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Joomla

Joomla, also styled Joomla! (with an exclamation mark) and sometimes abbreviated as J!, is a free and open-source content management system (CMS) for publishing web content on websites. Web content applications include discussion forums, photo galleries, e-Commerce and user communities, and numerous other web-based applications. Joomla is developed by a community of volunteers supported with the legal, organisational and financial resources of Open Source Matters, Inc.

Joomla is written in PHP, uses object-oriented programming techniques, simple software design patterns, and stores data in a Structured Query Language (MySQL/MariaDB) database. Joomla includes features such as page caching, RSS feeds, blogs, search, and support for language internationalisation. It is built on a model–view–controller web application framework that can be used independently of the CMS.

There are over 5,000 third-party extensions listed in the Joomla! Extensions Directory.

Joomla's is about the fifth most-used open source CMS written in PHP used in websites world-wide.

2005–2007
Joomla was the outcome of a fork of Mambo on August 17, 2005. At that time, the Mambo name was a trademark of Miro International Pvt. Ltd., which formed a non-profit foundation with the stated purpose of funding the project and protecting it from lawsuits. The Joomla development team claimed that many of the provisions of the foundation structure violated previous agreements made by the elected Mambo Steering Committee, lacked the necessary consultation with key stakeholders, and included provisions that violated core open source values.

Joomla's original co-founders, Andrew Eddie, Brian Teeman, Johan Janssens, Jean-Marie Simonet, et al., established Open Source Matters, Inc. (OSM) to distribute information to the software community. Project leader Eddie wrote a letter that appeared on the announcements section of the public forum at mamboserver.com. Over a thousand people joined OpenSourceMatters.org within a day, most posting words of encouragement and support. Miro CEO Peter Lamont responded publicly to the development team in an article titled "The Mambo Open Source Controversy—20 Questions With Miro". This event created controversy within the free software community about the definition of open source. Forums of other open-source projects were active with postings about the actions of both sides.

In the two weeks following Eddie's announcement, teams were reorganised, and the community continued to grow. Eben Moglen and the Software Freedom Law Center (SFLC) assisted the Joomla core team beginning in August 2005, as indicated by Moglen's blog entry from that date and a related OSM announcement. The SFLC continues to provide legal guidance to the Joomla Project as one of OSM's partners.

On August 18, Eddie called for community input to suggest a name for the project. The core team reserved the right to make the final naming decision and chose a name not suggested by the community. On September 22, the new name, Joomla!, was announced. It is the anglicised spelling of the Swahili word jumla, meaning "all together" or "as a whole," which also has a similar meaning in at least Amharic, Arabic, Turkic languages and Urdu. On September 26, the development team called for logo submissions from the community and invited the community to vote on the logo; the team announced the community's decision on September 29. Beginning in October 2005, guidelines covering branding, licensing, and use of the registered trademark were published.

2008–2011
On January 28, 2008, the first major revision to Joomla was announced:

Joomla 1.5 was popular but criticised for its inflexible and limited approach to access control. Independently of the project, Andrew Eddie and Louis Landry created a company called JXtended to continue the development of Control—an ACL component—that could integrate with Joomla 1.5. In July 2009, Eddie presented his ideas to the Joomla User Group Brisbane.

In July 2009 of that year, the Joomla project announced a restructuring of its management: a new Joomla Leadership Team replacing the Core Team that had originally led the project. This redefined the role of the team leading the project and structured it more around community involvement in events, the Google Summer of Code projects, and other activities; the intention of the new approach to team-building was also an effort to increase community participation in the development process instead of relying upon a small group of coders to do most of the work.

According to Google Trends, interest in Joomla peaked around the period 2009–2010. In January 2011—largely as the result of the collaboration between Eddie and Landry—a second major revision of Joomla was released: Joomla 1.6.

Prior to the stable release of Joomla 1.6, Eddie relinquished his roles on OSM's board and project leadership; Louis Landry announced his retirement from the project the following year. Following Eddie's departure in September 2011, OSM sought feedback from the community, including the possibility of constituting the governing body under a new name, to restructure the board's membership and project leadership.

Molajo
In 2010, with preparations for Joomla 1.6 nearly completed, Amy Stephen, Klas Berlic, Marco Barbosa, Matt Thomas, et al. started a project to refactor the Joomla code. Code-named Molajo (an anagram of Joomla), the group felt that the existing Joomla CMS hindered end-users and developers adopting Joomla because (a) the Joomla CMS did not offer a range of packages containing themed sets of web applications—like other CMS products had been doing for some time—and (b) the traditional MVC approach decreased developers' productivity in creating new components for Joomla.

Community reaction to Molajo was mixed. Some commentators claimed that it was a fork of the Joomla CMS—a claim strongly rejected by Stephen—while others contended that its activities would undermine the future of the Joomla CMS. Against these headwinds, Molajo made its public debut at the J and Beyond conference in the Netherlands in 2011.

Lacking support from OSM, an enthusiastic following from the Joomla community, and unable to progress beyond pre-Alpha status, Molajo collapsed around the middle of 2015.

2012–2014
In January 2012, another major revision was announced: Joomla 2.5 (essentially bringing together the two previous minor releases from the preceding year). Joomla 2.5 brought much sought-after enhancements, a new API making it easier for novice users, additional multilanguage capability and the ability for users to update with "one-click".

Shortly after the release of Joomla 2.5, work was under way on Joomla 3.x. Joomla 3.x was focused on mobile-friendly websites on the front-end as well as a more intuitive back-end. With greater ease in site navigation and a more user-friendly means of editing Joomla site content, Joomla 3.x became the most popular version of the CMS, eventually making all previous versions obsolete.

In March 2014, after seeking community feedback and a submission from the Production Leadership Team, a newly constituted OSM board approved changing the licensing for the framework from GPLv2 to LGPL. Although the proposal only affected the licensing of the framework and not the CMS, the decision sparked a fierce debate within the community. In the end, the framework did not adopt LGPL and is still licensed under GPLv2.

In August 2014, the Joomla CMS development team released a plan for new version releases.

Towards the end of 2014—three years after calling for feedback about ways to reorganise the project and with Joomla 3.x into its fourth minor revision—the community discussed the leadership structure changes. Eddie, although no longer an active contributor to the project, argued that the code for Joomla 3.x was "too fat and heavy to maintain with the current level of contribution"; he recommended mothballing the current CMS series and developing a less cumbersome Joomla 4. Eddie went further to criticise OSM's vision, entrepreneurship, and management of the project. Other commentators also expressed their opinion that OSM had become dysfunctional.

2015–2018
Criticism mounted about the plan for future development of the Joomla CMS. An opinion written in May 2015 by Nicholas Dionysopoulos (founder of Akeeba Ltd.) shared some of Eddie's earlier observations about OSM's lack of vision, entrepreneurship, and ability to manage the project. Dionysopoulos disagreed with Eddie about the major cause of problems with Joomla 3.x; it was Dionysopoulos' view that the cause of most problems with Joomla 3.x lay within "the processes of Joomla! the organisation".

Dionysopoulos' views gathered momentum within the community and led to the formation of the Joomla 4 working group (which later became the Joomla X working group).

In March 2017, the project announced the retirement of Joomla 3 and unveiled its plans to develop Joomla 4. This effectively brought an end to the work of the Joomla X working group (although it would be another two years before that Joomla X working group's activity was placed in "archived" status).

In an effort to improve the relationship with the community, the development team revised the 2014 plan and, in June 2018, produced a new roadmap with the expectation that Joomla 4.0 would be released in a stable form before the end of 2018. During the period 2017-2018, the developers created six alpha test releases for Joomla 4.

2019–2020
In January 2019, the developers released an updated plan revising previously announced estimated time frames; the roadmap was revised several times during 2020.

Community concerns intensified about the handling of the Joomla project—two years after announcing plans to retire Joomla 3 (but having already released two minor versions with plans for a third)—and by the end of 2019, a further six alpha test releases of Joomla 4 were produced for public discussion. On one hand, some people questioned whether the community had lost its influence in driving the project, while, from the developers' viewpoint, the other side defended the project by observing that things would be more productive if the community had been more actively engaged in testing, rather than criticising, the alpha releases. These discussions revealed a growing sense of division between developers on one side and end users on the other.

A lengthy debate that started in March 2019 and initially focused on the aesthetics and usability of the Joomla 4 backend interface highlighted an overall sense of disappointment with management and progress of the project. Although the debate was weighted heavily on criticising the backend aesthetics, people on all sides of the discussion aired their dissenting opinions about why the Joomla 4 project had become distracted by feature creep, software bloat, eventual cost overrun and lack of trust.

Against a background of unrelenting criticism from within the community and declining popular interest in Joomla at the time a conference was held in January 2020 to develop a strategy for the future. The conference identified several key areas for further work but basically accepted the premise that faults related mainly to the project's organisational framework rather than the quality of the product.

On May 28, 2020, the Joomla team disclosed that a data breach had occurred that potentially affected 2,700 users by exposing their personal details. The incident was discovered by an internal audit of the website that also highlighted the presence of superuser accounts owned by individuals outside OSM. Although no evidence was found of any unauthorised access to personal information, action was immediately taken to mitigate the risk, including a requirement for all users to change their passwords.

The COVID-19 pandemic impacted Joomla's planned events, resulting in the cancellation of the main world-wide conferences.

On 21 June 2020 OSM President Rowan Hoskyns Abrahall resigned citing personal difficulties. It later transpired that OSM Board had not been publicly forthcoming about matters relating to the several claims for reimbursement of Abrahall's expenses that were deemed to be outside OSM's financial policy and, further, that Abrahall now owed money to OSM; the matter received some independent coverage and analysis. This matter caused a chain of events: Abrahall declared bankruptcy in order to forfend her debt to OSM; Abrahall commenced defamation proceedings against OSM; OSM Board was reorganised; Abrahall's successor, Brian Mitchell, was dismissed.

