “kept himself to her completely and unreservedly”. She accompanied him during his trips around the country, and during the Scanian war, she often stayed in Vadstena, where he visited her from the war front, to be closer to him. Even after her son's marriage to Ulrike Eleonora of Denmark, she essentially kept her position as the first lady of the court. Charles XI referred to his mother as “The Queen” or “Her Majesty the Queen My Dear Lady Mother” and to Ulrike Eleonora simply as "My Wife". Foreign ambassadors, mindful of this, always paid their respects to Hedwig Eleonora first, and then to Ulrike Eleonora. The hostility between and Holstein-Gottorp and Denmark also made the relationship between Hedwig Eleonora and her Danish daughter-in-law tense. Charles XI regularly discussed the affairs of state with his mother, and while it does not appear that she purposely influenced him, he respected her opinions and usually followed them.

Charles XI is believed to have been affected by his mother when he judged the Catechism of the Bishops Terseri, Spegel and Emporagi as heresy: it is known that Hedwig Eleonora especially disliked the catechism of Bishop Emporagi, because it defined women as property. Also Charles XI decisions in the area of rank and art is believed to be influenced by her.

Her grandson Charles XII had great respect for her. There is a well-known episode from the so-called Gottorp Fury, when Charles XII spent his time drinking and partying with his brother-in-law and her nephew Frederick IV, Duke of Holstein-Gottorp. On one occasion, Charles XII in a state of drunkenness encountered his grandmother, upon which she gave him a long look and then turned her back to him. He reacted by emptying his cup and saying: “My Gracious Lady Grandmother is pleased to forgive me. From hereafter I will never more drink wine”, a promise he kept. During the Great Northern War, she represented her absent grandson and received the foreign ambassadors in his place. According to their reports, she treated them with silence or could laugh at them.

Hedwig Eleonora was closest to her elder granddaughter, Hedwig Sophia, and after the death of Hedwig Sophia, she supported Hedwig Sophia's son, Charles Frederick, Duke of Holstein-Gottorp, as heir to the throne after Charles XII before her younger granddaughter, Ulrika Eleonora. The supporters of Charles Frederick also wished to have Hedwig Eleonora appointed regent during the minority of Charles Frederick, should he succeed. In 1713, however, she was forced to persuade Ulrika Eleonora to accept the position of regent during the absence of Charles XII. She supported the marriage of Ulrika Eleonora to Frederick of Hesse with the thought that Ulrika Eleonora would then move to Hesse, which would make it easier for Charles Frederick to succeed to the Swedish throne. Hedwig Eleonora has been described as firm and dominant; she was popular at court for her humour and because of her fondness of parties, and was regarded as strict but fair by her employees. Among Hedwig Eleonora's interests were architecture and painting, as well as playing cards; her appetite for gambling was great, and she is reported to have continued playing well into the night. When her mourning period officially ended in 1663, the court was overwhelmed with parties hosted by the queen dowager. As part of the festivities, she opened the theatres Bollhuset and Lejonkulan. She also acquired the first spa in Sweden, Medevi (1688). She sponsored artists, such as Nicodemus Tessin the Younger and David Klöcker Ehrenstrahl.

title: Hedwig Eleonora of Holstein-Gottorp


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User:Henrik Theiling

Henrik Theiling. I am an IT professional, digital electronics designer, conlanger, hobby linguist, and a cook.

 * Henrik Theiling's Webpage

title: User:Henrik Theiling


text:
Vocal register

A vocal register is a range of tones in the human voice produced by a particular vibratory pattern of the vocal folds. These registers include modal voice (or normal voice), vocal fry, falsetto, and the whistle register. Registers originate in laryngeal function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.

In speech pathology, the vocal register has three components: a certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound. Although this view is also adopted by many vocal pedagogists, others define vocal registration more loosely than in the sciences, using the term to denote various theories of how the human voice changes, both subjectively and objectively, as it moves through its pitch range. There are many divergent theories on vocal registers within vocal pedagogy, making the term somewhat confusing and at times controversial within the field of singing. Vocal pedagogists may use the term vocal register to refer to any of the following:

 * a particular part of the vocal range such as the upper, middle, or lower registers
 * a resonance area such as chest voice or head voice
 * a phonatory process
 * a certain vocal timbre
 * a region of the voice defined or delimited by vocal breaks

Manuel Garcia II in the late nineteenth century was one of the first to develop a scientific definition of registers, a definition that is still used by pedagogues and vocal teachers today.
 * "A register is a series of homogeneous sounds produced by one mechanism, differing essentially from another series of equally homogeneous sounds produced by another mechanism."

Another definition is from Clifton Ware in the 1990s.
 * "A series of distinct, consecutive, homogeneous vocal tones that can be maintained in pitch and loudness throughout a certain range."

A register consists of the homogeneous tone qualities produced by the same mechanical system, whereas registration is the process of using and combining the registers to achieve artistic singing. For example: a skilled singer moves through their range and dynamics smoothly, so that you are unaware of register changes. This process could be described as good or clean registration. The term "register" originated in the sixteenth century. Before then, it was recognized that there were different "voices". As teachers started to notice how different the ranges on either side of the passaggi or breaks in the voice were, they were compared to different sets of pipes in an organ. These clusters of pipes were called registers, so the same term was adopted for voices.

Vibratory patterns
Vocal registers arise from different vibratory patterns produced by the vocal cords. Research by speech pathologists and some vocal pedagogists has revealed that the vocal cords are capable of producing at least four distinct vibratory forms, although not all persons can produce all of them. The first of these vibratory forms is known as natural or normal voice; another name for it is modal voice, which is widely used in both speech pathology and vocal pedagogy publications. In this usage, modal refers to the natural disposition or manner of action of the vocal cords. The other three vibratory forms are known as vocal fry, falsetto, and whistle. Each of these four registers has its own vibratory pattern, its own pitch range (although there is some overlap), and its own characteristic sound. Arranged by the pitch ranges covered, vocal fry is the lowest register, modal voice is next, then falsetto, and finally the whistle register.

