title: Christopher Daniel Barnes

text: He was previously married to Dawn Nallick, but later divorced. In 2012, Barnes married his second wife Rebecca Guyadeen.


title: Power Rangers Megaforce

text: Power Rangers Megaforce is the twentieth season of the long-running television series "Power Rangers". The show is produced by SCG Power Rangers and began airing on Nickelodeon on February 2, 2013. The show was part of the "Power Rangers" 20th anniversary. "Kidscreen" reported that "Megaforce" featured "the return of many historic Rangers." "Megaforce" uses footage, costumes and props from the Japanese Super Sentai Series "Tensou Sentai Goseiger".


title: Power Rangers Megaforce

text: The second season, and twenty-first overall, is called Power Rangers Super Megaforce and premiered on February 15, 2014. "Super Megaforce" uses footage, costumes and props from "Kaizoku Sentai Gokaiger". Their sentai counterpart shows are "angel" and "pirate" themed.


title: Power Rangers Megaforce

text: The Megaforce Power Rangers appeared at the 2012 Macy's Thanksgiving Day Parade, along with the past Red Rangers from "Mighty Morphin Power Rangers" through "Power Rangers Super Samurai". The Rangers' Super Megaforce forms later appeared alongside the Mighty Morphin' Rangers during the 2013 Macy's Thanksgiving Day Parade.


title: Power Rangers Megaforce

text: When the evil Warstar aliens attack Earth, the supernatural guardian Gosei, assigned to protect the Earth by Zordon, and his faithful robot assistant Tensou recruit five teenagers with attitude to combat the invading forces. Equipped with powers that grant them mastery over martial arts and other forms of combat, the teenagers transform into the latest champions of good: The Power Rangers Megaforce.


title: Power Rangers Megaforce

text: In the second "Super Megaforce" season, when an alien armada led by Prince Vekar - the brother of Vrak - plans to invade the Earth, Gosei gives the Megaforce Rangers new Morphers and special keys to allow them to become the Super Megaforce Rangers and also imbues them with the power to transform into any past "Legendary" Power Rangers. In course of time, due to their virtues and fighting spirit, they unlock various megazords of the past rangers (meeting several along the way.). An alien named Orion, whose home world was destroyed by the armada, then joins their ranks as the Silver Ranger, and gets all the legendary Sixth Ranger along with those of Robo Knight. Later, in a battle with the most powerful machines of evil, the Megazords of the Rangers as well as their Legendary Megazords are destroyed. After that, Troy and Orion enter the ship of Vrak and Vekar's father the Warstar Emperor Marvo, fight him, and unleash the ship's power, which destroys every other ship in the Armada. Later they both succeed in destroying Marvo and then they return to the ground. The Rangers then find that thousands of X-Borgs, the innumerable soldiers of The Armada, have been let loose on them. At this point, all the Legendary Rangers, whose powers the Rangers have been using throughout the series, appear to help them. Together, all the Rangers destroy the X-Borgs, saving the Earth.


title: London After Midnight (film)

text: London After Midnight (original working title: The Hypnotist) is a lost 1927 American silent mystery horror film directed and co-produced by Tod Browning and starring Lon Chaney, with Marceline Day, Conrad Nagel, Henry B. Walthall and Polly Moran. The film was distributed by Metro-Goldwyn-Mayer, and was written by Waldemar Young, based on the story "The Hypnotist" which was written by Browning. Merritt B. Gerstad was the cinematographer, and the sets were designed by Cedric Gibbons and Arnold Gillespie. Harry Sharrock was the assistant director. The film cost $151,666.14 to produce, and grossed $1,004,000. Chaney's real-life make-up case can be seen in the last scene of the film sitting on a table, the only time it ever appeared in a movie. Browning remade the film as a talkie in 1935, as "Mark of the Vampire", starring Bela Lugosi.


title: London After Midnight (film)

text: The last known copy of the film was destroyed in the 1965 MGM vault fire, along with hundreds of other rare early films, making it for decades one of the most sought-after lost films of the silent era. Film historians William K. Everson and David Bradley both claim they saw the film in the early 1950s, and an MGM vault inventory from 1955 shows the print being stored at that time in Vault #7.


title: London After Midnight (film)

text: Historian Jon C. Mirsalis commented "Despite all the mythology and excitement over the film, all indications are that it would be a disappointment if uncovered today. Both Everson and Bradley admit that the film was inferior to "Mark of the Vampire". The critics of the time were likewise lukewarm, and even Chaney's performance got less than the usual enthusiastic reviews. The eerie sets, and Chaney's stunning vampire make-up, make for intriguing still photographs, but these scenes account for only a small portion of the film, the rest of the footage being devoted to Polly Moran's comic relief, and talkie passages between detective Chaney and Walthall. Perhaps it is a film that is viewed with more reverence than it deserves simply because it is no longer available for study."


title: London After Midnight (film)

text: In 2002, Turner Classic Movies aired a reconstructed version, produced by Rick Schmidlin, using the original script and numerous film stills to recreate the original plot.


title: London After Midnight (film)

text: Roger Balfour is found dead in his London home one night. Burke, a representative of Scotland Yard, after questioning everyone present, declares the death a suicide despite objection from Balfour's neighbour and close friend, Sir James Hamlin.


title: London After Midnight (film)

text: Five years later, the Hamlin residents witness strange lights within the now-forsaken Balfour mansion before realising the new tenants to be two vampiric figures of a man in a beaver-felt top hat with long hair and sharp teeth, and a silent pale woman wearing long robes. This prompts the baronet, Sir James, to call Burke in once again who discovers that Hamlin and the others there (Balfour's daughter, Lucille, his butler, Williams, and Hamlin's nephew, Arthur Hibbs) had been the only other persons in the Balfour home when he died. After noticing the new lease to the Balfour mansion bears the exact same signature as the deceased Roger Balfour's, Burke remains skeptical about the existence of the undead, and, along with Sir James, exhumes Roger Balfour's tomb to find it empty. After a series of grisly events; from the maid Miss Smithson's eccentric recollection of encountering the Man in the Beaver Hat manifesting in a bedroom, to the vampire girl flying down like a bat from the ceiling of the Balfour mansion, and witnessing the living corpse of Roger Balfour, Burke reveals to Lucille that he believes her father to have been murdered.


title: London After Midnight (film)

text: After taking the precaution to protect Lucille's bedroom from vampires, the girl is taken to the Balfour mansion. As Sir James is instructed to venture to the mansion, he encounters the Man in the Beaver Hat (revealed to be Burke) and is hypnotised into thinking it is five years


title: London After Midnight (film)

text: earlier. Within the mansion, the events leading up to Balfour's death are recreated and re-enacted and all secretly watch as Sir James kills Roger Balfour and fakes his suicide so as to ultimately marry Balfour's daughter Lucille, against the deceased's will. Once apprehended, Burke lifts the trance and identifies Sir James as the killer.


title: London After Midnight (film)

text: Lon Chaney's makeup for the film included sharpened teeth and the hypnotic eye effect, achieved with special wire fittings which he wore like monocles. Based on surviving accounts, he purposefully gave the "vampire" character an absurd quality, because it was the film's Scotland Yard detective character, also played by Chaney, in a disguise. Surviving stills show this was the only time Chaney used his famous makeup case as an on-screen prop.


title: London After Midnight (film)

text: The story was an original work by Tod Browning, with Waldemar Young, who had previously worked with Browning on "The Unholy Three" and "The Unknown", as the scenario writer. Young was previously employed as a journalist in San Francisco, during which time he covered several famous murder investigations, a distinction which saw him lauded as knowing "mystery from actual experience."


title: London After Midnight (film)

text: In adding an authenticity to both Chaney's character and the atmosphere within the haunted house scenes, bats, armadillos, and owls were used.


title: London After Midnight (film)

text: When "London After Midnight" premiered at the Miller Theater in Missouri, set musicians Sam Feinburg and Jack Feinburg had to prepare melodies to go with the film's supernatural elements. The musicians used "Ase's Todd" and "Eritoken" by Greig, "Dramatic Andante" by Rappe, the "Fire Music" from Wagner's "The Valkyrie" along with other unlisted aspects of Savino, Zimonek and Puccini.


title: London After Midnight (film)

text: According to MGM records "London After Midnight" earned $721,000 in theater rentals from the United States and Canada and an additional $283,000 from foreign rentals, giving the studio a profit of $540,000. It became the most successful collaborative film between Chaney and Browning, but it received mixed reviews from critics. The storyline, called "somewhat incoherent" by "The New York Times" and "nonsensical" by "Harrison's Reports", was a common point of criticism. "Mr. Chaney's makeup is at times hideous enough to make one sick in the stomach. It should please the morbid. Just like the last three or four pictures with this star --- gruesome!" (Nonetheless, the commercial success of "London After Midnight" saw Metro-Goldwyn-Mayer renew Tod Browning's directorial contract.)


title: London After Midnight (film)

text: A positive review ran in "Film Daily", calling it "a story certain to disturb the nervous system of the more sensitive picture patrons. Thrills and weird doings in profusion. Probably a trifle too spooky for the timid soul. If they don't get the creeps from flashes of grimy bats swooping around, cobweb-bedecked mystery chambers and the grotesque inhabitants of the haunted house, then they've passed the third degree."


title: London After Midnight (film)

text: "The Warren Tribune" noted that Lon Chaney is "present in nearly every scene, in a dual role that tests his skill to no small degree." The review highlighted that this subdues Chaney's prominence and allows the plot to be better communicated, but it also causes the film to "not rank among his best productions."