On 17 August 2021, Joomla version 4.0 was released (some six years after work had begun). This was a major milestone release for the Joomla project.

Developers
Joomla is maintained as an open-source project by a community of volunteers and licensed under the GNU General Public License on an "as is" basis, without any warranty of any kind, including implied warranties of merchantability and fitness for a particular purpose. The source code of Joomla is maintained on GitHub. The top three most popular public forums for discussing Joomla and seeking technical advice are The Joomla Forum, Joomla on Stack Exchange, and Mattermost.

Overall responsibility for planning and release of new software is vested in OSM.

It has a software dependency on some Symfony components and other open source libraries including the Joomla Framework components.

Development lifecycle
Joomla adopted a new development strategy with the introduction of 1.6. The basic idea was to facilitate a continuous publication of Standard Support Release (SSR) intended to ensure that user requests were incorporated into the Joomla core more quickly and stabilised for the benefit of future releases. Many users were critical of the rapid change between major releases, especially when complex applications had been independently developed for a Joomla website and the website owner had to update the core in order to receive current security updates.

In April 2014 the developers announced that the previous system consisting of different LTR (Long Term Release) and STR (Short Term Release) version rails would be abandoned in favour of a linear version cycle. The first release after this change was version 3.3.1.

Security
Joomla installations are repeatedly the target of attacks, especially in the form of so-called defacements, but probably no more so when compared to other websites on the internet. Third-party extensions can add additional security risks that may be exploited by malicious actors: a list of vulnerable extensions is maintained on an ad hoc basis. While programming-related security flaws occur, the majority of security issues arise from people failing to perform regular maintenance as opposed to the intentional exploitation by the malicious actions of others. Joomla addresses reported security concerns through its Security Strike Team.

General
The Joomla project manages its activities (e.g. trademarking, licensing, marketing, software development, documentation, media releases, etc.) through dedicated teams under the umbrella of Open Source Matters, Inc. Membership of these teams is voluntary but admission is tightly controlled. Only approved team members are allowed to elect team leaders and the members of OSM Board.

In a broad sense, the Joomla project is aligned with WordPress, Drupal and Typo3 to address their concerns with the EU Cyber Resilience Act.

Conferences
J and Beyond was an annual conference primarily catering to Joomla developers and site integrators. Hosted in Europe typically around May, it served as a key gathering for professionals involved in Joomla-related projects. The 2024 conference was cancelled owing to poor ticket sales.

Financial support
Joomla is primarily funded by private sponsorships that offset OSM's operational costs; these costs include taxes, accounting, presence at ground events, operation of domains, and so forth. The project receives the rest of its revenue from website advertising, commissions, examination fees, and Google Summer of Code.

Extensions
Independently of the Joomla development team, other people have created additional software—collectively called extensions—to extend the range of applications that Joomla website owners may require. As with all third-party software products—some of which may be offered free-of-charge or licensed under conditions that may vary from the core Joomla CMS—there can be further complications (e.g incompatibility with higher versions of Joomla). Extensions that were developed for older versions of the Joomla CMS are often a reason why website owners are unable to upgrade their existing CMS to a higher version. The Joomla project does not endorse or recommend extensions created independently of the CMS development team nor does it offer any support for problems that may arise through the use of these products.

Joomla User Groups (JUGs)
The so-called JUGs are local groups of Joomla users and developers who meet regularly to exchange information about Joomla and plan projects (e.g. workshops).

title: Joomla


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Llanwarne

Llanwarne is a village and civil parish in Herefordshire, England. The population of the civil Parish as taken at the 2011 census was 380. It is about 5 mi from the Welsh border, is approximately 6 mi north-west of Ross-on-Wye, and near Harewood End and Pencoyd.

Llanwarne is derived from "The church by the swamp/marsh or alders", according to The Oxford Dictionary of English Place-Names.

Landmarks
According to the 1856 Kelly's Directory of Herefordshire there was a Wesleyan Chapel on the ridge to the north of the village at Turkey Tump. The 1913 Kelly's mentions Broom-y-clos Court. It describes Lyston Court as "a noble residence of stone, with 44 acres of park and grounds". The rectory was noted as adjacent to the site of the ruined church of St John.

Christ Church
Christ Church replaced the previous Church of St John the Baptist, which contained a chancel and nave built in the 13th century, later alterations, a rebuilt south aisle, and 14th-century churchyard cross. A tower, columbarium and a lych gate were added during the 15th century, and in the 16th an Elizabethan monument was placed on the south wall. The porch and doorway were built in the 17th century. This church was replaced by the current Christ Church, which is situated across the road on higher ground slightly to the west of the original site.

Christ Church dates to 1864, when it was built by Elmslie at a cost of £2,550. It is a cruciform building in the Early English Decorated Style, consisting of a polygonal chancel with vestry to the south, two-bay nave, transepts, north porch and a north-western tower, with spirelet. As a Grade II listed building, it is a significant example of Victorian craftsmanship, and holds a number of artifacts from the old church. The tiled floor is 19th century. The north-east, east and south-east windows depict the Nativity, Crucifixion and Resurrection, and are in memory of Walter Baskerville Mynors, rector from 1855 to 1896. The south transept contains an 1882 pipe organ by Eustace Ingram of London. Two windows on the south side of the nave contain a collection of 16th century stained glass round windows from the Netherlands, originally believed to portray traditional and biblical scenes. These windows show scenes from the late medieval Dutch morality tale Sorgheloos. Donated by Walter Baskerville Mynors (1826–1899), parish rector, the glass had been removed from the parish church of St Weonard's in 1884.

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

title: Llanwarne


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A Damsel in Distress (1937 film)

A Damsel in Distress is a 1937 American English-themed Hollywood musical comedy film starring Fred Astaire, George Burns, Gracie Allen and Joan Fontaine. Loosely based upon P.G. Wodehouse's 1919 novel of the same name, and the 1928 stage play written by Wodehouse and Ian Hay, it has music and lyrics by George and Ira Gershwin, and was directed by George Stevens, the second (and last) Astaire musical directed by Stevens; the first was Swing Time.

Plot
Everyone on staff at Totleigh Castle knows that the lovely Lady Alyce Marshmorton must marry soon, so a wager is proposed as to the identity of the lucky man. With all the likely candidates already claimed, young footman Albert places a bet on a "Mr. X", someone totally out of the blue.

Lady Alyce secretly has a romantic interest in an American no one from her family has yet met. She leaves the castle one day to venture into London, where by chance she encounters Jerry Halliday. He is an American entertainer, accompanied by press agent George and secretary Gracie, but he is not well enough known to be recognized by Lady Alyce.

Jerry is incorrectly led to believe that he is the American that Lady Alyce is in love with. He goes to the castle, encouraged by Albert but discouraged by Keggs, a scheming butler whose money is on another beau. The closest Jerry can get to Lady Alyce is a castle tour, at least until Albert can sneak him upstairs.

False impressions abound, as Jerry also fails to recognize Lady Alyce's father, the lord of the manor. He is slapped in the face in a Tunnel of Love, misunderstanding the young lady's intentions entirely. In the end, however, he and Lady Alyce do find romance.

Cast

 * Fred Astaire as Jerry
 * George Burns as George
 * Gracie Allen as Gracie
 * Joan Fontaine as Lady Alyce
 * Reginald Gardiner as Keggs
 * Ray Noble as Reggie
 * Constance Collier as Lady Caroline
 * Montagu Love as Lord Marshmorton
 * Harry Watson as Albert
 * Jan Duggan as Miss Ruggles

Overview
The film was made at George Gershwin's instigation, an enthusiasm that Wodehouse mischievously attributed to the fact that his novel was about a successful American songwriter named George Bevan. Gershwin died of brain cancer while the film was in production. It was released four months after his death.

For this, the first Astaire RKO film not to feature Ginger Rogers, the nineteen-year-old Fontaine was chosen. It soon emerged that Fontaine could not dance, but Stevens persuaded Astaire not to replace her with Ruby Keeler. The film was the first Astaire film to lose money, costing $1,035,000 to produce and losing $65,000.

In mid-1937 Burns and Allen and Ray Noble were working together elsewhere—Noble was bandleader for their NBC-Red radio show.

Charley Chase was originally supposed to appear in the film as Jerry’s valet. However, he had to drop out due to poor health and his part was rewritten for Burns and Allen.

The "Fun House" sequence garnered co-choreographer Hermes Pan the 1937 Academy Award for Best Dance Direction. Carroll Clark was nominated for the Academy Award for Best Art Direction

Orchestrator Robert Russell Bennett and conductor Victor Baravalle had previously worked together on the original stage production of Show Boat, as well as the 1936 film version. They would work together twice more, on the Astaire-Rogers films Carefree (1938) and The Story of Vernon and Irene Castle (1939), before Baravalle's sudden death in 1939.

The film was nominated for the American Film Institute's 2006 list AFI's Greatest Movie Musicals.

Key songs and dance routines
The choreography explores dancing around, past, and through obstacles, and in confined spaces.

 * "I Can't Be Bothered Now": sung by Astaire while executing a tap solo with cane in the middle of a London street and escaping on a bus.
 * "Put Me to the Test": Astaire, Burns, and Allen comic tap dance with whisk brooms, a routine inspired by vaudeville duo Evans and Evans and introduced to Astaire by Burns, who quipped: "Gracie and I ended up teaching Astaire how to dance".
 * "Stiff Upper Lip": sung by Gracie Allen, followed by the "Fun House" dance sequence by Astaire, Burns, and Allen through an amusement park funhouse, complete with hall of mirrors.
 * "Things Are Looking Up": Astaire sings one of Gershwin's "most beautiful, yet underappreciated ballads", followed by a romantic dance through the woods with Fontaine, where George Stevens uses trees to hide Fontaine's terpsichorean shortcomings.
 * "A Foggy Day (in London Town)": Astaire introduces what has become a standard in the Great American Songbook, sung while alternately walking and dancing solo through a wooded landscape. It was later featured heavily in the film The Notorious Landlady, which featured Astaire in a supporting role.
 * "Nice Work If You Can Get It": the film's second Gershwin standard is introduced by Astaire and chorus, followed by an Astaire tap solo, executed while confined by and playing a set of drums. It was shot in one continuous take.
 * The movie also features two faux madrigals written by the Gershwins: "Sing of Spring" and "The Jolly Tar and the Milkmaid". These are performed by a group of madrigal singers, with Astaire joining in on the latter song.