While speech pathologists and scholars of phonetics recognize four registers, vocal pedagogists are divided. Indiscriminate use of the word register has led to confusion and controversy about the number of registers in the human voice within vocal pedagogical circles. This controversy does not exist within speech pathology and the other sciences, because vocal registers are viewed from a purely physiological standpoint concerned with laryngeal function. Writers concerned with the art of singing state that there are anywhere from one to seven registers present. The diversity of opinion is wide with no consensus.

The prevailing practice within vocal pedagogy is to divide both men and women's voices into three registers. Men's voices are designated "chest", "head", and "falsetto" and women's voices are "chest", "middle", and "head". This way of classifying registers, however, is not universally accepted. Many vocal pedagogists blame this confusion on the incorrect use of the terms "chest register" and "head register". These professionals argue that, since all registers originate in laryngeal function, it is meaningless to speak of registers being produced in the chest or head. The vibratory sensations which are felt in these areas are resonance phenomena and should be described in terms related to resonance, not to registers. These vocal pedagogists prefer the terms "chest voice" and "head voice" over the term register. Many of the problems described as register problems are actually problems of resonance adjustment. This helps to explain the multiplicity of registers which some vocal pedagogists advocate. For more information on resonance, see Vocal resonation.

Various types of chest or head noises can be made in different registers of the voice. This happens through differing vibratory patterns of the vocal folds and manipulation of the laryngeal muscles. "Chest voice" and "head voice" can be considered the simplest registers to differentiate between. However, there are other sounds other than pure chest voice and head voice that a voice can make. These sounds or timbres exist on a continuum that is more complex than singing purely in chest voice and head voice. The vocal timbres created by physical changes in the vocal fold vibrations and muscular changes in the laryngeal muscles are known as glottal configurations. These configurations happen as a result of adduction and abduction of the glottis. A glottal configuration is the area in which the vocal folds come together when phonating. Glottal configurations existing on this continuum are adducted chest, abducted chest, adducted falsetto, and abducted falsetto. In this case, falsetto could also be referred to as head voice as it applies to females as well. Vocally, the process of adduction is when the posterior of the glottis is closed. Abduction is when the posterior of the glottis is open. An example of adducted chest is belting as well as bass, baritone, and tenor classical singing. Abducted falsetto, on the opposite end of the spectrum, sounds very breathy and can possibly be a sign of a lack of vocal fold closure. However, in styles like jazz and pop, this breathy falsetto is a necessary singing technique for these genres. Abducted chest is a lower, breathier phonation occurring in the chest register, also occurring in jazz and pop styles. Abducted falsetto is treble classical singing. Chestmix and headmix lie on this continuum as well with chest mix being which is more adducted than headmix.

These different vocal fold vibratory patterns occur as the result of certain laryngeal muscles being either active or inactive. During adducted and abducted chest voice, the thyroarytenoid muscle is always activated while during falsetto this muscle is not activated. When the posterior of the glottis is closed the interarytenoid muscle is engaged. This occurs in both adducted falsetto and adducted chest.

The confusion which exists concerning the definition and number of registers is due in part to what takes place in the modal register when a person sings from the lowest pitches of that register to the highest pitches. The frequency of vibration of the vocal folds is determined by their length, tension, and mass. As pitch rises, the vocal folds are lengthened, tension increases, and their thickness decreases. In other words, all three of these factors are in a state of flux in the transition from the lowest to the highest tones.

If a singer holds any of these factors constant and interferes with their progressive state of change, their laryngeal function tends to become static and eventually breaks occur, with obvious changes of tone quality. These breaks are often identified as register boundaries or as transition areas between registers. The distinct change or break between registers is called a passaggio or a ponticello. Vocal pedagogists teach that, with study, a singer can move effortlessly from one register to another with ease and consistent tone. Registers can even overlap while singing. Teachers who prefer the theory of "blending registers" usually help students through the "passage" from one register to another by hiding their "lift" (where the voice changes).

However, many pedagogists disagree with this distinction of boundaries, blaming such breaks on vocal problems which have been created by a static laryngeal adjustment that does not permit the necessary changes to take place. This difference of opinion has affected the different views on vocal registration.

Vocal fry register
The vocal fry register is the lowest vocal register and is produced through a loose glottal closure which will permit air to bubble through with a popping or rattling sound of a very low frequency. The chief use of vocal fry in singing is to obtain pitches of very low frequency which are not available in modal voice. This register may be used therapeutically to improve the lower part of the modal register. This register is not used often in singing, but male quartet pieces, and certain styles of folk music for both men and women have been known to do so.

Modal voice register
The modal voice is the usual register for speaking and singing, and the vast majority of both are done in this register. As pitch rises in this register, the vocal folds are lengthened, tension increases, and their edges become thinner. A well-trained singer or speaker can phonate two octaves or more in the modal register with consistent production, beauty of tone, dynamic variety, and vocal freedom. This is possible only if the singer or speaker avoids static laryngeal adjustments and allows the progression from the bottom to the top of the register to be a carefully graduated continuum of readjustments.

Falsetto register
The falsetto register lies above the modal voice register and overlaps the modal register by approximately one octave. The characteristic sound of falsetto is flute-like with few overtones present. The essential difference between the modal and falsetto registers lies in the amount and type of vocal cord involvement. The falsetto voice is produced by the vibration of the ligamentous edges of the vocal cords, in whole or in part, and the main body of the fold is more or less relaxed. In contrast, the modal voice involves the whole vocal cord with the glottis opening at the bottom first and then at the top. The falsetto voice is also more limited in dynamic variation and tone quality than the modal voice.