title: London After Midnight (film)

text: A review by "The Brooklyn Daily Eagle" noted: "It is pleasant to report also that there is none of the usual stupid comedy relief in "London After Midnight" to mar its sinister and creepy scheme. That ought to make it the outstanding mystery film of the year." It however found fault in Tod Browning's direction because the film's atmosphere did not recapture "the intensely weird effect" found in "The Cat and the Canary".


title: London After Midnight (film)

text: "Variety" wrote that "Young, Browning and Chaney have made a good combination in the past but the story on which this production is based is not of the quality that results in broken house records, adding that, since Burke was "a detached character, mechanical and wooden", he failed to meaningfully connect with the audience... "It will add nothing to Chaney's prestige as a trouper, nor increase the star's box office value. With Chaney's name in lights, however, this picture, any picture with Chaney, means a strong box office draw."


title: London After Midnight (film)

text: "It is a somewhat incoherent narrative, which, however, gives Lon Chaney an opportunity to turn up in an uncanny disguise and also to manifest his powers as Scotland Yard's expert hypnotist. You are therefore treated to close-ups of Mr. Chaney's rolling orbs, which, fortunately, do not exert their influence on the audience." ---The New York Times


title: London After Midnight (film)

text: "There are moments during the onward sweep of this Metro-Goldwyn-Mayer offering when one feels that the essentials that make for mystery and creepiness have been carried a bit further than we have hitherto noted...Mr. Chaney's excellent work is materially aided by that grand master of screen acting, Mr. Walthall." ---Moving Picture World


title: London After Midnight (film)

text: "The New Yorker" also wrote that the "directing, acting and settings are all well up to the idea," but "it strives too hard to create effect. Mr. Browning can create pictorial terrors and Lon Chaney can get himself up in a completely repulsive manner, but both their efforts are wasted when the story makes no sense."


title: London After Midnight (film)

text: "Lon Chaney is back in a get-up which would make any sensitive girl quiver and quake on a dark night, but which doesn't require any contortions or self-torture. This is a dark, foul mystery play, which has certain elements as horrid as anyone could ask...you sit through it in a sort of daze." ---Motion Picture Magazine


title: London After Midnight (film)

text: "The disguise that (Chaney) uses while ferreting out the murderer is as gruesome as any he has ever worn...The suspense is marvelously sustained. Chaney plays a dual role, and when conventionally clad, is a little less convincing than usual. In the other role, perfect!" ---Photoplay


title: London After Midnight (film)

text: Tod Browning remade the film as a sound film in 1935. This film, called "Mark of the Vampire", starred Lionel Barrymore and Bela Lugosi in the roles Lon Chaney had performed in "London After Midnight".


title: London After Midnight (film)

text: In 1985, Philip J. Riley published the first photo reconstruction of the film's plot compiled of all the surviving production stills at MGM.


title: London After Midnight (film)

text: In 2002, Turner Classic Movies commissioned restoration producer Rick Schmidlin to produce a 45-minute reconstruction of the film, using the same still photographs. with added camera motion. This was released as a part of "The Lon Chaney Collection" DVD set released by the TCM Archives.


title: London After Midnight (film)

text: In 2016, Thomas Mann published the book, "London After Midnight: A New Reconstruction Based on Contemporary Sources", upon the discovery of a previously-unknown 11,000-word "Boy's Cinema" magazine published in 1928. A second edition was published in 2018 upon the discovery of an alternative French novelization for the film.


title: London After Midnight (film)

text: In 2022, a new study by independent historian Daniel Titley, titled "London After Midnight: The Lost Film", was released in conjunction with the film’s 95th anniversary, in which nitrate elements from the lost film itself were presented for the first time, along with many other new insights published by Keyreads, and serving as the most milestone discovery of the film to-date.


title: London After Midnight (film)

text: In 2014, the only contemporary poster known to exist for the film was sold in Dallas, Texas, to an anonymous bidder for $478,000, making it the most valuable movie poster ever sold at public auction. This bidder was later revealed to be Metallica guitarist Kirk Hammett. The poster is in his displayed collection at the Royal Ontario Museum in Toronto. (The 1932 film "The Mummy" held the previous record for a poster's sale at public auction, selling for more than $453,000 in 1997.)


title: Hilti

text: Hilti Corporation (Hilti Aktiengesellschaft or Hilti AG, also known as Hilti Group) is a Liechtensteiner multinational company that develops, manufactures, and markets products for the construction, building maintenance, energy and manufacturing industries, mainly to the professional end-user. It concentrates mainly on anchoring systems, fire protection systems, installation systems, measuring and detection tools (such as laser levels, range meters and line lasers), power tools (such as hammer drills, demolition hammers, diamond drills, cordless electric drills, heavy angle drills, power saws) and related software and services.


title: Hilti

text: Hilti, a registered trademark of the various Hilti corporate entities, is the family name of the company's founders.


title: Hilti

text: In 1941, the Hilti company was founded by Martin and Eugen Hilti, with the opening of a mechanical workshop in Schaan, Liechtenstein. Martin Hilti was trained in mechanical engineering and automotive design at the Wismar Engineering College and was 26 at the time of founding the company. He was also a voluntary Waffen-SS and functionary in the German National Movement in Liechtenstein as editor-in-chief for "Der Umbruch". The Martin Hilti Family Trust holds all of Hilti's registered shares as of 2003.


title: Hilti

text: After the war there was a sharp decline in sales and the company was close to bankruptcy. To make ends meet Martin Hilti signed sub-contracts as diverse as gray cast iron parts for the Swiss textile industry, machining eggcups molds, or lighters and pencil sharpeners. In the late 1940s Martin Hilti found a technology that would allow setting nails into concrete or masonry, and he acquired the original designs and the patents rights of what would later become Hilti's Direct Fastening first tool. Although promising, the technology proved to be immature, and required significant development. In the meantime, through the early 1950s, Hilti produced its own line of household products, which included a cigarette lighter, and a water-powered kitchen mixer called "Ello", which enjoyed considerable success. In 1952, with a solution that proved mature to be marketed, Hilti launched its first construction-related product, a manual tool to drive threaded studs into steel. In 1953 the company introduced its first power-actuated high-velocity fastener that allowed setting nails into concrete, called Perfix.


title: Hilti

text: At this time Hilti opened offices in Italy, Belgium, Poland, Finland, Norway, Germany, Denmark, the Netherlands, Portugal, Austria, France, Australia, Canada and the USA. In 1963 Hilti was present in 23 countries, with a turnover of over 400 million Swiss francs.


title: Hilti

text: In 1964 Hilti started marketing a drill that also had a chiselling function, made by the Kocher Company, in Basel, under the name "Torna 765". After receiving customer feedback Hilti started a product development and improvement project under the name "Torna Entwicklung" (German for "Torna Development"), or "TE" for short, which has since then become the standard name for all Hilti electropneumatic tools. In 1967 the company introduced the TE17, a fully electropneumatic rotary hammer drill which featured a safety clutch, and it was shipped to customers in Hilti's first distinctive red toolbox.


title: Hilti

text: The global expansion continued throughout the 1960s and by 1971, Hilti's global turnover was 376 million Swiss francs across 45 countries, including new production facilities in Austria and in Germany.


title: Hilti

text: In 1974 Hilti started to develop and market anchor bolts, and in 1977 Hilti introduced its first chemical anchor product line. Two more production facilities were opened, a plastic manufacturing plant in Germany purchased in 1975 and a plant in England acquired in 1978. In 1979 the company opened another production facility in Tulsa, Oklahoma, USA, to produce anchors. During the 1980s Hilti formed market region centers for America, Europe, Africa and Asia, to improve the proximity to their customers.


title: Hilti

text: In 1995 Hilti opened its first Chinese manufacturing plant in Zhanjiang; this plant was expanded to 55,000 square meters in 2005. Another manufacturing plant was opened in Shanghai in 2004. This plant employs 470 people.


title: Hilti

text: Hilti is based in Schaan, Liechtenstein, and is the principality's largest employer. The company employs around 30,000 people worldwide.


title: Hilti

text: Hilti has over 3,000 employees in the United States. HNA's headquarters had been located in Tulsa, Oklahoma, since 1979, although it has employees in all 50 states. It moved its North American headquarters from Tulsa to Plano, Texas, by June 2015 and opened a research and development center in Irving, Texas.


title: Hilti

text: HNA developed an employee corporate culture that was later adopted by the entire company worldwide. New employees complete a Basic Training Seminar in Tulsa for four weeks, and on a yearly basis employees complete a survey called GEOS (Global Employee Opinion Survey) in which they give feedback about the company.


title: Hilti

text: Hilti Northern Europe is headquartered in the Hilti Limited office in Manchester, Great Britain. The Hilti (Gt. Britain) office oversees a staff of over 1,000 in roles such as sales, engineering, marketing, finance, HR, IT, procurement and customer services.


title: Hilti

text: Hilti India is headquartered in the Hilti India Pvt Ltd office in Gurugram, Haryana. It started its direct operations in India in 1997. The Hilti India Pvt Ltd office oversees a staff of over 800 team members in roles such as sales, engineering, marketing, finance, HR, IT, procurement and customer services. They have their stores in 23 major cities across India.


title: The Streamer Awards

text: The Streamer Awards is an awards show dedicated to live streamers. The Streamer Awards was founded in 2022 by Twitch streamer QTCinderella.


title: The Streamer Awards

text: The inaugural ceremony, featuring 27 categories, was held on March 12, 2022, at The Fonda Theatre in Los Angeles and was broadcast live on Twitch. The event peaked at 381,000 concurrent viewers, making it the 45th highest concurrent viewership for a single broadcast in Twitch history. Event founder QTCinderella and Maya Higa served as the hosts.