Notes and references

 * Green, Stanley (1999) Hollywood Musicals Year by Year (2nd ed.), pub. Hal Leonard Corporation ISBN 0-634-00765-3 page 75

title: A Damsel in Distress (1937 film)


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Wat Suthat

Wat Suthat Thepwararam (วัดสุทัศนเทพวราราม, ) is a Buddhist temple in Bangkok, Thailand. It is a royal temple of the first grade, one of ten such temples in Bangkok (23 in Thailand). Construction was begun by King Rama I in 1807. In the beginning, it was initially called "Wat Maha Sutthawat" (วัดมหาสุทธาวาส) and was located in a combretum grove. Further construction and decorations were carried out by King Rama II who helped carve the wooden doors, but the temple was not completed until the reign of King Rama III in 1847 or 1848. This temple contains the Buddha image Phra Sri Sakyamuni (พระศรีศากยมุนี; ) which have been moved from Sukhothai Province. At the lower terrace of the base, there are 28 Chinese pagodas which symbolize the 28 Buddhas born on this earth. Wat Suthat also contains Phra Buddha Trilokachet (พระพุทธไตรโลกเชษฐ์; ) in the ubosot (ordination hall) and Phra Buddha Setthamuni (พระพุทธเศรษฐมุนี; ) in the sala kan parian (meeting hall).

In 2005, the temple was submitted to UNESCO for consideration as a future World Heritage Site.

Preta of Wat Suthat

The temple dates back to the beginning of the Rattanakosin Kingdom. At the time, it was said that preta (เปรต, pret), a kind of undead in Buddhist and Siamese belief often depicted as a tall hungry ghost with a thin body and a scary howling cry, appeared in front of the temple at night. One mural in the ordination hall of this temple, also shows painting of one preta lying to feed water from the monks. This gave rise to the saying "Pret Wat Suthat" (เปรตวัดสุทัศน์), often paired with "Raeng Wat Saket" (แร้งวัดสระเกศ, "vultures of Wat Saket"). The Sao Chingcha, or Giant Swing, a towering Hindu structure stands in front of the temple.

title: Wat Suthat


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David Mirvish

David Mirvish, (born August 29, 1944) is a Canadian theatre producer, impresario, and art collector. He owns and operates Toronto-based theatrical production company Mirvish Productions, which he founded with his father in 1986. He has also produced and presented several productions on Broadway and in London's  West End.

Mirvish is also a prominent art collector, having amassed a large collection of Canadian and international works, including from renowned artists Frank Stella and Jules Olitski. Between 1963 and 1978, he owned and ran an art gallery and museum, David Mirvish Gallery. He also owned an independent bookstore specializing in art and design between 1974 and 2009.

Personal life
Mirvish is the only child of Anne Lazar Macklin, an artist, and "Honest" Ed Mirvish, who was a Toronto businessman and owner of the discount department store, Honest Ed's. He is Jewish.

Mirvish married his high-school sweetheart Audrey in 1967. They have three children, Jacob, Hannah, and Rachael.

He has contributed to, and partnered with, many non-profit organizations, charities and other philanthropic organizations, including the Toronto Public Library, the Toronto Arts Foundation, and Kids Up Front. In 2023, he worked with The Thirty Birds Foundation to provide Kabul school girls who had fled Afghanistan with access to tickets to shows, including the Canadian production of Harry Potter and the Cursed Child.

Mirvish Productions
In 1986, Mirvish co-founded Mirvish Productions with his father, with the purpose of producing and presenting large-scale original works at the Royal Alexandra Theatre, and, in 1993, the newly built Princess of Wales Theatre. Following his father's retirement, Mirvish took over control of the Royal Alexandra Theatre, which was initially purchased as a temporary venue for touring productions.

Mirvish experienced early success with Canadian productions, such as  Les Misérables (1989-1990), Miss Saigon (1993-1995),  Crazy for You (1993-1995), and  Beauty and the Beast (1995-1997). After productions of  Tommy (1995) and  Jane Eyre (1996-1997) were less successful, Mirvish once again found continued success with other large-scale musicals. In 1999, Mirvish announced they would be launching a Canadian sit-down production of  The Lion King, which premiered at the Princess of Wales Theatre in March 2000. Also that same year,  Mamma Mia! made its North American premiere at the Royal Alexandra Theatre. After its success, Mirvish opened a Canadian sit-down production of the musical which ran for five years. After declining theatre attendance because of the SARS outbreak, The Lion King closed in January 2004 and Mamma Mia closed in May 2005.

In 2005, he partnered with Kevin Wallace, Saul Zaentz, and Michael Cohl to produce The Lord of the Rings, a stage musical adaptation based on J. R. R. Tolkien's novels of the same name. The world premiere production opened in March 2005, and cost an estimated $30 million. The musical closed on September 3, 2006, following poor sales and negative reviews. The musical, which was advertised as the most expensive stage production in North American history, was unable to fully repay its investors.

In 2008, Mirvish finalized a deal to acquire both the Canon Theatre and the Panasonic Theatre. The sale was challenged by Aubrey Dan, but Mirvish ultimately prevailed, giving him two Yonge Street theatres. The Canon Theatre was later renamed the Ed Mirvish Theatre in honour of his father.

In 2018, Mirvish mounted a sit-down production of the Canadian musical Come from Away at the Royal Alexandra Theatre. As a result of the production's success, the production was relocated to the Elgin Theatre in 2019 to accommodate the new Canadian sit-down production of Dear Evan Hansen, which was promised the Royal Alexandra Theatre. Come from Away later returned to the Royal Alexandra Theatre, and, after a hiatus because of the COVID-19 pandemic, returned in December 2021. However, the musical permanently closed after only a few performances amidst tightened pandemic restrictions that were re-introduced. Come from Away played 855 performances in Toronto, making it the longest-running Canadian show and musical.

In May 2022, a Canadian production of Harry Potter and the Cursed Child premiered at the Ed Mirvish Theatre. The theatre underwent an extensive $5 million renovation and set a Canadian weekly box office record for a non-musical play, grossing an estimated $2 million in sales. By the time the play closed, Harry Potter and the Cursed Child set a record for the longest running professional play in Canadian history.

In November 2023, Mirvish announced that the The Lion King would return to Toronto for an open-ended run at the Princess of Wales Theatre. According to Mirvish, this would be the first time in North America that a city will host a second sit-down production of the musical, with the original Canadian production having run from 2000 to 2004.

The Old Vic
In 1982, Mirvish and his father purchased The Old Vic, a performing arts theatre when it was placed for sale. Mirvish's winning bid was approximately, £550,000, outbidding Andrew Lloyd Webber. They immediately began renovating and refurbishing the theater. The theatre reopened on October 31, 1983 with The Queen Mother in attendance.

In 1987, Mirvish installed Jonathan Miller as artistic director. They experienced a string of critical and commercial success, including winning an Olivier Award for a production of the musical Candide. However, after three consecutive years of mounting financial losses, Miller resigned in 1990. Sir Peter Hall was also appointed artistic director of The Old Vic. Under Hall's direction, the company experienced success with productions of The Master Builder and Waiting for Godot. Despite the successes, the financial losses continued. By 1998, Mirvish sold The Old Vic to a charitable trust, which has continued operating the theatre as a non-profit.

Art collections
Mirvish began his career as an art collector in 1963, when he was 19 years old. That same year, he opened his first business, David Mirvish Gallery, to display contemporary Canadian, American and British art. In 1974, he opened David Mirvish Books, an independent bookstore dedicated to books on art and design. The bookstore closed in 2009.

Since the closure of the art gallery in 1978, Mirvish continues to buy and sell Canadian and international artwork as a private collector. In addition, he lends works to museums and occasionally puts them on display in his theatres.

David Mirvish Gallery
In 1963, at the age of 19, Mirvish opened an art gallery that specialized in American abstract painters of the 1960s and 1970s known as the Color Field school. The David Mirvish Gallery was one of the first businesses to open in the new Markham Street community, which later became known as Mirvish Village.

The gallery primarily showcased Color Field and Post-painterly Abstraction works. Over the next 15 years, through approximately 130 exhibitions, the gallery became a focal point of Toronto's cultural life and was considered a pillar in the establishment of the abstract art movement in Canada. By the mid-1970s, Mirvish found that much of the artwork that interested him and that he wanted to display had decreased in popularity. Despite this, the gallery continued to provide both inventory and expertise to a number of commercial art dealers worldwide and to lend works to scholarly exhibitions even after closing public exhibitions in the summer of 1978.

David Mirvish Books
In 1974, Mirvish opened an independent bookstore, David Mirvish Books, which specialized in books on visual arts, architecture, photography, design and film. The bookstore was originally located directly across the street from his art gallery, and located near Honest Ed's. However, upon closure of his art gallery in 1978, the bookstore relocated into its premises.

In a similar spirit to his father's company, the bookstore sought to offer quality products at good value. The store also featured a 50-foot wall painting by Frank Stella, Damascus Gate, Stretch Variation. The bookstore developed a cult following, and was popular among arts students and researchers since it offered many out-of-print books on art and design.

The store closed in 2009, citing the changing retail market for small independent bookstores and uncertain economic market at the time.