Whistle register
The whistle register is the highest register of the human voice. The whistle register is so called because the timbre of the notes that are produced from this register are similar to that of a whistle or the upper notes of a flute, whereas the modal register tends to have a warmer, less shrill timbre.

Passaggio
The Passaggio is a bridge or transition point between the different registers of the voice. Singers are often trained to navigate this area in the voice. Instabilities often happen in this bridge while the voice is phonating on pitches within this location. When a singer does not navigate this area sufficiently the voice folds temporarily lose the mucosal wave pattern resulting in an audible crack. These cracks can be navigated often through changing vowel. The female voice has two passaggios, primo and secondo passaggio. The male voice has two passaggios as well, however the points of transition lie differently than those of a treble singer and are also navigated in a different manner.

title: Vocal register


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User:Bornyesterday

Pages I've Edited Significantly

 * WKNC - NCSU's radio station where I worked in college.
 * John Kessel - a science fiction author who is also a professor at NCSU that I have had for classes on science fiction and fiction writing.
 * Bennett Place (originator) - a North Carolina state historic site just outside of my neighborhood that was where Joseph Johnston surrendered to William Tecumseh Sherman to end the American Civil War.
 * Full Frame Documentary Film Festival (originator) - the premier documentary film festival in America, held annually in Durham, North Carolina.

Wikipedia Projects
Based on the philosophy that "some information is better than no information," I have been somewhat active in the effort to fulfill the articles requested for more than a year.

So far, I have created pages for:

Authors

 * Robert Abernathy - American science fiction author of the 1940s and 50s
 * Gamal Al-Ghitani - Egyptian novelist and political/cultural commentator

Mathematicians

 * Leonard Blumenthal - American mathematician

People

 * Lysette Anthony - British film, tv, and theatre actress

HIV/AIDS

 * CDC National Prevention Information Network

Other

 * Richthofen Trial - Trial of the murder of the grand-nephew of the World War I German pilot Baron Manfred von Richthofen, the Red Baron.
 * Res publica christiana - a legal term similar in meaning to Christendom

title: User:Bornyesterday


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User:Dzzl/ish vonn

ish vonn
a key phrase in dzzl speak. can have many meanings which vary w/ context.

title: User:Dzzl/ish vonn


text:
User talk:Face (usurped)

 * Note: This troll account has been renamed on June 5 2008 to allow the renaming of Face_zz to Face.

Thanks for experimenting with Wikipedia. Your test to Sebastian Snow worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks. Meelar (talk) 19:51, Jun 6, 2005 (UTC)

Thanks for experimenting with Wikipedia. Your test to Judeo-Islamic philosophies (800 - 1400) worked, and has now been reverted or removed. Please use Sandbox for any other tests you want to do, since testing in articles will be reverted quickly. Please see the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks. -- ericl234   talk  20:05, Jun 6, 2005 (UTC)

Request for Usurpation
Hello Face. A request has been made at Changing username/Usurpations to usurp, or "take over", your username because you have not used it to edit, and another user would like to use it to edit. Changing username/Usurpations says that any unused username may be usurped if the user is given seven days notice to object and does not do so.

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If you do not object to being renamed to a new username in order for another user to utilize the name you currently have, please log in and post a reply here saying so (you may also tell us what username you would like to be renamed to, or we will provide you with a generic one).

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Thank you for your time. Face 19:29, 28 May 2008 (UTC)

title: User talk:Face (usurped)


text:
Idempotency of entailment

Idempotency of entailment is a property of logical systems that states that one may derive the same consequences from many instances of a hypothesis as from just one. This property can be captured by a structural rule called contraction, and in such systems one may say that entailment is idempotent if and only if contraction is an admissible rule.

Rule of contraction: from

 * A,C,C → B

is derived
 * A,C → B.

Or in sequent calculus notation,
 * $$\frac{\Gamma,C,C\vdash B}{\Gamma,C\vdash B}$$

In linear and affine logic, entailment is not idempotent.

title: Idempotency of entailment


text:
The Tale of Tsar Saltan (opera)

The Tale of Tsar Saltan (Сказка о царе Салтане ) is an opera in four acts with a prologue (a total of seven scenes) by Nikolai Rimsky-Korsakov. The libretto was written by Vladimir Belsky, and is based on the 1831 poem of the same name by Aleksandr Pushkin. The opera was composed in 1899–1900 to coincide with Pushkin's centenary, and was first performed in 1900 in Moscow, Russia.

The best known piece featured in the opera is the instrumental interlude Flight of the Bumblebee, frequently performed as a stand-alone concert piece.

The lengthy full title of both the opera and the poem is The Tale of Tsar Saltan, of his Son the Renowned and Mighty Bogatyr Prince Gvidon Saltanovich and of the Beautiful Princess-Swan (Сказка о царе Салтане, о сыне его славном и могучем богатыре князе Гвидоне Салтановиче и о прекрасной царевне Лебеди Skazka o tsare Saltane, o syne yego slavnom i moguchem bogatyre knyaze Gvidone Saltanoviche i o prekrasnoy tsarevne Lebedi).

Composition history

The plot of the opera generally follows that of Pushkin's fairy-tale poem, with the addition of some characters, some expansion (particularly for Act 1), and some compression (mostly by reducing Gvidon's three separate trips to one). The libretto by Belsky borrows many lines from and largely emulates the style of Pushkin's poem, which is written in couplets of trochaic tetrameter. The music is composed in the manner of Rimsky-Korsakov's operas after Snowmaiden, i.e., having a more or less continuous musical texture throughout a tableau system, broken up here and there by song-like passages.

Performance history
The première was held in Moscow on 3 November (O.S. 21 October) 1900 at the Solodovnikov Theatre conducted by Mikhail Ippolitov-Ivanov with scenic design by Mikhail Vrubel.