title: The Streamer Awards

text: For the inaugural ceremony, nominees were selected via an online vote by fans. Winners were then determined using a weighted combination of the online popular vote (70%) and panelist vote (30%).


title: Symphony No. 3 (Beethoven)

text: The Symphony No. 3 in E major, Op. 55, (also Italian Sinfonia Eroica, "Heroic Symphony"; , ) is a symphony in four movements by Ludwig van Beethoven.


title: Symphony No. 3 (Beethoven)

text: One of Beethoven's most celebrated works, the "Eroica" symphony is a large-scale composition that marked the beginning of the composer's innovative "middle period".


title: Symphony No. 3 (Beethoven)

text: Composed mainly in 1803–1804, the work broke boundaries in symphonic form, length, harmony, emotional and cultural content. It is widely considered a landmark in the transition between the Classical and the Romantic era. It is also often considered to be the first Romantic symphony.


title: Symphony No. 3 (Beethoven)

text: Symphony No. 3 is scored for two flutes, two oboes, two clarinets in B, two bassoons, three horns (the 1st in E, C, and F; the 2nd in E and C; and the 3rd in E), two trumpets in E and C, timpani in E and B (in the 1st, 3rd, and 4th movements) and in C and G (in the 2nd movement), and strings.


title: Symphony No. 3 (Beethoven)

text: Depending upon the conductor's style and observation of the exposition repeat in the first movement, the performance time is between 41 and 56 minutes.


title: Symphony No. 3 (Beethoven)

text: The first movement, in time, is in sonata form, with typical performances between 12 and 18 minutes long depending on interpretation and whether the exposition repeat is played. Unlike the longer introductions in Beethoven's first two symphonies, the movement opens with two large E major chords, played by the whole orchestra, that establish the tonality of the movement.


title: Symphony No. 3 (Beethoven)

text: The conductor Kenneth Woods has noted that the opening movement of "Eroica" has been inspired by and modeled on Mozart's Symphony No. 39, and shares many attributes of that earlier symphony which precedes this one by a decade and a half.


title: Symphony No. 3 (Beethoven)

text: The exposition begins with the cellos introducing the first theme. By the fifth bar of the melody (m. 7), a chromatic note (C) is introduced, thus introducing the harmonic tension of the work. The melody is finished by the first violins, with a syncopated series of Gs (which forms a tritone with C of the cellos). The first theme is then played again by the various instruments.


title: Symphony No. 3 (Beethoven)

text: The modulation to the dominant key of B appears early (mm. 42–44). In the traditional analysis, this is followed by three (or in some views, two) transitional subjects that significantly expand the scale of the exposition – a lyrical downward motif (mm. 45–56), an upward scale motif (mm. 57–64), and a section beginning with rapid downward patterns in the violins (mm. 65–82). This eventually leads to a lyrical second theme (m. 83) that arrives "unusually late". After this, the second half of the theme eventually builds to a loud melody (m. 109) that draws upon the earlier downward motif (m. 113). The climactic moment of the exposition arrives when the music is interrupted by six consecutive sforzando chords (mm. 128–131). Later, and following the concluding chords of the exposition (mm. 144–148), the main theme returns in a brief codetta (m. 148) that transitions into the repeat / development.


title: Symphony No. 3 (Beethoven)

text: An alternative analysis holds that the second theme begins earlier at m. 45 with the downward motif. In this view, the traditional harmonic progression of the exposition ends at m. 82, with the new lyrical theme at m. 83 beginning an extension. This pattern would be consistent with that found later in the development, in which the climactic moment leads to a new lyrical theme that launches an extended section. Moreover, the downward motif theme (m. 45) is developed significantly in the next section while the lyrical theme (m. 83) does not appear. Commenters have also observed that the sonata form and orchestration transitions would be fully preserved by cutting the second half of the exposition (m. 83–143). However, others have observed that form and orchestration would also be fully preserved if the second and third transitional passages were cut instead (mm. 57–82), consistent with the traditional analysis.


title: Symphony No. 3 (Beethoven)

text: The development section (m. 154), like the rest of the movement, is characterized by harmonic and rhythmic tension from dissonant chords and long passages of syncopated rhythm. Following various thematic explorations and counterpoint, the music eventually breaks into a 32-bar passage (mm. 248–279) of sforzando chords including both 2-beat and 3-beat downward patterns, culminating in crashing dissonant forte chords (mm. 276–279). Commenters have stated that this "outburst of rage ... forms the kernel of the whole movement", and Beethoven reportedly got out in his beat when conducting the orchestra in Christmas 1804, forcing the confused players to stop and go back.


title: Symphony No. 3 (Beethoven)

text: Rather than leading to the recapitulation at this point, a new theme in E minor is then introduced instead (mm. 284). This eventually leads to a near-doubling of the development's length, in like proportion to the exposition.


title: Symphony No. 3 (Beethoven)

text: At the end of the development, one horn famously appears to come in early with the main theme in E (mm. 394–395), while the strings continue playing the dominant chord. In the 19th century, this was thought to be a mistake; some conductors assumed the horn notes were written in the tenor clef (B–D–B–F) while others altered the second violin harmony to G (chord of the tonic), an error that eventually appeared in an early printed version. However, Beethoven's secretary, Ferdinand Ries, shared this anecdote about that horn entrance:


title: Symphony No. 3 (Beethoven)

text: The first rehearsal of the symphony was terrible, but the hornist did, in fact, come in on cue. I was standing next to Beethoven and, believing that he had made a wrong entrance, I said, "That damned hornist! Can't he count? It sounds frightfully wrong." I believe I was in danger of getting my ears boxed. Beethoven did not forgive me for a long time.


title: Symphony No. 3 (Beethoven)

text: The recapitulation starts in the tonic E♭ major as expected, but then features a sudden excursion to F major early on before eventually returning to a more typical form. The movement concludes in a long coda that reintroduces the new theme first presented in the development section.


title: Symphony No. 3 (Beethoven)

text: The second movement is a funeral march in the ternary form (A–B–A) that is typical of 18th-century funeral marches, albeit one that is "large and amply developed" and in which the principal theme has the functions of a refrain as in rondo form. Musically, the thematic solemnity of the second movement has lent itself for use as a funeral march, proper. The movement is between 14 and 18 minutes long.


title: Symphony No. 3 (Beethoven)

text: The opening A-section in C minor begins with the march theme in the strings, then in the winds. A second theme (m. 17) in the relative major (E) quickly returns to minor tonality, and these materials are developed throughout the rest of the section. This eventually gives way to a brief B-section in C major (m. 69) "for what may be called the Trio of the March", which Beethoven unusually calls attention to by marking "Maggiore" (major) in the score.


title: Symphony No. 3 (Beethoven)

text: At this point, the traditional "bounds of ceremonial propriety" would normally indicate a da capo return to the A theme. However, the first theme in C minor (m. 105) begins modulating in the sixth bar (m. 110), leading to a fugue in F minor (m. 114) based on an inversion of the original second theme. The first theme reappears briefly in G minor in the strings (m. 154), followed by a stormy development passage ("a shocking fortissimo plunge"). A full re-statement of the first theme in the original key then begins in the oboe (m. 173).


title: Symphony No. 3 (Beethoven)

text: The coda (m. 209) begins with a marching motif in the strings that was earlier heard in the major section (at mm. 78, 100) and eventually ends with a final soft statement of the main theme (m. 238) that "crumbles into short phrases interspersed with silences".


title: Symphony No. 3 (Beethoven)

text: The A theme of the outer scherzo section appears pianissimo in the dominant key of B (mm. 7, 21), then piano in the secondary dominant key of F which is when the B part of the outer scherzo is heard (m. 41). This is followed by a pianissimo restart in B (m. 73), which is when the A theme is heard again, leading to a full fortissimo statement in the tonic key of E (m. 93). Later, a downward arpeggio motif with sforzandos on the second beat is played twice in unison, first by the strings (mm. 115–119) and then by the full orchestra (mm. 123–127). This is followed by a syncopated motif characterized by descending fourths (m. 143), leading to the repeat.


title: Symphony No. 3 (Beethoven)

text: The trio section features three horns, the first time this had appeared in the symphonic tradition. The scherzo is then repeated in shortened form, except that very notably the second occurrence of the downward unison motif is changed to duple time (mm. 381–384). The movement ends with a coda (m. 423) – with Beethoven marking the word in the score which was unusual for him – that quickly builds from pianissimo to fortissimo, encapsulating the pattern of the whole movement.


title: Symphony No. 3 (Beethoven)

text: The fourth movement is a set of ten variations on a theme. It lasts between 10 and 14 minutes. The theme was previously used by Beethoven in earlier compositions and arguably forms the basis for the first three movements of the symphony as well (see Thematic Origins below).


title: Symphony No. 3 (Beethoven)

text: After a short introduction on the tutti that begins with the mediant chord that transitions to the dominant seventh, the quiet theme, in E-flat major, first appears and then is subjected to a series of ten variations:


title: Symphony No. 3 (Beethoven)

text: The symphony ends with a coda, which takes image on all previous sections and variations of the movement. At the end of the coda, there is a "surprise", which is when the dynamic changes from ' on the flute, bassoon, and strings only to ' all of a sudden by a huge crash on the whole orchestra, as the tempo abruptly changes to Presto. A flurry of sforzandos appear, and the finale ends triumphantly with three large E-flat major chords on the tutti.


title: Symphony No. 3 (Beethoven)

text: Beethoven began composing the third symphony soon after Symphony No. 2 in D major, Opus 36 and completed the composition in early 1804. The first public performance of Symphony No. 3 was on 7 April 1805 in Vienna.