Real estate ventures
In 1999, Mirvish worked with Toronto real-estate developer Harry Stinson to purchase the building at 1 King Street West in downtown Toronto, and transform it into a mixed-use development featuring luxury condominiums, hotel suites, and commercial office space. The property became known as  One King West. The redevelopment and renovation project began in 2000, and cost an estimated $95 million. The luxury condos opened in 2006, however, later that year, Mirvish dissolved the partnership with Stinson. Mirvish accused Stinson of owing him $11.8 million that was overdue. In response to Mirvish's demand for payment, Stinson filed for bankruptcy protection. This dispute led to Mirvish retaining some of the more valuable parts of the property, which included three penthouses and ownership of unsold units. Mirvish eventually ended up selling off these assets.

In August 2010, Mirvish announced that he would provide a 9,765 square foot space to Theatre Museum Canada. This provided the mostly online museum with its first permanent space for exhibition.

In September 2012, Mirvish unveiled plans to demolish the Princess of Wales Theatre, where it would be replaced as part of a development project designed by renowned architect Frank Gehry. The plan included the construction of three condominium towers, referred to as "sculptures", and a large public gallery called the Mirvish Collection, which would showcase Mirvish's extensive art collection. Additionally, the project aimed to create a new campus for OCAD University, which would integrate cultural and educational elements into the residential complex. Although admitting he was hesitant to destroy the theatre, Mirvish still believed that this project would combine residential spaces with significant cultural amenities, and improve Toronto's reputation as a global cultural destination.

This plan faced significant criticism and was ultimately rejected by Toronto Council due to concerns about over-densification, the towers' height, and the area's historical value as a cultural hub. In response to these objections, Mirvish substantially revised his plans. In May 2014, he unveiled a new proposal that retained the Princess of Wales Theatre while still pursuing a major development project. The revised plan reduced the number of towers from three to two, with heights of 92 and 82 storeys, respectively. This modification decreased the overall density by 25-30% and reduced the number of residential units by 600. The new design also incorporated a public square between the towers at street level and maintained space for art exhibitions. This compromise addressed many of the city's concerns while still allowing for significant development. This received support from the city's planning department, with Chief Planner Jennifer Keesmaat stating they were "substantively towards agreement".

Other ventures
Between 2002 and 2005, Mirvish was a member of the Board of Trustees of the Royal Ontario Museum and the National Gallery of Canada.

In February 2012, Mirvish was appointed the 8th Chancellor of the University of Guelph and was installed as Chancellor at the June 2012 convocation ceremonies. Mirvish's appointment as Chancellor was extended in 2014. However, in September 2016, Mirvish resigned as Chancellor citing increased personal and work responsibilities.

Distinguished awards

 * 1995: Received an Honorary Fellowship from the Royal Conservatory of Music.
 * 1996: Invested as a Member of the Order of Canada.
 * 1996: Received an Honorary Doctor of Letters from Ryerson University
 * 1998: Awarded the Laurence Olivier Award for Society of London Theatre Special Award for his achievements in British theatre (also awarded to his father, Ed Mirvish)
 * 1998: Received an Honorary Doctor of Laws from Queen's University
 * 2001: Awarded the Order of Ontario.
 * 2002: Received an Honorary Doctor of Letters from York University
 * 2004: Received an Honorary Doctor of Laws from the University of Toronto, for his service to the community and the university.
 * 2012: Received an Honorary Bachelor of Applied Studies from Sheridan College.

Tony Awards
As a producer, Mirvish has been nominated for 19 Tony Awards, winning 5 times.

Sources:

title: David Mirvish


text: User talk:64.9.15.158

title: User talk:64.9.15.158


text:
User talk:MohsenBakhtiari

Welcome!
Welcome!

Hello,, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on talk pages using four tildes (~~~~) to produce your name and the current date, or three tildes (~~~) for just your name. If you have any questions, you can post to the help desk or ask me on my talk page. Again, welcome!
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—M ESSED R OCKER (talk) 18:10, September 1, 2005 (UTC)

Proposed deletion of Brad Fischetti

The article Brad Fischetti has been proposed for deletion because it appears to have no references. Under Wikipedia policy, this biography of a living person will be deleted after seven days unless it has at least one reference to a reliable source that directly supports material in the article.

If you created the article, please don't be offended. Instead, consider improving the article. For help on inserting references, see Referencing for beginners, or ask at the help desk. Once you have provided at least one reliable source, you may remove the prod blp/dated tag. Please do not remove the tag unless the article is sourced. If you cannot provide such a source within seven days, the article may be deleted, but you can when you are ready to add one. —Oluwa2Chainz »» (talk to me) 22:24, 18 May 2017 (UTC)

title: User talk:MohsenBakhtiari


text:
User talk:Fredhutter

Lacking a category for "Riding Projections" at Canadian Elections, i have inserted our Federal Riding Projections Graph under "Polls". Feel free to move it RP's if later amended. Latest graph is available at www.TrendLines.ca homepage or the Politics link.--Fredhutter 18:22, 1 September 2005 (UTC)

Can we tone it down just a bit
Fred, I happen to agree with you very much, but you're recent Oil edits would appear to be just a bit too self-promoting. Would it be asking to much if we moved some of the more personal content to the talk page? It won't survive like it is, would be my guess, but I think a more anonymous version might be supportable. Regards, Benjamin Gatti

Political correctness has not yet hit the rednecks in The Yukon ... thanx for the advice! --FreddyH> 06:58, 5 September 2005 (UTC)

 * PC in the Yukon is not necessarily the concern. Wikipedia is not used for advertizing and we do not allow original research.  I have done some quick online research and I don't think that "renowned" is exactly the word for the study in question.  If you could source the work with something more than your own work, that would look a lot better.  I also suggest toning down the article just a bit.  Also, the section has been repeatedly blanked by a repeat vandal.  I just replaced if with the previous version.  I leave it to you to decide whether or not to tone it down.
 * You should also be aware that Wikipedian users are being vandalized by reverting vandalism to this section. Psy guy (talk) 13:29, 8 September 2005 (UTC)

Solar variation
Ditto comment above on Solar variation. Please don't spam the page with self-promo images. Also they are far too large. Learn to use the thumb tag. William M. Connolley 13:14:47, 2005-09-05 (UTC).

Yukon Election
I am so glad that there is a place where I can find regular polls. I enjoy looking at seat projections and so it is good that you are at wikipdia too. Please feel free to look at my own page where I have set up my own predictions for the election. If you think there is something I missed in them, leave a message and will consider and change them. I hope to make the process similar to the election prediction site. MS123 22:06, 9 September 2005 (UTC)

I am about an hour from Kitchener. Ever herd of Minto Township? MS123 00:44, 16 September 2005 (UTC)

I have created an Image based on your polls. feel free to use it if you wish. It is on my user page. MS123

Incredible work, MS123, thanx sincerely!! --FreddyH> 00:44, 30 October 2005 (UTC)

Trendlines
The article Trendlines has been listed on Wikipedia articles for deletion.--Pomegranite | talk 06:01, 25 November 2005 (UTC)

Image Tagging Image:CanadaFedAug18-50826.png
Thanks for uploading Image:CanadaFedAug18-50826.png. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is therefore unclear. If you have not created this media yourself then you need to argue that we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then you should also specify where you found it, i.e., in most cases link to the website where you got it, and the terms of use for content from that page.

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Image copyright problem with Image:Trendlines.png
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Image:Armagh vs temp.gif listed for deletion
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Image copyright problem with Image:CanadaFedAug18-50826.png
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Proposed deletion of Underlying Decline Rate Observed
A proposed deletion template has been added to the article Underlying Decline Rate Observed, suggesting that it be deleted according to the proposed deletion process
 * Neologism, very few uses of this phrase.

All contributions are appreciated, but this article may not satisfy Wikipedia's criteria for inclusion, and the deletion notice should explain why (see also "What Wikipedia is not" and Wikipedia's deletion policy). You may prevent the proposed deletion by removing the  notice, but please explain why you disagree with the proposed deletion in your edit summary or on its talk page.

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AfD nomination of Underlying Decline Rate Observed
I have nominated Underlying Decline Rate Observed, an article that you created, for deletion. I do not think that this article satisfies Wikipedia's criteria for inclusion, and have explained why at Articles for deletion/Underlying Decline Rate Observed. Your opinions on the matter are welcome at that same discussion page; also, you are welcome to edit the article to address these concerns. Thank you for your time.Please contact me if you're unsure why you received this message. ... disco spinster   talk  22:18, 7 March 2009 (UTC)

You've been mentioned at WP:COIN
Please see Conflict of interest/Noticeboard. Editors are concerned that your links may not be appropriate, and that you have a conflict of interest. You are welcome to add your own comment in that thread. I assume that you and are the same person. EdJohnston (talk) 16:59, 20 March 2009 (UTC)

Speedy deletion of Freddy Hutter
A tag has been placed on Freddy Hutter, requesting that it be speedily deleted from Wikipedia. This has been done under section G11 of the criteria for speedy deletion, because the page seems to be blatant advertising which only promotes a company, product, group, service or person and would need to be fundamentally rewritten in order to become an encyclopedia article. Please read the guidelines on spam as well as FAQ/Business for more information.