The St. Petersburg premiere took place in 1902 at the St. Petersburg Conservatory, conducted by Zelyonïy.

Other notable performances included those in 1906 at the Zimin Opera, Moscow, conducted by Ippolitov-Ivanov; 1913 at the Bolshoy Theatre in Moscow, conducted by Emil Cooper, with scenic design by Konstantin Korovin; and 1915 at the Mariinsky Theatre in St. Petersburg, conducted by Albert Coates, with scenic design by Korovin and Aleksandr Golovin.

On September 14 1911, while he was attending a performance of the opera at the Kiev Opera House in the presence of the Tsar and his family, the Russian Prime Minister Pyotr Stolypin was shot twice, once in the arm and once in the chest, dying two days later; his assassin, Dmitri Bogrov, was both a leftist radical and an agent of the Okhrana.

The UK premiere took place in London on 11 October 1933 at Sadler's Wells Theatre and the US premiere was presented on 27 December 1937 under the title of The Bumble-Bee Prince.

In April 1987 four complete performances of the opera were presented in a fully staged English-language production at Indiana University Bloomington.

Synopsis

 * Time: Unspecified
 * Place: Partly in the city of Tmutarakan and partly on the island of Buyan

Prologue
On a wintry evening three sisters are sitting at spinning wheels. As Tsar Saltan overhears from outside the door, the oldest sister boasts that, if she were Tsaritsa (the bride of the Tsar), she would prepare a sumptuous feast; the middle sister would weave a grand linen; the youngest promises to bear, as son for the Tsar, a bogatyr (warrior-knight). Saltan enters, chooses the third sister to be his bride ("Zdravstvuy, krasnaya devitsa!" = "Greetings, beautiful girl!"), and takes her away. The old woman Babarikha devises a revenge for the two jealous older sisters ("Nu, tak slushat, ne meshat" = "Then listen well and don’t interrupt"): when the Tsar is away at war, a message will be sent to him that the child born to his Tsaritsa is not human, but a monster.

Act 1
Introduction — Saltan’s Departure

Scene

The Tsar has gone off to war saying goodbye. In his palace in Tmutarakan, the Tsaritsa has given birth to a son, to whom a chorus of nannies sings a lullaby ("Bayushki, bayushki!"). She is despondent: there is no reply from her husband to the news of the birth of their child. Her sisters are (with Babarikha) now part of the court: the older sister as Cook, and the middle sister as Weaver. (They have secretly replaced the message of the Tsaritsa to her husband with news of her son's birth with another message: it said that she has borne neither a daughter nor a son, neither a mouse nor a frog, but a kind of monster.) They try to entertain her, as does the skomorokh (jester) and the old man ("Gosudarynya, tsaritsa, matushka" = "Your highness, queen, mother"). But all this is to no avail. The young Tsarevich baby, who has been lulled to sleep during this scene, awakens and runs about, accompanied by his nurses, and the people wish God's blessings upon him. Then a messenger stumbles in, having been waylaid with drink by Babarikha. He sings "Gosudarynya moya, ne veli kaznit menya" ("Your highness, don’t punish me"), and his message from the Tsar is read by the scribes: the Tsaritsa and her progeny must be placed in a barrel and thrown into the sea. Reluctantly the people carry out the Tsar's command.

Act 2
Introduction — Militrisa and Gvidon Afloat In the Barrel

Scene

The Tsaritsa and her son Gvidon have landed on the island of Buyan, and broken out of the barrel in which they were trapped. Gvidon, who has grown remarkably rapidly into a young man, is searching for sustenance. While doing this, he rescues a swan from being killed by a kite. in gratitude, the Swan-Bird sings to him ("Ty, tsarevich, moy spasitel" = "You, Prince, my Saviour"). The Tsaritsa explains Gvidon's early history to her son, and the Swan-Bird causes the city of Ledenets (Леденец, "lollipop", from лёд, "ice") to arise magically on the island. Gvidon is hailed by its inhabitants as its Prince.

Act 3
Scene 1

By the shore of Buyan, the merchant ships have left, and Gvidon laments having been separated from his father ("Veter po moryu gulyayet" = "The wind blows over the sea"). The Swan-Bird will help him by changing him into a bumblebee. He will be able to fly over the sea, as a stowaway on Saltan's ship, to visit him (incognito) in Tmutarakan.

Interlude — Flight of the Bumblebee

Scene 2

The sailors arrive at Tmutarakan from their visit to Buyan. The sailors tell Tsar Saltan of the wonders of Gvidon's island (the magically appearing city itself, a magic squirrel, and the thirty-three bogatyrs from the sea). The two older sisters are concerned that the Tsar will become interested in visiting the island, and they try to dissuade him. In retaliation the bumble-bee Gvidon stings each of them in the brow. Babarikha then tries to trump the sailors, by speaking of a fabulous Princess on the sea, at which point Gvidon stings her in the eye and blinds her. Saltan decides to visit the island, but, in view of the havoc caused by the bumblebee, forbids that breed of insect from ever entering the palace again.

Act 4
Scene 1

Gvidon, again by the seashore of Buyan, longs for a bride ("V sinem more zvyozdy bleshchut" = "Over the blue sea stars shine"). The Swan-Bird appears, and Gvidon tells her of the Princess that he heard about at Tmutarakan. The Swan-Bird transforms herself into that very Princess. His mother and a chorus of maidens enter, and bless the prospect of their wedding.

Orchestral interlude — Three Wonders

Scene 2

Gvidon, with his mother hidden, awaits the arrival of Saltan. When the ship arrives with the Tsar and his retinue, Gvidon greets him, and questions him as to whether or not he will have a son to carry on his work. The Saltan does not yet know that Gvidon is his son ("Akh, moguchiy knyaz Gvidon" = "Ah, mighty Prince Gvidon"), and expresses regret for his rash treatment of his wife many years earlier. Although Gvidon tries to cheer him up with the three wonders, it becomes clear that only the presence of Militrisa can assuage Saltan's guilt. The Princess-Swan (Lyebyed) appears and reveals the Tsar's long-lost wife. The older sisters beg forgiveness, which in his happiness Saltan grants. Everyone then joins in a celebration of the upcoming wedding of Gvidon and the Princess-Swan.