title: Symphony No. 3 (Beethoven)

text: There is significant evidence that the "Eroica", perhaps unlike Beethoven's other symphonies, was constructed back-to-front. The theme used in the fourth movement, including its bass line, originate from the seventh of Beethoven's 12 Contredanses for Orchestra, WoO 14, and also from the Finale to his ballet "The Creatures of Prometheus", Op. 43, both of which were composed in the winter of 1800–1801. The next year, Beethoven used the same theme as the basis for his Variations and Fugue for Piano in E♭ Major, Op. 35, now commonly known as the "Eroica" Variations due to the theme's re-use in the symphony. It is the only theme that Beethoven used for so many separate works in his lifetime, and each use is in the same key of E major.


title: Symphony No. 3 (Beethoven)

text: The "Wielhorsky Sketchbook", Beethoven's principal sketchbook for 1802, contains a two-page movement plan in E major that directly follows the sketches for the Opus 35 Variations, which has been identified as being intended for the Third Symphony. While the movement plan gives no explicit indication regarding the finale, Lewis Lockwood argues that "there cannot be any doubt that Beethoven intended from the start" to use the same theme (and bass of the theme) that he had just fleshed out in the Opus 35 Variations. Thus, it is argued that Beethoven's initial conception for a complete symphony in E – including its first three movements – emerged directly from the Op. 35 Variations.


title: Symphony No. 3 (Beethoven)

text: The first movement's main theme (mm. 2–6) has thus been traced back to the bass line theme of the Opus 35 variations (E, B↓, B↑, E) by way of intermediate versions found in one of Beethoven's sketchbooks. In the second movement, the combined tonality (melody and bass) of the Opus 35 theme's first four bars – E, B↓, B7(A)↑, E – appears in slightly altered form as the funeral's march's second theme (E, B↓, A↑, E) (mvt. II, mm. 17–20), followed by two sudden forte Bs that echo later elements of the theme. That same tonality then appears unaltered as the scherzo's main theme (mvt. III, mm. 93–100).


title: Symphony No. 3 (Beethoven)

text: Thus, the first three movements can be viewed as symphonic-length "variations" on the Opus 35 theme, ultimately anticipating the theme's appearance in the fourth movement. Moreover, Beethoven's choice to begin the symphony with a theme adapted from the bass line is also paralleled in the fourth movement, in which the bass theme is heard as the first variation before the main theme ultimately appears. This again parallels the structure of the Opus 35 variations themselves. Finally, the loud E chord that begins the Opus 35 variations themselves is moved here to the beginning of the first movement, in the form of the two chords that introduce the first movement.


title: Symphony No. 3 (Beethoven)

text: Alternatively, the first movement's resemblance to the overture to the comic opera "Bastien und Bastienne" (1768), composed by twelve-year-old W. A. Mozart, has been noted. It was unlikely that Beethoven knew of that unpublished composition. A possible explanation is that Mozart and Beethoven each coincidentally heard and learned the theme from elsewhere.


title: Symphony No. 3 (Beethoven)

text: Beethoven originally dedicated the third symphony to Napoleon Bonaparte, who he believed embodied the democratic and anti-monarchical ideals of the French Revolution. In the autumn of 1804, Beethoven withdrew his dedication of the third symphony to Napoleon, lest it cost him the composer's fee paid him by a noble patron; so, Beethoven re-dedicated his third symphony to Prince Joseph Franz Maximilian Lobkowitz – nonetheless, despite such a bread-and-butter consideration, the politically idealistic Beethoven titled the work "Bonaparte". Later, about the composer's response to Napoleon having proclaimed himself Emperor of the French (14 May 1804), Beethoven's secretary, Ferdinand Ries said that:


title: Symphony No. 3 (Beethoven)

text: In writing this symphony, Beethoven had been thinking of Bonaparte, but Bonaparte while he was First Consul. At that time Beethoven had the highest esteem for him, and compared him to the greatest consuls of Ancient Rome. Not only I, but many of Beethoven's closer friends, saw this symphony on his table, beautifully copied in manuscript, with the word "Bonaparte" inscribed at the very top of the title-page and "Ludwig van Beethoven" at the very bottom ...


title: Symphony No. 3 (Beethoven)

text: I was the first to tell him the news that Bonaparte had declared himself Emperor, whereupon he broke into a rage and exclaimed, "So he is no more than a common mortal! Now, too, he will tread under foot all the rights of Man, indulge only his ambition; now he will think himself superior to all men, become a tyrant!" Beethoven went to the table, seized the top of the title-page, tore it in half and threw it on the floor. The page had to be recopied, and it was only now that the symphony received the title "Sinfonia eroica".


title: Symphony No. 3 (Beethoven)

text: An extant copy of the score bears two scratched-out, hand-written subtitles; initially, the Italian phrase "Intitolata Bonaparte" ("Titled Bonaparte"), secondly, the German phrase "Geschriben auf Bonaparte" ("Written for Bonaparte"), four lines below the Italian subtitle. Three months after retracting his initial Napoleonic dedication of the symphony, Beethoven informed his music publisher that "The title of the symphony is really "Bonaparte"". In 1806, the score was published under the Italian title "Sinfonia Eroica ... composta per festeggiare il sovvenire di un grande Uomo" ("Heroic Symphony, Composed to celebrate the memory of a great man").


title: Symphony No. 3 (Beethoven)

text: Composed from the autumn of 1803 until the spring of 1804, the earliest rehearsals and performances of the third symphony were private, and took place in the Vienna palace of Beethoven's noble patron, Prince Lobkowitz. An account record dated 9 June 1804, submitted by the prince's Kapellmeister Anton Wranitzky, shows that the prince hired twenty-two extra musicians (including the third horn required for the "Eroica") for two rehearsals of the work. The fee paid to Beethoven by Prince Lobkowitz would also have secured further private performances of the symphony that summer on his Bohemian estates, Eisenberg (Jezeří) and Raudnitz (Roudnice). The first public performance was on 7 April 1805, at the Theater an der Wien, Vienna; for which concert the announced (theoretical) key for the symphony was Dis (D major, 9 sharps).


title: Symphony No. 3 (Beethoven)

text: Reviews of the work's public premiere (on 7 April 1805) were decidedly mixed. The concert also included the premiere of a Symphony in E flat major by Anton Eberl (1765–1807) that received better reviews than Beethoven's symphony. One correspondent describes the first reactions to the "Eroica":


title: Symphony No. 3 (Beethoven)

text: Musical connoisseurs and amateurs were divided into several parties. One group, Beethoven's very special friends, maintains that precisely this symphony is a masterpiece... The other group utterly denies this work any artistic value ... [t]hrough strange modulations and violent transitions ... with abundant scratchings in the bass, with three horns and so forth, a true if not desirable originality can indeed be gained without much effort. ...The third, very small group stands in the middle; they admit that the symphony contains many beautiful qualities, but admit that the context often seems completely disjointed, and that the endless duration ... exhausts even connoisseurs, becoming unbearable to the mere amateur. To the public the symphony was too difficult, too long ... Beethoven, on the other hand, did not find the applause to be sufficiently outstanding.


title: Symphony No. 3 (Beethoven)

text: One reviewer at the premiere wrote that "this new work of B. has great and daring ideas, and ... great power in the way it is worked out; but the symphony would improve immeasurably if B. could bring himself to shorten it, and to bring more light, clarity, and unity to the whole." Another said that the symphony was "for the most part so shrill and complicated that only those who worship the failings and merits of this composer with equal fire, which at times borders on the ridiculous, could find pleasure in it". But a reviewer just two years later described the "Eroica" simply as "the greatest, most original, most artistic and, at the same time, most interesting of all symphonies".


title: Symphony No. 3 (Beethoven)

text: The finale in particular came in for criticism that it did not live up to the promise of the earlier movements. An early reviewer found that "[t]he finale has much value, which I am far from denying it; however, it cannot very well escape from the charge of great bizarrerie." Another agreed that "[t]he finale pleased less, and that "the artist often wanted only to play games with the audience without taking its enjoyment into account simply in order to unloose a strange mood and, at the same time, to let his originality sparkle thereby". An exhaustive review of the work in a leading music journal made an observation that may still be familiar to first-time listeners: "this finale is long, very long; contrived, very contrived; indeed, several of [its] merits lie somewhat hidden. They presuppose a great deal if they are to be discovered and enjoyed, as they must be, in the very moment of their appearance, and not for the first time on paper afterwards." A review of an 1827 performance in London wrote that this particular performance "most properly ended with the funeral march, omitting the other parts, which are entirely inconsistent with the avowed design of the composition".


title: Symphony No. 3 (Beethoven)

text: The symphony premiered in London on 26 March 1807 at the Covent Garden Theatre and in Boston on 17 April 1810 by the newly founded Boston Philharmonic Society, both performances receiving fairly mixed reviews.


title: Symphony No. 3 (Beethoven)

text: The original autograph manuscript does not survive. A copy of the score with Beethoven's handwritten notes and remarks, including the famous scratch-out of the dedication to Napoleon on the cover page, is housed in the library of the Gesellschaft der Musikfreunde in Vienna. A first published edition (1806) of Beethoven's "Eroica" is on display at the Lobkowicz Palace in Prague.


title: Symphony No. 3 (Beethoven)

text: Several modern scholarly editions have appeared in recent decades, including those edited by Jonathan Del Mar (published by Bärenreiter), Peter Hauschild (Breitkopf & Härtel), and Bathia Churgin (Henle).