If you think that this notice was placed here in error, you may contest the deletion by adding  to the top of the page that has been nominated for deletion (just below the existing speedy deletion or "db" tag), coupled with adding a note on the talk page explaining your position, but be aware that once tagged for speedy deletion, if the page meets the criterion it may be deleted without delay. Please do not remove the speedy deletion tag yourself, but don't hesitate to add information to the page that would render it more in conformance with Wikipedia's policies and guidelines. Lastly, please note that if the page does get deleted, you can contact one of these admins to request that they userfy the page or have a copy emailed to you. —Largo Plazo (talk) 19:14, 27 March 2009 (UTC)

Conflict of interest
If you have a close connection to some of the people, places or things you have written about, you may have a conflict of interest. In keeping with Wikipedia's neutral point of view policy, edits where there is a conflict of interest, or where such a conflict might reasonably be inferred from the tone of the edit and the proximity of the editor to the subject, are strongly discouraged. If you have a conflict of interest, you should avoid or exercise great caution when:
 * 1) editing or creating articles related to you, your organization, or its competitors, as well as projects and products they are involved with;
 * 2) participating in deletion discussions about articles related to your organization or its competitors;
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You should wait for others to write an article about subjects in which you are personally involved. This applies to articles about you, your achievements, your band, your business, your publications, your website, your relatives, and any other possible conflict of interest.

Creating an article about yourself is strongly discouraged. If you create such an article, it might be listed on articles for deletion. Deletion is not certain, but many feel strongly that you should not start articles about yourself. This is because independent creation encourages independent validation of both significance and verifiability. All edits to articles must conform to No original research, Neutral point of view, and Verifiability.

If you are not "notable" under Wikipedia guidelines, creating an article about yourself may violate the policy that Wikipedia is not a personal webspace provider and would thus qualify for speedy deletion. If your achievements, etc., are verifiable and genuinely notable, and thus suitable for inclusion in Wikipedia, someone else will probably create an article about you sooner or later. (See Wikipedians with articles.)  —Largo Plazo (talk) 20:27, 27 March 2009 (UTC)

Speedy deletion of Freddy Hutter
A tag has been placed on Freddy Hutter requesting that it be speedily deleted from Wikipedia. This has been done under section A7 of the criteria for speedy deletion, because the article appears to be about a person or group of people, but it does not indicate how or why the subject is important or significant: that is, why an article about that subject should be included in an encyclopedia. Under the criteria for speedy deletion, such articles may be deleted at any time. Please see the guidelines for what is generally accepted as notable, as well as our subject-specific notability guideline for biographies.

If you think that this notice was placed here in error, you may contest the deletion by adding  to the top of the page that has been nominated for deletion (just below the existing speedy deletion or "db" tag), coupled with adding a note on the talk page explaining your position, but be aware that once tagged for speedy deletion, if the page meets the criterion it may be deleted without delay. Please do not remove the speedy deletion tag yourself, but don't hesitate to add information to the page that would render it more in conformance with Wikipedia's policies and guidelines. Lastly, please note that if the page does get deleted, you can contact one of these admins to request that they userfy the page or have a copy emailed to you. —Largo Plazo (talk) 20:28, 27 March 2009 (UTC)

Speedy deletion of Freddy Hutter
A tag has been placed on Freddy Hutter requesting that it be speedily deleted from Wikipedia. This has been done under section A7 of the criteria for speedy deletion, because the article appears to be about a person or group of people, but it does not indicate how or why the subject is important or significant: that is, why an article about that subject should be included in an encyclopedia. Under the criteria for speedy deletion, such articles may be deleted at any time. Please see the guidelines for what is generally accepted as notable, as well as our subject-specific notability guideline for biographies.

If you think that this notice was placed here in error, you may contest the deletion by adding  to the top of the page that has been nominated for deletion (just below the existing speedy deletion or "db" tag), coupled with adding a note on the talk page explaining your position, but be aware that once tagged for speedy deletion, if the page meets the criterion it may be deleted without delay. Please do not remove the speedy deletion tag yourself, but don't hesitate to add information to the page that would render it more in conformance with Wikipedia's policies and guidelines. Lastly, please note that if the page does get deleted, you can contact one of these admins to request that they userfy the page or have a copy emailed to you. NJGW (talk) 23:52, 30 March 2009 (UTC)

March 2009
You currently appear to be engaged in an edit war. Note that the three-revert rule prohibits making more than three reversions on a single page within a 24 hour period. Additionally, users who perform a large number of reversions in content disputes may be blocked for edit warring, even if they do not technically violate the three-revert rule. If you continue, you may be blocked from editing. Please do not repeatedly revert edits, but use the talk page to work towards wording and content that gains a consensus among editors. If necessary, pursue dispute resolution. NJGW (talk) 06:39, 31 March 2009 (UTC)

Disruptive editing at Oil depletion
See WP:COIN. Your edits at Oil depletion suggest that you consider promoting your own business interests to be more important than the goals of the encyclopedia. If you continue to abuse other editors in your edit summaries, you may be blocked. EdJohnston (talk) 17:48, 31 March 2009 (UTC)

File source problem with File:TrendlinesCanadaRidingProjectionGraph51106.gif
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Please claim your upload(s): File:TrendlinesCanadaRidingProjectionGraph.gif
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title: User talk:Fredhutter


text:
Mohács

Mohács (Croatian and Bunjevac: Mohač; Mohatsch; Мохач; Mohaç; Mohaci) is a town in Baranya County, Hungary, on the right bank of the Danube.

Etymology
The name probably comes from the Slavic *Mъchačь,*Mocháč: mъchъ (moss, Hungarian moha is a loanword from Slavic) + the Slavic suffix -ačь, like Slovak Mochnáč or Czech Macháč. See 1093/1190/1388 Mohach.

History
Two famous battles took place in the vicinity of Mohács in 1526 and 1687. These battles represented the beginning and end, respectively, of the Ottoman domination of Hungary.

In Roman times there was a camp on the banks of the Danube near Mohács.

In the medieval Kingdom of Hungary, Mohács formed part of the historical Baranya county, and during Ottoman rule it functioned as the administrative seat of the Sanjak of Mohács, an Ottoman administrative unit. After the Habsburgs took the area from the Ottomans, Mohács was included in the restored Baranya county.

In 1910 the population of the Mohács district numbered 56,909 people, of whom 21,951 spoke German, 20,699 Hungarian, 4,312 Serbian, and 421 Croatian. Another 9,600 inhabitants were listed as speaking "other languages".

Until the end of World War II, Danube Swabians comprised the majority of the inhabitants - called locally Stifolder, because their ancestors came in the 17th and 18th centuries from Fulda (district). Most of the former German settlers were expelled to Allied-occupied Germany and Allied-occupied Austria in 1945-1948, in accordance with the 1945 Potsdam Agreement.

Events
Every spring, the town hosts the annual Busójárás carnival.

Demographics
According to the 2011 census, the total population of Mohács was 17,808, of whom there were 15,842 (84.2%) Hungarians, 1,723 (9.7%) Germans, 700 (3.9%) Croats, and 537 (3%) Romani. 14% of the total population did not declare their ethnicity. In Hungary, people can declare more than one ethnicity (dual identity), so the sum exceeds the total population.

Twin towns – sister cities
Mohács is twinned with:

 * Beli Manastir, Croatia
 * 🇩🇪 Bensheim, Germany
 * 🇹🇷 Beykoz, Turkey
 * 🇷🇴 Câmpia Turzii, Romania
 * 🇵🇱 Siemianowice Śląskie, Poland
 * Sveti Filip i Jakov, Croatia
 * 🇫🇷 Wattrelos, France

Notable citizens

 * Ferenc Pfaff (1851–1913), Hungarian architect
 * Endre Rozsda (1913–1999), Hungarian-French Painter
 * Norbert Michelisz (1984), Hungarian racing driver

Sport
Mohácsi TE is the town's association football club.

title: Mohács


text:
David Karnes

David Kemp Karnes (December 12, 1948 – October 25, 2020) was an American politician, businessman, and attorney. He was a United States Senator from Nebraska from 1987 to 1989, and was president and chief executive officer of The Fairmont Group Incorporated, a merchant banking/consulting company with offices in Omaha and the District of Columbia. Karnes also served in an "of counsel" capacity to the national law firm of Kutak Rock and practiced out of the firm's Omaha, Nebraska and Washington, D.C. offices. Karnes was also involved in numerous civic, educational, and charitable organizations both in Nebraska and nationally.

Early life
Karnes was born in Omaha, Nebraska. He attended Benson High School and the University of Nebraska in Lincoln, where he was a member of the swimming team and graduated in 1971. As an undergrad he joined Beta Theta Pi fraternity, serving one term as chapter president. He remained in Lincoln to attend law school.

In 1981, Karnes was selected and served as a White House Fellow, only the second Nebraskan to achieve that honor. Following his tenure at the White House, in 1982 Karnes became executive assistant to the Under Secretary of Housing and Urban Development under President Ronald Reagan and subsequently served as special counsel for the Federal Home Loan Bank Board.

In 1983 he became chairman of the Federal Home Loan Bank of Topeka Board of Directors, serving in that capacity from 1983 to 1987. During that time he also served as general counsel for an agribusiness and merchandising firm.

Appointment
On March 11, 1987, Governor Kay A. Orr appointed him as a Republican to the United States Senate to fill the vacancy in the Senate term ending January 3, 1989, caused by the death of Edward Zorinsky. The appointment shocked many observers as the 38-year old Karnes was virtually unknown in Nebraska political circles. He became known to Orr by working on her campaign for governor the previous year.

Tenure
While in the Senate, Karnes served on the Banking Committee, including its Securities and Consumer Credit subcommittees, as well as the Agriculture Committee and Small Business Committees. Karnes's areas of principal activity included federal, state, and international relations, corporate law, real estate, and financial institutions.

His governmental and later business experience involved many areas which were germane to Kutak Rock's finance and structured transaction practices, as well as a very broad range of clients and special issues. He also was one of the principals of the firm's technology, venture capital, and emerging companies national practice group. He served in senior executive positions in federal executive, regulatory, and legislative bodies and had broad expertise and familiarity with state and federal agency operations, including the White House, the United States Department of Housing and Urban Development, and the Federal Home Loan Bank Board.