Libretto
A link to the Russian-English libretto with transliteration: https://drive.google.com/file/d/11ntEkzioh5moBRUyT_6qZ9ZKqMkTgZqY/view?usp=sharing

Principal orchestral numbers and concert excerpts
Act 1
 * Introduction–"The Tsar's Departure And Farewell"

Act 2
 * Introduction–"The Tsaritsa and Her Son Afloat in the Barrel"

Act 3
 * "Flight of the Bumblebee", heard frequently in concert.

Act 4
 * Introduction to Scene 2–"The Three Wonders" - a major concert piece.

Suite from the Opera The Tale of Tsar Saltan, Op. 57 (1903)
 * Сюита из оперы Сказка о царе Салтане, соч. 57

 * 1) Introduction to Act I: "The Tsar's Departure And Farewell"
 * 2) Introduction to Act II: "The Tsaritsa and Her Son Afloat in the Barrel"
 * 3) Introduction to Act IV, Tableau 2: "The Three Wonders" («Три чуда»)

The "Flight of the Bumblebee" is also performed in various arrangements at concerts and recitals, but is not part of the Suite.

Gallery of illustrations
Ivan Bilibin made the following illustrations for Pushkin's tale in 1905. Bilibin would later provide designs for the premieres of Rimsky-Korsakov's version of Boris Godunov (1908), and The Golden Cockerel (1909). The "Flight of the mosquito" episode was not included in the opera by Rimsky-Korsakov (nor that of the fly) for the sake of brevity, but Bilibin's illustration otherwise corresponds to the "Flight of the Bumblebee" from Act 3.

Recordings
Audio Recordings (Mainly studio recordings) Source: www.operadis-opera-discography.org.uk
 * The Tale of Tsar Saltan – 1959, Vasily Nebolsin (conductor), Bolshoy Theatre Orchestra and Chorus, Ivan Petrov (Tsar Saltan), Evgeniya Smolenskaya (Tsaritsa Militrisa), Larisa Nikitina (Tkachikha), Yelizaveta Shumilova (Povarikha), Evgeniya Verbitskaya (Babarikha), Vladimir Ivanovsky (Tsarevich Gvidon), Galina Oleinichenko (Tsarevna Swan-bird)
 * The Tale of Tsar Saltan – Albina Shagimuratova as the Swan-Princess; Irina Churilova, as Tsaritsa Militrisa, Edward Tsanga as the Tsar, Mikhail Vekua as Prince Guidon, Elena Vitman as the matchmaker Babarikha, Varvara Solovyova as the Weaver, Irina Vasilieva as the cook.  Mariinsky Orchestra & Chorus, Valery Gergiev 2016 recording; Blu-ray/DVD 2017

title: The Tale of Tsar Saltan (opera)


text: Category:Cold War missiles of the Soviet Union


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Bruce Payne

Bruce Martyn Payne (born 22 November 1958) is an English actor, producer, screenwriter, film director and theatre director. Payne is best known for portraying villains, such as Charles Rane in Passenger 57, Jacob Kell in Highlander: Endgame, and Damodar in Dungeons & Dragons and Dungeons & Dragons 2: Wrath of the Dragon God.

Payne trained at RADA (the Royal Academy of Dramatic Art) in London and was identified, in the late 1980s, with the "Brit Pack" of rising young British actors.

Early life
Payne developed an interest for acting at an early age. In an interview with Impact (magazine) in 2001, Payne claimed that a crocodile from the play Peter Pan shouted that it would eat his brother and then proceeded to run upstage.

At the age of 14, he was diagnosed with a slight form of spina bifida, which by age 16 required surgery to rectify. Payne was hospitalised for 6 months following the operation. Payne continued school studies, despite a contact with a talent scout during that time. After his graduation, he enrolled in the National Youth Theatre for two seasons. Payne has described this experience as "Four hundred kids thrown together to work on 7 plays." In addition, he played a lead role for the National Student Theatre Company at the Edinburgh Festival Fringe for one season in 1979. He then auditioned for several fringe acting companies, but was told he was too young and lacked experience. Nonetheless, that year saw him admitted to the "prestigious" RADA acting programme. Before being accepted at RADA, Payne had worked as a joiner, a salesman, and a landscape gardener. Payne graduated from RADA in 1981 with seven major prizes for acting, comedy and physical presence.

Payne was part of a 'new wave' of actors to emerge from the academy. Others included Jonathan Pryce, Juliet Stevenson, Alan Rickman, Anton Lesser, Kenneth Branagh, and Fiona Shaw. In 1980 the Principal of RADA, Hugh Cruttwell, selected a scene from an adaptation of William Shakespeare's Macbeth, which Payne co-wrote with Paul McGann, to be performed in front of Queen Elizabeth II, in one of her rare visits to the academy. Payne directed the scene in which he and McGann acted. Payne played Macbeth and wielded a baseball bat on stage instead of a sword. Kenneth Branagh performed a soliloquy from Hamlet at the same event.

1980s
Payne's first television role was in the Tales Out of School series. Payne played an abusive PE teacher who "comes across as more head bully than responsible adult during his classes". His first major film role came in Privates on Parade in which he played the singing and dancing Flight Sergeant Kevin Cartwright (which role he had already played in the stage version).

In 1983, he appeared in Michael Mann's horror film The Keep as an unnamed border guard. That same year, Steven Berkoff cast him in his production of West at the Donmar Warehouse. Payne played Les, a member of an East End gang intent on gaining revenge against the rival Hoxton Mob for the slaying of one of their number. Richard Corliss of TIME stated that Payne bestowed "a frighteningly dynamic performance" in the play.