title: Symphony No. 3 (Beethoven)

text: The work is a milestone work in classical music; it is twice as long as the symphonies of Joseph Haydn and Wolfgang Amadeus Mozart – the first movement is almost as long as a Classical symphony (with repetition of the exposition). Thematically, it covers more emotional ground than Beethoven's earlier symphonies, and thus marks a key milestone in the transition between Classicism and Romanticism that would define Western art music in the early decades of the nineteenth century.


title: Symphony No. 3 (Beethoven)

text: The second movement especially displays a great emotional range, from the misery of the funeral march theme, to the relative solace of happier, major-key episodes. The finale displays a similar emotional range, and is given a thematic importance then unheard of. In earlier symphonies, the finale was a quick and breezy conclusion; here, the finale is a lengthy set of variations and a fugue.


title: Symphony No. 3 (Beethoven)

text: The symphony's second movement has been played as a funeral march at state funerals, memorial services, and commemorations including:


title: Symphony No. 3 (Beethoven)

text: Bruno Walter performed the entire symphony as the memorial concert for conductor Arturo Toscanini, in 1957.


title: Symphony No. 3 (Beethoven)

text: "Eroica", a film based in part on Ferdinand Ries' recollection of the symphony's 1804 premiere, was released in 2003.


title: Nico Robin

text: In the series, Robin is introduced as an antagonist, but eventually becomes the seventh member of the Straw Hat Pirates crew, captained by Monkey D. Luffy. Acting as the group's archaeologist and historian, Robin is a Devil Fruit user who possess the power of the Flower-Flower Fruit, allowing her to sprout replicas of her limbs, and later her entire body, from any surface. As the only survivor of the island of Ohara, Robin is the only known living person in the world of "One Piece" with the ability to read the ancient stones called Poneglyphs, something considered threatening by the World Government, which forbids the practice.


title: Nico Robin

text: Robin has become extremely popular and a breakout character in anime and manga fandom. She has also appeared in several adaptations based on the manga, including the anime television series in which she is voiced by Yuriko Yamaguchi in the original Japanese language, as well as by Veronica Taylor and Stephanie Young in the English versions. She has also become a popular subject of cosplay, causing a trend in Japan where women attempted to replicate her iconic costumes.


title: Nico Robin

text: The character of Nico Robin was created by manga artist Eiichiro Oda, the author of the manga series "One Piece", and she made her first appearance in its 114th chapter, titled "The Course", which was first published in Shueisha's "Weekly Shōnen Jump" magazine on November 22, 1999. As a fan of film director Quentin Tarantino, Oda stated that he used as a source of inspiration for Robin's design the character of Mia Wallace, played by Uma Thurman in "Pulp Fiction" (1994), one of Tarantino's most famous films. According to Oda, Robin is a 30-year-old, has her birthday on February 6, and is 6.2 feet tall which is around 188 cm. When asked by a fan what the nationalities of the members of the Straw Hat Pirates would be if "One Piece" was set in the real world, Oda replied that Robin would be Russian. Robin was a later addition to the story and Robin and Franky are the only crew members who did not appear in the original concept art for the Straw Hats. However there was a male member who was a botanist, which may allude to Robin’s Devil Fruit power.


title: Nico Robin

text: Being raised in Ohara, home of the world's oldest and largest library, Nico Robin becomes an archaeologist at the age of eight. At some point she gains the power of the Paramecia-type Flower-Flower Fruit, which allows her to have temporary copies of parts of her body, including her eyes and ears, which spring up on surfaces near her. Behind her teachers' backs, she acquires from them the outlawed knowledge of how to translate the ancient stones called Poneglyphs, which are scattered around the world. She comes to share their goal of finding the elusive Real Ponegliff, which is said to tell the world's lost history. However, the World Government finds out about these efforts and sends a battlefleet to stop them. Only Robin escapes the devastating attack that claims the lives of the island's entire population, including that of her mother, Nico Olvia.


title: Nico Robin

text: Given the epithet "Devil Child" by the World Government, traumatized, and with a bounty on her head, Robin lives a life on the run, unable to trust anyone. To survive, she cooperates with various pirates and other outlaws. She eventually joins Sir Crocodile's Baroque Works group, using the codename Ms. All-Sunday and becoming their vice-president. After Baroque Works falls apart, with nowhere else to go, she tags along with the Straw Hat Pirates and grows so fond of them that she gives herself up to the Government in order to save them. After they discover her real reason for leaving, the Straw Hat Pirates declare open war against the Government to get her back. She realizes that she has finally found people who will never sell her out and becomes part of the crew.


title: Nico Robin

text: Two years later, Robin further hones her Flower-Flower Fruit powers to the point where she can create a full-bodied duplicate of herself and even wings composed entirely of arms and hands that allow her to fly. After Robin was unsuccessfully captured in Wano by CP0, the Government's direct intelligence agency after another Cipher Pol organization CP9 had already failed to execute her two years prior, her bounty was raised to over seven times her previous bounty, from 130,000,000 to 930,000,000.


title: Nico Robin

text: In the anime television series adaptation of the manga, Robin's voice actress is Yuriko Yamaguchi. In the 4Kids Entertainment English adaptation, her Baroque Works codename was changed to Miss Sunday and she is voiced by Veronica Taylor who portrays her with a country accent. In the Funimation English adaptation, her voice is supplied by Stephanie Young. In addition to the anime, Robin is featured in many of the adaptations based on the "One Piece" media franchise, including films, video games, and others as well. Emiya Ichikawa II performed as Robin in a kabuki play inspired by "One Piece" that ran at Tokyo's Shinbashi Enbujō throughout October and November 2015. Robin has also appeared as a playable character in the crossover fighting games "Jump Super Stars" and "Jump Ultimate Stars".


title: Nico Robin

text: Jamie Lee Curtis said she would like to play Nico Robin in the Netflix adaptation, but noted it was unlikely due to her age.


title: Nico Robin

text: Nico Robin is one of the most popular characters in the "One Piece" series. Ever since her debut, she has become a popular subject of cosplay, causing a trend in which female fan readers of the series attempt to replicate the various iconic looks of the character that have been shown over the years. In 2013, website Tokyo Otaku Mode held a poll asking anime and manga fans via Facebook which characters they would most want to date; Robin was ranked in 2nd place. In 2014, Goo Ranking conducted a poll amongst NTT customers by asking for their favorite female and male black-haired anime characters, with Robin ranking in 6th place out of the top 15 females.


title: Nico Robin

text: Reviewing "One Piece", Rebecca Silverman of Anime News Network (ANN) said that Robin "watches everything with quiet, amused detachment", while also noting how Robin's store of knowledge is "steadily growing and she is starting to really put things together". Reviewing the 278th episode of the anime, Sam Leach of ANN commented that Robin's "big 'I want to live!' scene is one of the most cathartic moments you'll ever find in fiction".


title: Nico Robin

text: Sean Cubillas of "Screen Rant" wrote, "Based on aesthetics alone, Nico Robin is an easy fan favorite for her dark, mysterious design and attitude. Her backstory more than skyrocketed her to legendary status, as it brought tears to everyone's eyes and expanded the series' scope and sense of politics. It didn't take long after that for the series to truly immortalize her." In another article, Cubillas stated, "Nico Robin, at first sight, is clearly one of the edgier characters of the group. She has a sharp stare to most and often carries herself with a mysterious demeanor. Her introduction into the series as an elite assassin and vice president to an underground organization likely hasn't helped. Fortunately for her, she's taken to the Straw Hats to lighten her demeanor and, in recent stories, has become more of a mother figure to the crew. However, just because she's nicer, doesn't mean that she doesn't have the same, dark imagination. Whenever something dangerous or mysterious happens to the crew, Nico Robin always comes up with a darker scenario that dials up everyone's tensions further."


The 2016 United States presidential election in Pennsylvania took place on November 8, 2016, as part of the 2016 United States elections in which all 50 states and the District of Columbia participated. Pennsylvania voters chose electors to represent them in the Electoral College via a popular vote.


title: 2016 United States presidential election in Pennsylvania

text: On April 26, 2016, in the presidential primaries, voters selected the Democratic, Republican, and Green parties' respective nominees for president. Pennsylvania is a closed primary state, meaning voters must have been previously registered with a particular political party in order to vote for one of that parties' candidates, to participate in their respective party primary. The Republican party candidate was Donald Trump, who won Pennsylvania by 44,292 votes out of more than 6,000,000 cast, a difference of 0.72% and the narrowest margin in a presidential election, since 1840 when William Henry Harrison defeated Martin Van Buren by just 0.12%. This made Pennsylvania roughly 2.82% more Republican than the nation-at-large, marking the first time since 1948 that Pennsylvania voted to the right of the national environment.


text: Prior to the election, Pennsylvania was expected to be close as polling showed the results within the margin of error, but many election experts viewed that Clinton had an edge. However, on Election Day, Pennsylvania unexpectedly swung to Donald Trump. Trump carried 56 of the state's 67 counties, predominantly rural or suburban counties, while Clinton carried much of the Philadelphia metropolitan area as well as other cities including Pittsburgh, Harrisburg and Scranton. Nonetheless, some areas of traditional Democratic strength such as Luzerne County, where Wilkes-Barre is located, saw swings in margins of up to 25% toward Donald Trump, making him the first Republican candidate for president to win Pennsylvania since George H. W. Bush in 1988. 2016 would also be the first presidential election since 1948 in which the Democratic nominee won the popular vote without the state. Pennsylvania's vote for Donald Trump, along with that of Wisconsin and Michigan, marked the fall of the Democratic Blue Wall, a bloc of over 240 electoral votes that voted solidly Democratic from 1992 to 2012.