At the state level, Karnes served as the attorney in charge of the firm's engagement as special tax counsel to the Nebraska Legislature as it revised the state's personal property tax system and, more recently, served as counsel to the State in the development and implementation of Nebraska's Section 529 College Savings Plan. He was a member of the board of directors of the $35 billion Federal Home Loan Bank of Topeka, a principal secured credit source for saving and loans, savings banks, commercial banks, credit unions, and insurance companies in Nebraska, Colorado, Oklahoma, and Kansas.

Unsuccessful re-election
Running in his own right in 1988, Karnes successfully captured the Republican nomination against Congressman Hal Daub, but lost to former governor Bob Kerrey, a Democrat, in the general election. Kerrey won by a margin of 100,000 votes, taking 57% to Karnes's 42%. Karnes made a memorable faux pas when, during a campaign stop at the Nebraska State Fair, he said, "What this nation needs is fewer farmers."

Although President George W. Bush personally encouraged him to run for the Senate again in 2006, Karnes never again ran for public office.

Post political career
Karnes served on the boards of, or acted as an advisor to, publicly traded U.S. companies, including Fannie Mae, Data Transmission Network Corporation, and RJT Securities, Inc.

He served on the Omaha Airport Authority board, and was a director of several private companies, including Frontier Bank, FSB of Park City, Utah, El Paseo Bank of Palm Desert, California, Orion Healthcare Corporation (healthcare technology), Waitt Media, Inc. (broadcasting, commercial advertising and entertainment), Tri Med Research, Inc. (medical technology), Farnam Group, Inc. (multifamily real estate development), Regency Court, L.L.C. (retail real estate), and Big Red Companies, Inc. (gaming and technology).

Karnes' additional affiliations included the Advisory Board of Financial Institutions Partners II ($100 million financial services hedge fund), the University of Nebraska Technology Park L.L.C. (director and executive committee), eOne Group, Inc. (web development and systems integration) (director), and Solutionary, Inc. (data, internet and systems security) (director).

Karnes served as a member of the United States Advisory Committee on Trade Policy and Negotiations. This committee is appointed by the president and is composed of chief executive officers of 40 of America's largest corporations as well as presidents of key agriculture and labor organizations. The Committee, established by the U.S. Congress in 1974, is the principal trade advisory group representing America's private sector to the president and Congress on all trade issues such as the Uruguay Round of the General Agreement on Tariffs and Trade (GATT), the World Trade Organization, and the North American Free Trade Agreement.

In January 2016, Karnes endorsed New Jersey governor Chris Christie for president in that year's election.

Personal life and death
He was married to Elizabeth Karnes from 1971 to her death in 2003; they had four daughters. On June 14, 2008, Karnes married Kristine Dorn, a partner at Kutak Rock and 1998 Graduate of Creighton University School of Law. They had two children together.

In 2019, Karnes was diagnosed with metastatic squamous cell skin cancer. He was part of a clinical trial in Boston, Massachusetts, but treatment was unsuccessful, and he died there on October 25, 2020, at age 71.

title: David Karnes


text:
Fire-raising

Fire-raising may refer to:

Legal

 * Arson, a criminal offence in the United States, England and Wales (where it is now a sub-division of the offence of criminal damage) and elsewhere
 * Wilful fire raising, a criminal offence under Scots Law not directly equivalent to the English Law offence of arson

Medical

 * Pyromania, the disorder causing a person to set fires

title: Fire-raising


text:
User:Arnold ziffel

I'm just a pig

title: User:Arnold ziffel


text:
Category talk:Game theory

Untitled
"Combinatorial Game Theory" is a branch of mathematics that is completely separate from and unrelated to "Game Theory" (counterintuitive though that may seem), and therefore it does not belong here as a subcategory!

Rational choice
Is Category:Rational choice theory a subset of Category:Game theory, or vice-versa? --75.39.248.28 17:59, 25 August 2007 (UTC)
 * Well, it's a bit complicated. Game theory as a normative enterprise is certainly a branch of rational choice theory.  Game theory as an empirical study of animal (incl. human) behavior is similar to rational choice theory, but probably not properly a subset of rational choice theory.  I don't think you'll find anyone that says rational choice theory is a subset of game theory, however; if one is contained by the other game theory is contained in rational choice theory.  --best, kevin [kzollman][talk] 20:19, 25 August 2007 (UTC)
 * I agree completely with kzollman--Fioravante Patrone en 00:14, 27 August 2007 (UTC)

title: Category talk:Game theory


text:
Huntington High School

Huntington High School may refer to:

 * Huntington High School (Shreveport, Louisiana)
 * Huntington High School (New York), Huntington, New York
 * Huntington High School (Ohio), Chillicothe, Ohio
 * Huntington High School (Texas), Huntington, Texas
 * Huntington High School (West Virginia), Huntington, West Virginia
 * Old Huntington High School, one of the two Huntington, West Virginia schools that consolidated in 1996
 * Collis P. Huntington High School, Newport News, Virginia

title: Huntington High School


text:
Imru' al-Qais

Imruʾ al-Qais Junduh bin Hujr al-Kindi (ٱمْرُؤ ٱلْقَيْس جُنْدُح ٱبْن حَجْر ٱلْكِنْدِيّ) was a pre-Islamic Arabian poet from najd in the late fifth and early sixth centuries and also the last King of Kinda. He is sometimes considered the father of Arabic poetry. His qaṣīda, or long poem, "Let us stop and weep" (قفا نبك qifā nabki) is one of the seven Mu'allaqat, poems prized as the best examples of pre-Islamic Arabian verse. Imru' al-Qais was born in the Al-Qassim Region of northern Arabia sometime in the early 6th century. His father was said to be Hujr bin al-Harith (حجر ابن الحارث Ḥujr ibn al-Ḥārith), the Kindan regent over the Arab tribes of Asad and Ghatafan, and it is believed that Imru' al-Qais was born in the territory of Asad. His mother was said to be Fatimah bint Rabi'ah al-Taghlibi (فاطمة بنت ربيعة التغلبي / Fāṭimah bint Rabī‘ah al-Taghlibī).

Legend has it that Imru' al-Qais was the youngest of his father's sons, and began composing poetry while he was still a child. His father strongly disapproved of this habit in his son, believing poetry to be an unseemly pastime for the son of a king. His father also disapproved of Imru' al-Qais' scandalous lifestyle of drinking and chasing women and eventually banished him from his kingdom, or so the legend goes. But later, when the Asad rebelled and assassinated his father, Imru' al-Qais was the only one of his brothers to take responsibility for avenging his death. Renouncing wine and women, he fought the tribe of Asad until he had exacted revenge in blood, and spent the remainder of his life trying to regain his father's kingdom.

Like many figures of early Arabia, which at that time lacked a formal writing system and relied on the oral transmission of stories, the details of the life of Imru' al-Qais are hard to determine with any certainty. Even so, historians have been able to compare the various stories written down by later biographers with clues from Imru' al-Qais' poems and information about major historical events in the Sasanian and Byzantine Empires to reconstruct a probable account of the life and ancestry of this most famous of the Jahili poets.

According to one account, his full name and ancestry was Imru' al-Qais, son of Hujr, son of al-Harith, son of 'Amr, son of Hujr the eater of bitter herbs, son of Mu'awiyya, son of Thawr of the tribe of Kinda (Arabic: إمرؤ القيس ابن حجر ابن الحارث ابن عمرو ابن حجر اكل المرار ابن معاوية ابن ثور الكندي). He was also referred to as "the Lost King" (الملك الضليل al-Malik aḍ-Ḍalīl) because he was never able to recover his father's throne.

Name
The name Imru' al-Qais (in classical Arabic nominative Imru'u l-Qays(i) or Imra'a l-Qays(i), accusative Imra'a l-Qays(i), genitive Imri'i l-Qays(i)) means "man of Qais", (al-)Qais being the name of a pre-Islamic deity.

Ancestry
The tribe of Kinda had its origins in the South Arabia of and migrated north to Najd sometime in the 4th or 5th century AD. Sometime in the 5th century they asked the king of Yemen to select them a king, and Hujr Akil al-Murar ("eater of bitter herbs") became the first Kindite king. He was succeeded by his son 'Amr, who was succeeded by his son al-Harith, who was the greatest of all the Kindite kings. One of al-Harith's sons was Hujr, and he made him regent over the tribes of Asad and Ghatfan, and Hujr was the father of Imru' al-Qais."

Of al-Harith, it is told that when the Persian emperor Kavadh I adopted the teachings of the religious revolutionary Mazdak, al-Harith converted to Mazdakism with him. This caused Kavadh to make al-Harith king of the Hirah, a region in the south of modern-day Iraq, and expel his previous Arab vassal al-Mundhir. Kavadh's son Khosrau I rejected Mazdakism and rebuked al-Harith, restoring al-Mundhir to the throne of the Hirah. It is not known for sure how al-Harith died, but some reports indicate he was captured by al-Mundhir as he fled al-Hirah, and then killed along with two of his sons and more than forty of his kinsmen. Imru' al-Qais mourns this tragedy in one of the poems attributed to him:

 * Weep for me, my eyes! Spill your tears
 * And mourn for me the vanished kings
 * Hujr ibn 'Amru's princely sons
 * Led away to slaughter at eventide;
 * If only they had died in combat
 * Not in the lands of Banu Marina!
 * No water was there to wash their fallen heads,
 * And their skulls lie spattered with blood
 * Pecked over by birds
 * Who tear out first the eyebrows, then the eyes.
 * (Diwan, Poem 2)

In 525 AD Yemen was occupied by the Negus (Emperor) of Axum (modern-day Ethiopia). With their sponsor destroyed, the Kingdom of Kinda quickly fell apart. It is probably during this period that the tribe of Asad rebelled and killed Imru' al-Qais' father, Hujr.