In 1985, Payne was cast as a "committed", "butch snooker manager" known as "The One" (also known as "T.O.") in director Alan Clarke's snooker musical Billy the Kid and the Green Baize Vampire. Michael Brooke stated that Payne gave the "stand-out performance" in the film. and MS London stated that Payne "is a charismatic presence, with a capable voice, who is perfectly cast as The One".

In 1986, both Payne and Berkoff appeared in Julien Temple's musical Absolute Beginners. Payne played a psychotic "pompous and pathetic racist" named Flikker, who participated in the 1958 Notting Hill race riots. One reviewer argued that Payne was "the only actor to walk off Absolute Beginners with his reputation not only intact but enhanced" and that his portrayal of Flikker "was a headbutt of reality in a fantasmagoria of overkill." One critic stated that Payne gave a "meaty, saving-grace performance" in the film. Film journalist and editor Ann Lloyd selected Payne as the most promising newcomer of 1987 for his role in the film. In the same year Payne appeared in the film Solarbabies along with fellow British performer Alexei Sayle as filthy bounty hunters named Dogger and Malice. Payne said of his and Sayle's performances in Vogue that "the old image of an English arch-villain – Boris Karloff, that sort of thing, is turned upside down. We're just a couple of soaks".

In 1988, Payne appeared as Eddy in the Steven Berkoff-directed play, Greek (a retelling of Sophocles' Oedipus Rex), at the Wyndham's Theatre. Martin Hoyle, writing for The Independent, stated that Payne's "Eddy is vital, intelligent and physically disciplined in the best Berkoff style". Charles Osbourne, writing for The Daily Telegraph, stated that Payne brought "a cheerful zest to the role of Eddy".

A reviewer for The Listener stated that Payne "impresses throughout" the play. Another reviewer stated that "Payne gives a powerful performance as Eddy, the crusader out to defeat the horror of society" only "to find that he is part of the horror".

In 1989, he was cast in For Queen and Country as a "drug kingpin". named Colin.

Payne and other young British actors who were becoming established film actors, such as Tim Roth, Gary Oldman, Colin Firth, and Paul McGann, were dubbed the "Brit Pack". Payne's performances endeared him to Warner Bros., who considered "Bruce Payne as Bruce Wayne" on their "one liner" press marketing PR campaign for the first of Tim Burton's Batman films. Ultimately, Michael Keaton got the role. Payne has commented, "Warner were fascinated by the similarity" between his name and that of Bruce Wayne. Payne has said that "they drew up a very short shortlist and there I was on it. Obviously, I lost out in the end to Michael Keaton."

That same year Payne appeared as Doctor Burton in the dramatic film Silence Like Glass. The film was nominated for Outstanding Feature Film at the German Film Awards.

1990s
In 1990 Payne appeared in the music video for Neil Young's song "Over and Over", directed by Julien Temple, as a Stanley Kowalski-esque character.

In 1991, Payne was cast as the Devil in Switch. Payne was described as a "delightfully wicked Satan" by Film Review. The Providence Journal described him as a "slick devil".

In 1992, Payne was cast in his best-known role, opposite Wesley Snipes, as a "notorious terrorist and hijacker", with a steely, demonic nerve, named Charles Rane, in Passenger 57. Marcus Trower of Empire stated that Payne was "a brilliantly disconcerting madman. With his flowing blond Jesus locks, armour-piercing stare and casual sadism, he makes Hannibal Lecter look like a social worker – and like Anthony Hopkins' serial killer, part of the man's menace is in the apparent contradiction between his articulate, well-spoken English and his off-hand brutality." The Radio Times stated that Payne and Snipes both gave "charismatic turns" in the film. The New York Times stated that Payne brought "a tongue-in-cheek humor to the psychopathic fiend". A reviewer for People magazine stated that "Bruce Payne steals the plane—and the movie". In an article for the Waterloo Region Record, Jamie Portman described Payne as a "suave and cultivated English actor" playing "a suave and cultivated killer named Charles Rane" and suggested that a "key reason director Kevin Hooks chose him for the role was that he wanted a villain with as much magnetism as the hero". Payne was described as "icily perfect as the villainous Rane" in the Worcester Telegram & Gazette. Julius Marshall stated that Payne was "ideal for his role: charming, dangerous – the kind of evil genius you love to hate". The Star Tribune stated that "Bruce Payne makes a splendid psychopath, consistently stealing scenes from the likes of Wesley Snipes and Elizabeth Hurley throughout Passenger 57".

In 1993, Payne played a "charismatic" werewolf named Adam Garou in Full Eclipse. Joseph Savitski, who reviewed the film for Beyond Hollywood, stated, "Payne is masterful as Detective Garou, a seductive and evil villain with arrogance and confidence to spare. When he's on screen, Payne demands the attention of the audience, and you're hard pressed to resist his performance. Payne is also the perfect adversary, the kind you're supposed to hate, but who has the charisma to draw you in nonetheless".

In 1995, Payne played a "rogue FBI agent" named Karl Savak in director Kurt Wimmer's One Tough Bastard. One reviewer described Savak as "one of the most entertaining movie villains in low budget action flick history" and noted that "so awesome is Karl Savak that some lunatic has created a Facebook page in his honor". Another reviewer stated that "Bruce Payne, with his Whitesnake hair and nose ring is slimeball perfection as the villain". In 1998, he played Jurgen, a first-class and charismatic operative in season two of La Femme Nikita.

2000s
In 2000, Payne portrayed the villain Jacob Kell in Highlander: Endgame (2000), the third sequel to the original Highlander film. One reviewer said of Highlander: Endgame, "the one in the cast that seems to be having the most fun is Bruce Payne. Traditionally, Highlander villains give performances that go completely over-the-top and well into the stratosphere. Payne contrarily gives a performance where he enunciates every syllable with relish and dramatic weight, resulting in a performance that is entirely captivating whenever he is on screen."