text: Pennsylvania was one of the eleven states to have voted twice for Bill Clinton in 1992 and 1996 which Hillary Clinton lost in 2016. Although Wisconsin eventually delivered the Trump victory, when the Clinton campaign learned that they had lost Pennsylvania, they then knew that they had lost the election. Trump became the first Republican ever to win the White House without carrying Chester or Dauphin Counties, as well as the first to do so without carrying Centre County since Benjamin Harrison in 1888, and the first to do so without carrying Monroe County since Calvin Coolidge in 1924. He also became the first Republican to win Pennsylvania without carrying any of Philadelphia's suburban counties.


text: Pennsylvania held a series of caucuses throughout April, culminating with a meeting on April 30 in Harrisburg, Pennsylvania, where delegates were assigned.


text: From July 25 to July 28, 2016, Philadelphia hosted the 2016 Democratic National Convention. It was held at the Wells Fargo Center with ancillary meetings at the Pennsylvania Convention Center. Former Secretary of State Hillary Clinton was chosen as the party's nominee for president by a 59.67% majority of delegates present at the convention roll call and then winning the nomination. While runner-up rival Senator Bernie Sanders received 39.16% of votes from delegates. Clinton becoming the first female candidate to be formally nominated by a major national party as a presidential candidate in the United States. Her running mate, Senator Tim Kaine, the junior United States senator from Virginia was chosen by delegates as the party's nominee for vice president by acclamation.


text: Trump won 12 of 18 congressional districts, including one which elected a Democrat, while Clinton won 6 including two that elected a Republican.


title: Jessica Jaymes

text: Jessica Redding (March 8, 1979 – September 17, 2019), known by her stage name Jessica Jaymes, was an American pornographic actress. She was "Hustler"s first contract model and the ""Hustler" Honey of the Year" in 2004, the August 2008 "Penthouse" Pet of the Month, and the co-founder of Spizoo, a pornographic film studio.


title: Jessica Jaymes

text: Jessica Redding was born in Anchorage, Alaska, on March 8, 1979 to Deborah and Michael Redding (1950–2003). Her mother is of Czech and French descent, and her father worked as an undercover agent for the Drug Enforcement Administration and fought in the Vietnam War. She had a younger sister, Bonnie. Redding attended the New Mexico Military Institute in Roswell, New Mexico before graduating from Rio Salado College in Arizona. She then worked as a fourth- through sixth-grade teacher for three years. Her website states she held an art degree and could play classical piano.


title: Jessica Jaymes

text: Jaymes' adult film career began in the summer of 2002. Her stage name was a combination of her real first name and the first name of her then-lover, James. In 2004, she became Hustler Video's first contract model and the ""Hustler" Honey of the Year". She did exclusively all-female work until 2005, when she began appearing alongside male performers. In August 2008, she was the "Penthouse" Pet of the Month. That same year, she co-founded the pornographic film studio Spizoo.


title: Jessica Jaymes

text: Jaymes played a small role in two episodes of the television series "Weeds" in 2006 and 2007, in which she portrayed herself. She also made appearances on various reality shows such as VH1's "Celebrity Rehab Sober House", HBO's "Vivid Valley", and "The Howard Stern Show".


title: Jessica Jaymes

text: Redding was found unconscious at her residence in North Hills, Los Angeles, on September 17, 2019, and pronounced dead at the scene. Her ex-husband and Spizoo business partner found her when he went to check on her after she had been inactive online and unresponsive to messages for nearly a week. Jaymes had a history of seizures, but the cause of her death was not immediately known. An autopsy was performed after which her body was released to her family, but a cause of death was deferred pending toxicology results. The Los Angeles County Coroner's report later listed her causes of death as a seizure and chronic alcohol abuse.


title: Enclosure

text: Enclosure or Inclosure is a term, used in English landownership, that refers to the appropriation of "waste" or "common land" enclosing it and by doing so depriving commoners of their rights of access and privilege. Agreements to enclose land could be either through a formal or informal process. The process could normally be accomplished in three ways. First there was the creation of "closes", taken out of larger common fields by their owners. Secondly, there was enclosure by proprietors, owners who acted together, usually small farmers or squires, leading to the enclosure of whole parishes. Finally there were enclosures by Acts of Parliament.


title: Enclosure

text: The primary reason for enclosure was to improve the efficiency of agriculture. However, there were other motives too, one example being that the value of the land enclosed would be substantially increased.


title: Enclosure

text: There were social consequences to the policy, with many protests at the removal of rights from the common people. Enclosure riots are seen by historians as 'the pre-eminent form' of social protest from the 1530s to 1640s.


title: Enclosure

text: After William I invaded and conquered England in 1066, he distributed the land amongst 180 barons, who held the land as tenants. However he promised the English people that he would keep the laws of Edward the Confessor. Thus commoners were still able to exercise their ancient customary rights. Land ownership in the UK is still based on the feudal system introduced by the Normans where all land was owned by the Crown. The original contract bound the people who occupied the land to provide some form of service. This evolved into a financial agreement that avoided or replaced the service.


title: Enclosure

text: Following the introduction of the feudal system, there was an increase in the economic growth and urban expansion of the country. In the 13th century successful Lords did very well financially, however the peasants faced with ever increasing costs did not, and their landholding dwindled. But after outbreaks of the Black Death in the middle of the 14th century there was a major decline in population and crop yields.The decline in population left surviving farm workers in great demand. Landowners had to face the choice of raising wages to compete for workers or letting their lands go unused. Wages for labourers rose and translated into inflation across the economy. The ensuing difficulties in hiring labour has been seen as causing the abandonment of land and the demise of the feudal system, although some historians have suggested that the effects of the Black Death may have only sped up the process.


title: Enclosure

text: From as early as the 12th century agricultural land had been enclosed. However, the history of enclosure in England is different from region to region. Parts of south-east England (notably sections of Essex and Kent) retained the pre-Roman Celtic field system of farming in small enclosed fields. Similarly in much of west and north-west England, fields were either never open, or were enclosed early. The primary area of field management, known as the "open field system", was in the lowland areas of England in a broad band from Yorkshire and Lincolnshire diagonally across England to the south, taking in parts of Norfolk and Suffolk, Cambridgeshire, large areas of the Midlands, and most of south central England.


title: Enclosure

text: There were essentially two broad categories of enclosure, these were 'formal' or 'informal' agreements. Formal enclosure was achieved either through act of parliament from 1836 onwards, or by a written agreement signed by all parties involved. The written record would probably also include a map.


title: Enclosure

text: With informal agreements there was either minimal or no written record other than occasionally a map of the agreement. The most straightforward informal enclosure was though 'unity of possession'. Under this, if an individual managed to acquire all the disparate strips of land in an area and consolidate them in one whole piece, for example a manor, then any communal rights would cease to exist as there was no one to exercise them.


title: Enclosure

text: Before the enclosures in England, "common" land was under the control of the manorial lord. The usual manor consisted of two elements, the peasant tenantry and the lord's holding, known as the "demesne" farm. The land the lord held was for his benefit and was farmed by his own direct employees or by hired labour. The tenant farmers had to pay rent. This could either be cash, labour or produce. Tenants had certain rights such as pasture, pannage, or estovers that could be held by neighbouring properties, or (occasionally) "in gross" by all manorial tenants. "Waste" land was often very narrow areas, typically less than wide, in awkward locations (such as cliff edges, or inconveniently shaped manorial borders), but also could be bare rock, it was not officially used by anyone, and so was often "farmed" by landless peasants.


title: Enclosure

text: The remaining land was organised into a large number of narrow strips, each tenant possessing several disparate strips throughout the manor, as would the manorial lord. The open-field system was administered by manorial courts, which exercised some collective control.


title: Enclosure

text: What might now be termed a single field would have been divided under this system among the lord and his tenants; poorer peasants (serfs or copyholders, depending on the era) were allowed to live on the strips owned by the lord in return for cultivating his land. The open-field system was probably a development of the earlier Celtic field system, which it replaced. The open field system used a three-field crop rotation system. Barley, oats, or legumes would be planted in one field in spring, wheat or rye in the second field in the autumn. There was no such thing as artificial fertilizer in mediaeval England, so the continual use of arable land for crops would exhaust the fertility of the soil. The open-field system solved that problem. It did this by allowing the third field, of the arable land, to be uncultivated each year and use that "fallow" field for grazing animals, on the stubble of the old crop. The manure the animals produced in the fallow field would help restore its fertility. The following year, the fields for planting and fallow would be rotated.


title: Enclosure

text: The very nature of the three field rotation system imposed a discipline on lord and tenants in their management of the arable land. Every one had the freedom to do what they liked with their own land but had to follow the rhythms of the rotation system. The land-holding tenants had livestock, including sheep, pigs, cattle, horses, oxen, and poultry, and after harvest, the fields became 'common' so they could graze animals on that land.


title: Enclosure

text: There are still examples of villages that use the open field system, one example being Laxton, Nottinghamshire.


title: Enclosure

text: They saw enclosure as a way to improve efficiency, however it was not simply the fencing of existing holdings; there was also a fundamental change in agricultural practice. One of the most important innovations was the development of the Norfolk four-course system, which greatly increased crop and livestock yields by improving soil fertility and reducing fallow periods. Wheat was grown in the first year, turnips in the second, followed by barley, with clover and ryegrass in the third. The clover and ryegrass were grazed or cut for feed in the fourth year. The turnips were used for feeding cattle and sheep in the winter. The practice of growing a series of dissimilar types of crops in the same area in sequential seasons helped to restore plant nutrients and reduce the build-up of pathogens and pests. The system also improves soil structure and fertility by alternating deep-rooted and shallow-rooted plants. For example, turnips can recover nutrients from deep under the soil. Planting crops such as turnips and clover was not realistic under the open field system , because the unrestricted access to the field meant that other villagers' livestock would graze on the turnips. Another important feature of the Norfolk system was that it used labour at times when demand was not at peak levels.