Early life
Historians are divided as to the year of Imru' al-Qais' birth, but one estimate is that he was born sometime around 526 AD. He was said to be the youngest of the sons of Hujr, king over the tribes of Asad and Ghutfan. Some historians have pointed out that his father had other wives and concubines than his mother, in accordance with the custom of kings at this time, and it is possible that he received little fatherly attention. He began composing poetry from an early age, an activity that his father strongly disapproved of because it was not considered appropriate for the son of a king. Al-Tahir Ahmad Makki comments that "among the northern tribes, likewise, each tribe had its chief and its poet, and the two were hardly ever the same."

Another source of friction with his father was Imru' al-Qais' excessive dedication to lewd drinking parties and his scandalous pursuit of women. One story says that, concerned with his son's lack of responsibility, Hujr tried putting Imru' al-Qais in charge of the family's camel herds, an experiment which ended in disaster. Another story says that Hujr finally disowned his son after Imru' al-Qais publicly courted his cousin 'Unayzah, and after failing to win her hand in marriage, managed to enjoy her affections in secret, which caused a considerable scandal in the family. Yet other stories say that Imru' al-Qais may have written some lewd verses about his father's wives or concubines, and that this was the cause of their falling out. Whatever the reason, most of the stories agree that Hujr became exasperated with his son's behaviour and expelled him from his kingdom. In his exile Imru' al-Qais wandered with his group of rebellious friends from oasis to oasis, stopping to drink wine, and recite poetry, and enjoy the performance of the singing-girls, sometimes tarrying for days before packing up to wander again.

Imru' al-Qais' adventures with women also formed an important part of his early life, consisting according to some records of dozens of marriages, divorces and affairs, all ending badly for one reason or another. Imru' al-Qais' lovers feature large in his poetry, as he praises their graces, lambastes their cruelty, and laments their absence and the longing in his heart.

The death of his father
Some stories tell that Imru' al-Qais was in his father's army fighting the tribe of Asad when his father was slain, but this is not agreed by all the biographers. The most popular story comes to us from ibn al-Kalbi (d. 826 AD). Ibn al-Kalbi holds that Imru' al-Qais was still in exile at the time of his father's death, and that the news reached him while he was in the midst of a party with his friends. Upon hearing the news, he said "May God be merciful to my father. He let me stray when I was small, and now that I am grown he has burdened me with his blood.  There will be no alertness today, and no drunkenness tomorrow," followed by perhaps his most famous quote: "Today is for drink, and tomorrow for serious matters."

It is told that of all his father's sons, Imru' al-Qais was the only one to take responsibility for avenging his father. One story tells that the tribe of Asad sent him an emissary and offered him three options—either that he kill one of their nobles to equal the death of his father, or that he accept a payment of thousands of sheep and camels, or that he make war on them, in which case they asked for one month to make ready. Imru' al-Qais chose the third option. The tribes of Bakr and Taghlib agreed to support him and fought with him against Asad, killing many Asad tribesmen. Bakr and Taghlib withdrew their support once they judged that enough of Asad had been killed to satisfy the requirements of revenge.

Exile and death
After leaving Constantinople, Imru' al-Qais travelled until he fell ill near the city of Ankara in modern-day Turkey. He remained there until he died. There is a story which says that Emperor Justinian became angry with Imru' al-Qais after he left, and sent a messenger with a poisoned jacket, and that Imru' al-Qais wore the jacket and the poison killed him. This story says that Justinian was angry because he discovered that Imru' al-Qais had an affair with a woman in his court.

However, most historians downplay the likelihood of this account, in favour of the story that Imru' al-Qais actually died from a chronic skin disease, a disease which he mentioned in one of his poems.

The best estimates of the years of Imru' al-Qais' embassy to Justinian and death in Anatolia are from 561 to 565 AD. It has been said that after the death of Imru' al-Qais the Greeks made a statue of him on his tomb that was still seen in 1262 AD, and that his tomb is nowadays located in Hızırlık, Ankara.

Poetic influences
Makki summarizes the accounts of the biographers in identifying three older poets who Imru' al-Qais could have met and learned from. The first was Zuhayr bin Janab al-Kalbi, a well-known poet who was a friend and drinking companion of his father. It is also possible that Imru' al-Qais learned from Abu Du'ah al-Iyadi, and some accounts say that the young Imru' al-Qais was his reciter (a poet's disciple who would memorize all of his poems). A third possible poetic influence was a 'Amr bin Qami'ah who was a member of his father's retinue, and was said to have later joined Imru' al-Qais' retinue and accompanied him until his death.

Religion
Most historians in the centuries since Imru' al-Qais' death have been content with the assumption that, as an Arab before the advent of Islam, he was pagan. More recently some researchers have called this view into question, most notably Louis Shaykho (c. 1898), a Jesuit missionary, who insisted that Imru' al-Qais was a Christian. The evidence that Shaykho cites to support his claim consists mostly of a handful of references to Christian practices and symbols in Imru' al-Qais' poems, as well as a few instances of the Arabic word for (the one) God (Allah). Other historians have said that references to Christianity can be explained by the presence of monasteries and missionaries along the northern frontier of the Arabian peninsula, and the fact that many Arabs would have been impressed by these scenes without necessarily converting themselves. It can be explained by the fact that Arabs have been close to Jewish tribes since ancient times, too (Gindibu helped the Kingdom of Judah during the Battle of Qarqar) because of their ethnic similarity and geographic proximity. Others have pointed out that the word "Allah" was in use by the pagan Arabs long before the advent of Islam, and merely referred to the high God (above all the many others).

Imru' al-Qais may have been a Hanif. Makki reports that some historians have suggested Imru' al-Qais could have been influenced by the purported Mazdakism of his grandfather, but also states that, in his opinion, there is little direct evidence to support this.

Cultural impact
To this day Imru' al-Qays remains the best-known of the pre-Islamic poets and has been a source of literary and national inspiration for Arabic intellectuals all the way into the 21st century. In his entry in the Dictionary of Literary Biography, Al-Tahir Ahmad Makki says this about Imru' al-Qais:

 * The Prince-Poet Imru' al-Qais, of the tribe of Kinda, is the first major Arabic literary figure. Verses from his Mu'allaqah (Hanging Poems), one of seven poems prized above all others by pre-Islamic Arabs, are still in the 20th century the most famous--and possibly the most cited--lines in all of Arabic literature.  The Mu'allaqah is also an integral part of the linguistic, poetic and cultural education of all Arabic speakers.

Ibn Sallam al-Jumahi (d. 846 AD) said of Imru' al-Qais in his "Generations of the Stallion Poets" (Arabic: طبقات فحول الشعراء):

 * Imru' al-Qais was the originator of a great many things the Arabs considered beautiful, and which were adopted by other poets. These things include calling up his companions to halt, weeping over the ruins of abandoned camp sites, describing his beloved with refinement and delicacy, and using language that was easy to understand.  He was the first to compare women to gazelles and eggs, and to like horses to birds of prey and to staves.  He 'hobbled like a fleeing beast' [a reference to his famous description of his horse] and separated the erotic prelude from the body of his poem.  In the coining of similitudes, he surpassed everybody in his generation.

Some historians have emphasised the historical significance of the Kindite monarchy as the first attempt to unite the central Arabian tribes before the success of Islam, and Imru' al-Qais' tragic place as one of the last Kindite princes. Others have focused on his colourful and violent life, putting it forward as an example of the immorality and brutality which existed in pre-Islamic Arabia.

Iraqi writer Madhhar al-Samarra'i (Arabic: مظهر السامرائي) in his 1993 book Imru' al-Qais: Poet and Lover (Arabic: إمرؤ القيس الشاعر العاشق), calls Imru' al-Qais the "poet of freedom":

 * The poet Imru' al-Qais had a gentle heart and a sensitive soul. He wanted the best not only for himself but for all the people of his society.  The freedom that he struggled for was not confined to the romantic and erotic relations between him and his beloved Fatimah, and was not limited to his demands to lift the restrictions on sexual relations between men and women, but exceeded all this, so that he was singing for the freedom of all mankind-- and from this point we are able to name him, the Poet of Freedom.

The name of Imru' al-Qays is remembered among the Tuareg in the legendary giant (ăžobbar) Amǝrulqis, a mythical Arabian king purported by local tales to have invented the Tifinagh script. He coincides with Imru' al-Qays in most aspects, including his eloquence, intelligence and poetic skill, as well as his ability to seduce women.

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International Bluegrass Music Hall of Fame

For a professional in the bluegrass music field, election to the International Bluegrass Music Hall of Fame is the highest honor the genre can bestow. An invitation can be extended to performers, songwriters, promoters, broadcasters, musicians, and executives in recognition of their contributions to the development of bluegrass music worldwide. The hall of fame honor was created in 1991 by the International Bluegrass Music Association and the inductees are honored annually at the International Bluegrass Music Awards ceremony. The Hall's first inductees were Bill Monroe, widely considered as the founder of the genre, and Lester Flatt and Earl Scruggs, two of bluegrass music's most pioneering and influential artists. Roy Acuff, the first living artist to join the Hall of Fame, was elected in 1962. The most recent inductees (class of 2023) are Sam Bush, Wilma Lee Cooper, and David Grisman. The Hall itself is maintained at the Bluegrass Music Hall of Fame & Museum in Owensboro, Kentucky. The institution received its current name in 2007, and was known prior to this as the International Bluegrass Music Hall of Honor.

Member selection
Each year a nominating committee creates a slate of 10-15 candidates. From these names, electors cast ballots to narrow the nominees to five finalists. There are over 200 electors who, themselves, must have participated actively in bluegrass for at least 10 years, and must merit respect and recognition for their accomplishments and/or knowledge in one or more aspects of the field. After the five finalists have been selected, the electors again vote to select the inductee(s) for that year. The name(s) of the newest Hall of Honor inductee(s) are made public immediately following the final stage of balloting and the formal induction takes place each year during the International Bluegrass Music Awards Show. The plaques are then displayed at the Bluegrass Music Hall of Fame & Museum in Owensboro, Kentucky.