Salon.com's reviewer wrote that "[Payne] playing Kell as a cockney thug with triple crucifixes embedded in the heels of his Doc Martens, Payne is more fun than either of the stars". A reviewer for Trash City stated that "Endgame is pretty good, largely thanks to Bruce Payne's efforts as the bad guy, who is right up there with Clancy Brown's original decapitator", the Kurgan. Marke Andrews, writing for The Vancouver Sun, stated that Payne provided the "focal point" in the film and that he dived "into his role with gusto". Andrews also stated that Payne's 'facial expressions rival Jim Carrey's in The Mask'. Cherriece Wright, who reviewed the film for The Dispatch, stated that it contained "brilliant performances by Christopher Lambert and Bruce Payne". Wright stated that Payne "delivers a great performance as Jacob Kell blending smoothly the malicious vindictiveness of the embittered immortal with a sarcastic wit that provides needed humor".

In the same year, Payne played Damodar in Dungeons & Dragons, henchman of the malevolent Profion (played by Jeremy Irons). Although the film was critically panned, Payne's performance was reviewed favourably. One reviewer said that "Bruce Payne (Damodar) as Profion's nefarious assistant in his power-hungry schemes was the stand-out performance of all the actors in the film. Payne has a true lock on how to play a character that is menacing even without any show of power. His portrayal of Damodar calls to mind Doug Bradley's portrayal of Pinhead in the Hellraiser films, so coldly, coolly arrogant and confident is his character. Above and beyond the grade I give to this film, Payne has earned himself an A+ in my gradebook." Another reviewer stated that Payne's performance proved that he is "one of Hollywood's more reliable villains".

Branden Chowen, who reviewed the film for Indie Pulse, stated that "the standout in the film is the man who returns for the sequel: Bruce Payne. His character is written to be one-note throughout, but Payne still manages to create an excellent villain. Once the audience gets past his blue lipstick, which is no small feat, Payne is a formidable and passionate force". The Charlotte Observer stated that "menacing Bruce Payne gives the film's one potent performance". Abbie Bernstein for Audio Video Revolution declared that Payne was "enjoyably evil as the secondary baddie in charge of capturing the rebels"

In 2004, Payne appeared as the "snarling" Neighbour, who "dabbles" in producing kinky virtual games in the dystopian horror mystery Paranoia 1.0. The film was nominated in the best film category at the Sitges - Catalan International Film Festival and at the Sundance Film Festival, and won the best film award at the Malaga International Week of Fantastic Cinema. John Fallon stated that as the Neighbour, Payne "laid on the charisma and the macho-ness thick".

In 2005, Payne returned to the role of Damodar in Dungeons & Dragons: Wrath of the Dragon God. Payne was the only member of the original cast in the sequel.

In 2006, he helped to launch the National Youth Theatre's 50th-anniversary programme along with Sir Ian McKellen, Timothy Spall, Diana Quick, Paula Wilcox, Jonathan Wrather, newsreader Krishnan Guru-Murthy, and Little Britain ' s Matt Lucas and David Walliams.

2010s
In 2011, Payne appeared in the horror film Prowl as a "blatantly untrustworthy" "hillbilly truck driver" named Bernard. Matt Withers, who reviewed the film for JoBlo.com, stated that "Bruce Payne shows up as a trucker in a throwaway role that he makes anything but". Payne also appeared in Carmen's Kiss (an adaptation of the Georges Bizet opera Carmen).

In 2012, Payne voiced a demon in the found-footage horror film Greystone Park (also known as The Asylum Tapes).

In 2013, Payne appeared in the Warner Bros. action film Getaway. Payne also appeared in the action film Vendetta as a sinister Whitehall mandarin named Mr. Rooker. One reviewer of the film gave it eight out of ten and stated that Payne "nearly steals the movie with a plum role as the icy head of British black ops". In addition, Payne portrayed Auschwitz camp commandant Rudolf Hoess n a "superciliously evil" manner, in the French film Victor Young Perez, which concerns the life of the Tunisian Jew flyweight boxer Victor Perez.

In 2015, Payne played Winston, a religious fanatic, in the horror film Re-Kill.

In 2018 Payne appeared in the anthology film London Unplugged, which premiered at the East End Film Festival.

In 2019 Payne was nominated in the category of Best Actor in a Feature Film at the FANtastic Horror Film Festival in San Diego, for his performance as Jacob in the horror film Acid Pit Stop.

2020s
Payne played the main antagonist in Creators: The Past (which he also produced and acted as assistant director for), which was released in 2020 in Italy.

In 2021 Payne gave a "brief but stunning turn as Damien, the arch bad guy" in British gangster thriller Nemesis. Carl Marsh stated that one scene in the film with Payne's character (Damien Osborne) and Billy Murray's character (John Morgan) reminded him of Robert De Niro and Al Pacino meeting in the Michael Mann film Heat and "was masterful". Chris Gelderd stated that "Payne is the perfect intimidating big-boss going up against Murray's cool and care-free kingpin".

Payne has been cast as Frank Warren in Michael-The Michael Watson Story, a biopic of boxer Michael Watson. He is also cast in sequel of the Finnish superhero film, Rendel 2: Cycle of Revenge.

Other media
Music videos

 * Neil Young- Over and Over (1990) as a Stanley Kowalski esque character. Directed by Julien Temple.

Television advertisements

 * NatWest (1983) as a punk youth.
 * Budweiser Bud Ice (1995) as a sinister spokesman.

title: Bruce Payne


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User:Cdnmd

Did you revert the page on Queen of Canada? All the history and recent discussion appears to have been wiped in so doing....

title: User:Cdnmd


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Keith Carney

Keith Edward Carney (born February 3, 1970) is an American former professional ice hockey defenseman. He last played for the Minnesota Wild of the National Hockey League (NHL) in the 2007–08 season.