title: Enclosure

text: From as early as the 12th century, some open fields in Britain were being enclosed into individually owned fields. After the Statute of Merton in 1235 manorial lords were able to reorganize strips of land such that they were brought together in one contiguous block.


title: Enclosure

text: Copyholders had a "customary tenancy" on their piece of land that was legally enforceable. The problem was that a "copyhold tenancy" was only valid for the holders life. The heir would not have the right to inheritance although usually by custom, in exchange for a fee (known as a fine), the heir could have the copyhold transferred. To remove their customary rights, the landlords converted the copyhold into a leasehold tenancy. Leasehold removed the customary rights but the advantage to the tenant was that the land could be inherited.


title: Enclosure

text: There was a significant rise in enclosure during the Tudor period. Enclosure was quite often undertaken unilaterally by the landowner, sometimes illegally. The widespread eviction of people from their lands resulted in the collapse of the open field system in those areas. The deprivations of the displaced workers has been seen by historians as a cause of subsequent social unrest.


title: Enclosure

text: In Tudor England the ever increasing demand for wool had a dramatic effect on the landscape. The attraction of large profits to be made from wool encouraged manorial lords to enclose common land and convert it from arable to (mainly) sheep pasture. The consequent eviction of commoners or villagers from their homes and loss of their livelihoods became an important political issue for the Tudors. The resulting depopulation was financially disadvantageous to the Crown. The authorities were concerned that many of the people subsequently dispossessed would become vagabonds and thieves. Also the depopulation of villages would produce a weakened workforce and enfeeble the military strength of the state.


title: Enclosure

text: From the time of Henry VII, Parliament began passing Acts either to stop enclosure, to limit its effects, or at least to fine those responsible. The so-called 'tillage acts', were passed between 1489 and 1597.


title: Enclosure

text: The people who were responsible for the enforcement of the Acts were the same people who were actually opposed to them. Consequently, the Acts were not strictly enforced. Ultimately with rising popular opposition to sheep farming, a statute in 1533 restricted the size of flocks of sheep to no more than 2400. Then in 1549 an Act was introduced that imposed a poll tax on sheep that was coupled with a levy on home produced cloth. The result made sheep farming less profitable. However, in the end it was market forces that were responsible for stopping the conversion of arable into pasture. An increase in corn prices during the second half of the 16th century made arable farming more attractive, so although enclosures continued the emphasis was more on efficient use of the arable land.


title: Enclosure

text: Historically, the initiative to enclose land came either from a landowner hoping to maximise rental from their estate, or a tenant farmer wanting to improve their farm. Before the 17th century enclosures were generally by informal agreement.


title: Enclosure

text: When they first introduced enclosure by Act of Parliament the informal method continued too. The first enclosure by Act of Parliament was in 1604 and was for Radipole, Dorset. This was followed by many more Parliamentary Acts and by the 1750s the Parliamentary System became the more usual method.


title: Enclosure

text: The Inclosure Act 1773 created a law that enabled "enclosure" of land, at the same time removing the right of commoners' access. Although there was usually compensation, it was often in the form of a smaller and poorer quality plot of land. Between 1604 and 1914 there were more than 5,200 enclosure bills which amounted to of land that equated to approximately one fifth of the total area of England.


title: Enclosure

text: Parliamentary enclosure was also used for the division and privatisation of common "wastes" such as fens, marshes, heathland, downland and moors.


title: Enclosure

text: The statutory process included the appointment of commissioners.The Commissioners of Enclosure had absolute authority to enclose and redistribute common and open fields from around 1745 until the General Enclosure Act of 1845. After the 1845 Act permanent commissioners were appointed who could approve Enclosures without having to submit to Parliament.


title: Enclosure

text: After 1899, the Board of Agriculture, which later became the Ministry of Agriculture and Fisheries, inherited the powers of the Enclosure Commissioners.


title: Enclosure

text: One of the objectives of enclosure was to improve local roads. Commissioners were given authorisation to replace old roads and country lanes with new roads that were wider and straighter than those they replaced.


title: Enclosure

text: The road system of England had been problematic for some time. An 1852 government report described the condition of a road between Surrey and Sussex as ""very ruinous and almost impassable."" In 1749 Horace Walpole wrote to a friend complaining that if he desired good roads ""never to go into Sussex"" and another writer said that the ""Sussex road is an almost insuperable evil"". The problem was that country lanes were worn out and this had been compounded by the movement of cattle. Thus the commissioners were given powers to build wide straight roads that would allow for the passage of cattle. The completed new roads would be subject to inspection by the local Justices, to make sure they were of a suitable standard. In the late eighteenth century the width of the enclosure roads was at least , but from the 1790s this was decreased to , and later 30 feet as the normal maximum width. Straight roads of early origin, if not Roman were probably enclosure roads. They were established in the period between 1750 and 1850.


title: Enclosure

text: The building of the new roads, especially when linked up with new roads in neighbouring parishs and ultimately the turnpikes, was a permanent improvement to the road system of the country.


title: Enclosure

text: The social and economic consequences of Enclosure has been much discussed by historians. In the Tudor period Sir Thomas More in his "Utopia" said:


title: Enclosure

text: An anonymous poem, known as "Stealing the Common from the Goose", has come to represent the opposition to the enclosure movement in the 18th century:


title: Enclosure

text: In 1770 Oliver Goldsmith wrote the poem "The Deserted Village", in it condemns rural depopulation, the enclosure of common land, the creation of landscape gardens and the pursuit of excessive wealth.


title: Enclosure

text: During the 19th and early 20th century historians generally had sympathy for the cottagers who rented their dwellings from the manorial lord and also the landless labourers. John and Barbara Hammond said that "enclosure was fatal to three classes: the small farmer, the cottager and the squatter." "Before enclosure the cottager was a labourer with land; after enclosure was a labourer without land."


title: Enclosure

text: Marxist historians, such as Barrington Moore Jr., focused on enclosure as a part of the class conflict that eventually eliminated the English peasantry and saw the emergence of the bourgeoisie. From this viewpoint, the English Civil War provided the basis for a major acceleration of enclosures. The parliamentary leaders supported the rights of landlords "vis-a-vis" the King, whose Star Chamber court, abolished in 1641, had provided the primary legal brake on the enclosure process. By dealing an ultimately crippling blow to the monarchy (which, even after the Restoration, no longer posed a significant challenge to enclosures) the Civil War paved the way for the eventual rise to power in the 18th century of what has been called a "committee of Landlords", a prelude to the UK's parliamentary system. After 1650 with the increase in corn prices and the drop in wool prices the focus shifted to implementation of new agricultural techniques, including fertilizer, new crops, and crop rotation, all of which greatly increased the profitability of large-scale farms. The enclosure movement probably peaked from 1760 to 1832; by the latter date it had essentially completed the destruction of the medieval peasant community. Surplus peasant labour moved into the towns to become industrial workers. The enclosure movement is considered by some scholars to be the beginnings of the emergence of capitalism.


title: Enclosure

text: In contrast to the Hammonds' 1911 analysis of the events, critically J. D. Chambers and G. E. Mingay, suggested that the Hammonds exaggerated the costs of change when in reality enclosure meant more food for the growing population, more land under cultivation and on balance, more employment in the countryside. The ability to enclose land and raise rents certainly made the enterprise more profitable.


title: Enclosure

text: Arnold Toynbee considered that the main feature distinguishing English agriculture was the massive reduction in common land between the middle of the 18th to the middle of the 19th century.


title: Enclosure

text: He writes: "The result was a great increase in agricultural produce. The landowners having separated their plots from those of their neighbours and having consolidated them could pursue any method of tillage they preferred. Alternate and convertible husbandry … came in. The manure of the cattle enriched the arable land and grass crops on the ploughed-up and manured land were much better than were those on the constant pasture."


title: Enclosure

text: Since the late 20th century, those contentions have been challenged by a new class of historians. The Enclosure movement has been seen by some as causing the destruction of the traditional peasant way of life, however miserable. Landless peasants could no longer maintain an economic independence so had to become labourers. Historians and economists such as M.E.Turner and D. McCloskey have examined the available contemporary data and concluded that the difference in efficiency between the open field system and enclosure is not so plain and obvious.


title: Enclosure

text: After the Black Death, during the 14th to 17th centuries, landowners started to convert arable land over to sheep, with legal support from the Statute of Merton of 1235. Villages were depopulated. The peasantry responded with a series of revolts. In the 1381 Peasants' Revolt, enclosure was one of the side issues. However, in Jack Cade's rebellion of 1450 land rights were a prominent demand and by the time of Kett's Rebellion of 1549 enclosure was a main issue, as it was in the Captain Pouch revolts of 1604-1607 when the terms "leveller" and "digger" appeared, referring to those who levelled the ditches and fences erected by enclosers.


title: Enclosure

text: D. C. Coleman writes that "many troubles arose over the loss of common rights" with resentment and hardship coming from various channels including the "loss of ancient rights in the woodlands to cut underwood, to run pigs".