Eligibility
Only people or performing groups are eligible for induction into the Hall of Fame. Companies, institutions, publications, radio stations, and other organizations – many of which significantly foster bluegrass music – are not eligible for Hall of Fame recognition. Deceased persons are not eligible for induction in the year following their passing. Eligible people and musical groups may include:
 * Individuals such as performing artists, songwriters, music business executives, promoters, and broadcasters. It is permitted to include multiple individuals simultaneously under one induction when those individuals are part of an influential collaboration. Examples might include musical duos, songwriting partners, record label owners, or similar collaborations. Hall of Fame recognition is given to the individual(s).
 * Performing groups that present exclusively as a “band,” without a named headlining personality. Hall of Fame recognition is given to the performing group as an entity, not to any of its individual members, and regardless of band configuration or time period.

Categories
The International Bluegrass Music Hall of Fame inducts its members in one of three categories:
 * Open Category: Two inductions are selected annually for the Hall of Fame Open Category. Eligible candidates may be living or deceased and may include performing artists, bands, and industry professionals.
 * Early Contributor Category: One induction is selected during odd-numbered years for the Hall of Fame Early Contributor Category. Eligible candidates may be living or deceased and should include performing artists, bands, and industry professionals who first came to prominence at least 50 years prior to the induction year.
 * Non-Performer Category: One induction is selected during even-numbered years for the Hall of Fame Non-Performer Category. Eligible candidates may be living or deceased and should include those whose primary contributions to bluegrass music are apart from performing

Criteria
Candidates for the Hall of Fame are appraised by the Nominating Committee and Panel of Electors in accordance with the criteria below:
 * 1) Basic Standard - Candidates should be judged according to their contribution to the advancement of bluegrass music and the indelibility of that impact.
 * 2) Individuals Versus Performing Groups – Nomination of a performing band may take priority over its individual band members, unless the contributions of an individual band member to the greater whole of bluegrass music greatly overshadows the influence of the band. The Nominating Committee is encouraged to wait three years after a band induction before individual band members may be again eligible for the Hall of Fame. Exceptions may be made at the discretion of the Nominating Committee.
 * 3) Scope of Activity - Candidates may have excelled in a specific sphere such as songwriting, publishing, performing, recording, or producing; or they may have been active in several areas. Regardless of their focus, candidates must have achieved definitive leadership in their field(s) and must compete with all candidates in all fields.
 * 4) Span of Influence - The time factor of a candidate's impact on bluegrass music is completely flexible (except as provided for the Early Contributor Category). It may cover an uninterrupted span of many years or it may cover two or more distinct and separate time cycles. A candidate may earn Hall of Fame recognition by one transient act, momentary in time, providing the impact on bluegrass music is deemed significant enough. Longevity of involvement with bluegrass music, therefore, will not in itself warrant recognition in the Hall of Fame.
 * 5) Influence on Others – Inspirational effect on others is a most significant criterion in evaluating candidates; the degree to which their influence is multiplied through others to create an impact on bluegrass music far beyond direct individual contribution

1990s
1991
 * Bill Monroe
 * Earl Scruggs
 * Lester Flatt

1992
 * The Stanley Brothers
 * Ralph Stanley
 * Carter Stanley
 * Reno and Smiley
 * Don Reno
 * Arthur Lee "Red" Smiley

1993
 * Mac Wiseman
 * Jim & Jesse
 * Jim McReynolds
 * Jesse McReynolds

1994
 * Osborne Brothers
 * Bobby Osborne
 * Sonny Osborne

1995
 * Jimmy Martin

1996
 * Peter V. Kuykendall
 * The Country Gentlemen
 * Charlie Waller
 * John Duffey
 * Eddie Adcock
 * Tom Gray

1997
 * Josh Graves

1998
 * Chubby Wise
 * Carlton Haney

1999
 * Kenny Baker

2000s
2000
 * Lance LeRoy
 * Doc Watson

2001
 * Carter Family
 * A. P. Carter
 * Sara Carter
 * Maybelle Carter

2002
 * The Lilly Brothers & Don Stover
 * Michael Burt "Bea" Lilly
 * Charles E. "Everett" Lilly
 * Don Stover
 * David Freeman

2003
 * J. D. Crowe

2004
 * John Ray "Curly" Seckler
 * Bill Vernon

2005
 * Red Allen
 * Benny Martin

2006
 * The Lewis Family
 * James Ray "Pop" Lewis
 * Blanche "Mom" Lewis
 * Nannie Lewis
 * James Wallace Lewis
 * Talmadge Lewis
 * Polly Lewis
 * Roy Lewis
 * Travis Lewis
 * Janis Lewis Phillips
 * Lewis Phillips
 * Syd Nathan

2007
 * Howard Watts ("Cedric Rainwater")
 * Carl Story

2008
 * Bill Clifton
 * Charles Wolfe

2009
 * Lonesome Pine Fiddlers
 * Charlie Cline
 * Curly Ray Cline
 * Ezra Cline
 * Melvin Goins
 * Paul Williams
 * The Dillards
 * Doug Dillard
 * Rodney Dillard
 * Mitchell F. Jayne
 * Dean Webb

Multiple inductees
To date, there have been six artists who have been inducted into the Hall of Fame more than once:


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Hor

Hor Awibre (also known as Hor I) was an Egyptian pharaoh of the early 13th Dynasty in the late Middle Kingdom.

Attestations
Hor remained unattested until the discovery in 1894 of his nearly intact tomb in Dashur by Jacques de Morgan, see below.

Dahshur, Tomb and Burial Goods
At Dahshur, the Shaft-tomb of Hor is located inside the Pyramid Complex of Amenemhat III, reusing and expanding a shaft-tomb originally made for a member of the royal court of Amenemhat III. Burial goods include a canopic chest, canopic jars, gold-leaf, and a ka-statuette.

Tanis/Memphis, Architrave
At Tanis (Nile Delta region), in a secondary context, a granite architrave with the cartouches of Hor and Sekhemre Khutawy Khabaw was found. The architrave probably originated in Memphis and came to the Delta region during the Hyksos period. Based on this evidence, the egyptologist Kim Ryholt proposed that Sekhemrekhutawy Khabaw was a son and coregent of Hor Awibre. Present location of this architrave is unknown.

Plaque, Berlin 7670
Of Unknown Provenance, a plaque has been found.

Lisht, plaque
At Lisht, a plaque with his name was found at the Pyramid of Amenemhat I. There were found several faience plaques with 13th Dynasty king's names.

Jar Lid, LACMA M.80.203.226
Of Unknown Provenance, a jar lid with partial name of the 13th Dynasty King Hor I.

Non-Contemporary Attestation
The Turin King List entry 7:17 lists "The Dual King Awtibra ... 7 days". In this list, Hor us preceded by Renseneb (7:16) and succeeded by Sedjefakare (7:18).

Reign
According to Ryholt and Darrell Baker, Hor Awibre was the fifteenth ruler of the 13th Dynasty. Alternatively, Detlef Franke and Jürgen von Beckerath see him as the fourteenth king of the dynasty. No evidence has been found that relate Hor to his predecessor on the throne, Renseneb, which led Ryholt and Baker to propose that he was an usurper.

Hor Awibre's reign length is partially lost to a lacuna of the Turin canon and is consequently unknown. According to the latest reading of the Turin canon by Ryholt, the surviving traces indicate the number of days as "[... and] 7 days". In the previous authoritative reading of the canon by Alan Gardiner, which dates to the 1950s, this was read as "[...] 7 months". This led scholars such as Miroslav Verner and Darrell Baker to believe that Hor's reign was ephemeral, while Ryholt's reading leaves a longer reign possible and indeed Ryholt credits Hor with 2 years of reign. In any case, Hor most likely reigned only for a short time, in particular not long enough to prepare a pyramid, which was still the common burial place for kings of the early 13th dynasty. Regardless of the duration of his reign, Hor was seemingly succeeded by his two sons Sekhemrekhutawy Khabaw and Djedkheperew.

Tomb
Hor is mainly known from his nearly intact tomb, discovered in 1894 by Jacques de Morgan working in collaboration with Georges Legrain and Gustave Jequier in Dahshur. The tomb was nothing more than a shaft built on the north-east corner of the pyramid of the 12th Dynasty pharaoh Amenemhat III. The tomb was originally made for a member of Amenemhat's court and was later enlarged for Hor, with the addition of a stone burial chamber and antechamber.

Although the tomb had been pillaged in antiquity, it still contained a naos with a rare life-size wooden statue of the Ka of the king. This statue is one of the most frequently reproduced examples of Ancient Egyptian art and is now in the Egyptian Museum under the catalog number CG259. It is one of the best-preserved and most accomplished wooden statues to survive from antiquity, and illustrates an artistic genre that must once have been common in Egyptian art, but has rarely survived in such good condition.

The tomb also contained the partly gilded rotten wooden coffin of the king. The king's wooden funerary mask, its eyes of stones set in bronze, had been stripped of its gold gilding but still held the king's skull. Hor's canopic box was also found complete with its canopic vessels. The mummy of the king had been ransacked for his jewelry and only Hor's skeleton was left in his coffin. The king was determined to have been in his forties at the time of his death. Other artifacts from the tomb include small statues, alabaster and wooden vases, some jewelry, two alabaster stelae inscribed with blue painted hieroglyphs and a number of flails, scepters and wooden staves which had all been disposed in a long wooden case. These had been intentionally broken in pieces. The tomb also housed weapons such as a granite macehead and a golden-leaf dagger and numerous pottery.

Next to the burial of Hor was found the totally undisturbed tomb of the 'king's daughter' Nubhetepti-khered. She was likely a daughter of Hor or otherwise a daughter of Amenemhat III.

Theories
Some Egyptologists speculate his reign was from c. 1777 BC until 1775 BC or for a few months, c. 1760 BC or c. 1732 BC,

title: Hor