Playing career
Keith Carney was drafted 76th overall in the 1988 NHL Entry Draft by the Buffalo Sabres, after attending the prestigious Mount Saint Charles Academy. He then played for the University of Maine. On March 8, 1992, Keith made his NHL debut in a match against the New York Islanders. Two weeks later on March 22, he scored his first goal in the NHL against the Chicago Blackhawks. After playing 14 games that rookie season, he then played 30 games at the NHL level the following campaign.

He was traded from Chicago to the Phoenix Coyotes in 1998 for Chad Kilger and Jayson More. He played for the Team USA during the 1998 Winter Olympics.

In the summer of 2001, Keith was traded by Phoenix to the Mighty Ducks of Anaheim for a 2nd-round pick in the 2001 NHL Entry Draft.

On March 9, 2006, he was traded to the Vancouver Canucks in exchange for a second-round draft pick and defensemen Brett Skinner.

On July 1, 2006, he signed a 2-year, $4.2 million contract with the Minnesota Wild.

Carney was captain of the Minnesota Wild in December 2006.

In his 2006-07 regular season with the Minnesota Wild, he set a Minnesota Wild franchise record in Plus/minus finishing the season with a +22.

On February 24, 2008, Keith Carney played in his 1,000th NHL game, becoming only the 29th American (14th active defenseman at the time, and since the conclusion of the 2007/2008 NHL season) to accomplish this honor.

On April 11, 2008, in game 2 of the Western Conference Quarterfinals against the Colorado Avalanche, playing with the Minnesota Wild, he became the oldest defenseman to score an overtime goal in NHL playoffs history at 38 years of age.

On November 11, 2008, Keith Carney retired after 17 years in the NHL. Keith and his family live in Paradise Valley, Arizona.

On January 15, 2009, Carney signed a playoffs contract with Swiss National League club SC Bern.

In September 2009, he accepted an invitation to the Vancouver Canucks main training camp to try to earn an NHL contract. After further reflection he decided instead to retire for a second time. He was a scout for the Chicago Blackhawks from 2009 to 2011, and received a Stanley Cup ring with the Blackhawks in 2010. He currently coaches a youth hockey team in Paradise Valley, Arizona.

title: Keith Carney


text: Wikipedia:Picture of the day/June 10, 2005


text: Wikipedia:POTD/June 10, 2005

title: Wikipedia:POTD/June 10, 2005


text: Template:San Diego County, California

title: Template:San Diego County, California


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KLAX-FM

KLAX-FM (97.9 MHz) is an American commercial radio station located in East Los Angeles, California, broadcasting to the Greater Los Angeles area. It is owned by Spanish Broadcasting System (SBS). KLAX-FM airs a regional Mexican music format branded as "La Raza". The station has studios in Los Angeles, and its transmitter is based in Glendale.

KNOB
The station began broadcasting on April 22, 1949, holding the call sign KNOB. It originally broadcast at 103.1 MHz and was licensed to Long Beach, California.

On August 18, 1957, the station switched to an all jazz format, becoming the world's first all-jazz station. It was branded "The Jazz Knob". Its owner was Sleepy Stein, who was able to get permission from the Federal Communications Commission for a power increase by switching the frequency to 97.9 in 1958. It broadcast from a studio at their transmitter site atop Signal Hill, near Long Beach Airport. The building and tower remain to this day, though the station has moved away to Flint Peak near Glendale. The station's original high-power transmitter was a Western Electric 10 kW that had previously been installed at KNX-FM.

In 1966, the station was sold to Jeanette Pennino Banoczi and husband Jack Banoczi, owners of the Pennino Music Company, for $262,850. KNOB's studios were moved to Anaheim, California. Later that year, the station switched to an all-request middle of the road (MOR) format, with ethnic programming on Sundays.

KNOB would later air a beautiful music format. In the early 1980s, the station began airing a syndicated MOR format. In September 1985, it adopted a soft adult contemporary "love songs" format branded "For Lovers Only".

KSKQ-FM
In 1988, KNOB was sold to Spanish Broadcasting System for $15 million and its call sign was changed to KSKQ-FM. The station aired a Spanish-language adult contemporary format.

KLAX-FM
In 1992, under the direction of general manager Alfredo Rodriguez, KSKQ-FM was turned into a Banda music station, KLAX-FM, branded "La Equis". In January 1993, KLAX-FM became the most-listened-to station in the market, the first Spanish-language station in Los Angeles to achieve this.

In 1998, KLAX-FM moved its city of license from Long Beach to East Los Angeles. In 2002, KLAX dropped the contemporary hits and went to a more focused regional format as "La Raza 97.9". In March 2017, KLAX began carrying the morning show hosted by Terry "El Terrible" Cortez, Kristel "La Kristy" Yañez, and Johnny "El Perro" Orta, of WLEY, "La Ley 107.9" in Chicago. The program also airs on KRZZ in San Francisco. Before joining KRZZ in 2014, Cortez and Yañez had been part of Eddie "Piolín" Sotelo's syndicated morning show for 12 years.

Immigration debate
Renán "El Cucuy" Almendárez Coello, the station's morning show host, helped coordinate a demonstration held on the streets of downtown Los Angeles on March 25, 2006. The event drew an estimated 500,000 participants and was a springboard to further similar events held throughout the United States. The protesters marched in opposition to H.R. 4437, a proposal Congressional law that would theoretically make illegal immigration to the U.S. more difficult. Coello received attention in various media following the original protests, including an appearance on Tom Leykis' English-language radio talk show.

title: KLAX-FM


text: User talk:81.153.233.157

title: User talk:81.153.233.157