title: Enclosure

text: The protests against enclosure was not just confined to the countryside. Enclosure riots also occurred in towns and cities across England in the late 15th and early 16th century. The urban unrest was distributed across the whole of the country from York in the north, to Southampton in the south and Gloucester in the west, to Colchester in the east. The urban rioters were not necessarily agricultural workers but consisted of artisanal workers such as butchers, shoemakers,


title: Enclosure

text: In May and June 1607 the villages of Cotesbach (Leicestershire); Ladbroke, Hillmorton and Chilvers Coton (Warwickshire); and Haselbech, Rushton and Pytchley (Northamptonshire) saw protests against enclosures and depopulation. The rioting that took place became known as the Midland Revolt and drew considerable popular support from the local people. It was led by John Reynolds, otherwise known as 'Captain Pouch' who was thought to be an itinerant pedlar or tinker, by trade, and said to have originated from Desborough, Northamptonshire. He told the protesters he had authority from the King and the Lord of Heaven to destroy enclosures and promised to protect protesters by the contents of his pouch, carried by his side, which he said would keep them from all harm (after he was captured, his pouch was opened; all that was in it was a piece of mouldy cheese). A curfew was imposed in the city of Leicester, as it was feared citizens would stream out of the city to join the riots. A gibbet was erected in Leicester as a warning, and was pulled down by the citizens.


title: Enclosure

text: The Newton Rebellion was one of the last times that the non-mining commoners of England and the gentry were in open, armed conflict. Things had come to a head in early June. James I issued a Proclamation and ordered his Deputy Lieutenants in Northamptonshire to put down the riots. It is recorded that women and children were part of the protest. Over a thousand had gathered at Newton, near Kettering, pulling down hedges and filling ditches, to protest against the enclosures of Thomas Tresham.


title: Enclosure

text: The Treshams were unpopular for their voracious enclosing of land – the family at Newton and their better-known Roman Catholic cousins at nearby Rushton, the family of Francis Tresham, who had been involved two years earlier in the Gunpowder Plot and had by announcement died in London's Tower. Sir Thomas Tresham of Rushton was vilified as 'the most odious man' in Northamptonshire. The old Roman Catholic gentry family of the Treshams had long argued with the emerging Puritan gentry family, the Montagus of Boughton, about territory. Now Tresham of Newton was enclosing common land – The Brand Common – that had been part of Rockingham Forest.


title: Enclosure

text: Edward Montagu, one of the Deputy Lieutenants, had stood up against enclosure in Parliament some years earlier, but was now placed by the King in the position effectively of defending the Treshams. The local armed bands and militia refused the call-up, so the landowners were forced to use their own servants to suppress the rioters on 8 June 1607. The Royal Proclamation of King James was read twice. The rioters continued in their actions, although at the second reading some ran away. The gentry and their forces charged. A pitched battle ensued in which 40–50 people were killed; the ringleaders were hanged and quartered. A much-later memorial stone to those killed stands at the former church of St Faith, Newton, Northamptonshire.


title: Enclosure

text: The Tresham family declined soon after 1607. The Montagu family went on through marriage to become the Dukes of Buccleuch, enlarging the wealth of the senior branch substantially.


title: Enclosure

text: Although Royal forests were not technically commons, they were used as such from at least the 1500s onwards. By the 1600s, when Stuart Kings examined their estates to find new revenues, it had become necessary to offer compensation to at least some of those using the lands as commons when the forests were divided and enclosed. The majority of the disafforestation took place between 1629 and 1640, during Charles I of England's Personal Rule. Most of the beneficiaries were Royal courtiers, who paid large sums to enclose and sublet the forests. Those dispossessed of the commons, especially recent cottagers and those who were outside of tenanted lands belonging to manors, were granted little or no compensation, and rioted in response.


title: Denise Gordy

text: Denise Georgette Gordy (born November 11, 1949) is an American former film and television actress and singer. She is a niece of Motown founder Berry Gordy.


title: Denise Gordy

text: Denise Georgette Gordy was born in Detroit, Michigan. She is a daughter of George and Rosemary Gordy and sister of Patrice and George Gordy, Jr., among others. Motown founder Berry Gordy is her uncle; her aunt is Anna Gordy Gaye.


title: Denise Gordy

text: Gordy has appeared in numerous television and theatrical features, beginning in 1972 with "Lady Sings the Blues" as a dancer in the nightclub chorus. In 1974, Gordy appeared in "Black Fist" and ending most recently with "Toy Soldiers" in 1991. Gordy also has contributed vocals to the soundtrack album for the film "Black Fist", which was originally titled "Bogard", as well as recording the song "Let's Do It Again" for that same movie.


title: Denise Gordy

text: Gordy was married to actor Richard Lawson from December 31, 1978 until 1989. They share one child, actress Bianca Lawson. Gordy is also the biological mother of Marvin Gaye III, who was born on November 17, 1965 when she was sixteen years old. His biological father, singer Marvin Gaye, was twenty six years old and married to Gordy's aunt Anna at the time. She agreed to give birth to the child because her aunt was unable to conceive. Shortly after Marvin III's birth, Anna adopted him.


title: Howard K. Stern

text: Howard Kevin Stern (born November 29, 1968) is an American attorney based in California. He was the domestic partner, attorney and agent of the late model Anna Nicole Smith. He became known as a co-star on Smith's 2002–2004 reality television series "The Anna Nicole Show". He currently works with the Los Angeles Public Defender's Office.


title: Howard K. Stern

text: Stern was born to a Jewish family and raised in Los Angeles. He graduated with a B.A. degree from the University of California, Berkeley, in 1990 and received his Juris Doctor (J.D.) degree from the University of California, Los Angeles. He was admitted to the State Bar of California on February 25, 1994.


title: Howard K. Stern

text: Stern's law firm first handled Anna Nicole Smith's modeling contracts in the mid-1990s. Stern met Anna Nicole Smith in 1998, after the death of her husband J. Howard Marshall. When she fought for the Marshall's fortune, Stern presented her direct examination at the trial. Stern's law firm was dissolved around the time he became a co-star on "The Anna Nicole Show" (2002 - 2004). Stern maintained an apartment in Santa Monica, California, from which he operated a business called Hot Smoochie Lips, Inc., a talent agency that had Anna Nicole Smith as a client.


title: Howard K. Stern

text: On September 10, 2006, Stern was with Smith when her son, Daniel Wayne Smith, died in Nassau, Bahamas, while visiting his mother and newborn half-sister Dannielynn. Bahamian Police and the Inquest declared Daniel's death as an accidental overdose on antidepressants and methadone. No foul play was involved. On September 28, 2006, Stern and Smith exchanged wedding vows in a legally nonbinding ceremony in Nassau, Bahamas. The ceremony was officiated by a Baptist minister.


title: Howard K. Stern

text: Smith died on February 8, 2007, less than five months after Daniel. According to the Florida court overseeing her estate, Smith left everything to Daniel in a 16-page will that named Stern as executor of the Estate.


title: Howard K. Stern

text: On February 21, 2007, hearings commenced in Florida's Broward County Circuit Court over the disposition of Smith's remains. Denying motions by Smith's mother and Stern, judge awarded custody of Smith's body to her infant daughter, Dannielynn Hope Marshall Stern via attorney whom judge appointed the baby's guardian ad litem. Smith was buried next to Daniel in the Bahamas.


title: Howard K. Stern

text: On September 26, 2006, Stern claimed in an interview with Larry King on CNN that he was Dannielynn's father; celebrity photographer Larry Birkhead also claimed that he was Dannielynn's father. The Bahamian birth certificate lists the daughter's name as Dannielynn Hope Marshall Stern with Howard K. Stern as the father.


title: Howard K. Stern

text: On February 9, 2007, following Anna Nicole Smith's death, it was revealed that Stern had custody of Smith's child, Dannielynn. Frédéric Prinz von Anhalt, the husband of the actress Zsa Zsa Gabor alleged he could be the father of Smith's daughter and threatened to file a lawsuit for custody. On April 10, 2007, a Bahamian court determined from DNA evidence presented by court-appointed DNA expert that Larry Birkhead is the father of Dannielynn. Stern announced that he would not contest the ruling and would help Birkhead obtain sole custody.


title: Howard K. Stern

text: On March 13, 2009, the California Attorney General and Los Angeles County District Attorney announced that they would be charging Stern, Dr. Sandeep Kapoor and Dr. Khristine Eroshevich of conspiring to "commit the crimes of prescribing, administering and dispensing controlled substances to an addict." They were not accused of causing Smith's death in 2007.


title: Howard K. Stern

text: The trial began August 4, 2010, in Los Angeles. Stern, Dr. Eroshevich, and Dr. Sandeep Kapoor pleaded not guilty.


title: Howard K. Stern

text: In 2011, judge Robert Perry dismissed Stern's conviction, indicating there was no evidence brought forth to prove Stern had intended to break the law by using assumed names to protect Smith's privacy. The single conviction which remained standing, a felony charge of fraud against Dr. Eroshevich, was reduced to a misdemeanor.


title: Howard K. Stern

text: In 2015, Perry dismissed the felony conviction against Stern for the second time. In his ruling, Perry exclaimed, "this case reeks of unfairness", adding he believed the prosecutors "seemed to have unfairly targeted Stern because he was a public figure" and noting that the trial had already cost the taxpayers in an excess of $500,000. "Howard Stern simply has been through enough ... I find there is no reason to permit this case to go forward," Los Angeles Superior Court judge Robert J. Perry told reporters.


title: Howard K. Stern

text: Powell Goldstein LLP was the law firm for Stern in the libel lawsuits against Rita Cosby; lawyer John O'Quinn who represented Smith's mother Virgie Arthur and a defamation lawsuit filed by Virgie Arthur whose suit was dismissed before the trial in 2010 after TMZ Productions, CBS, Stern and other defendants won summary judgments. Lin Wood represented Stern as executor of Smith's Estate in federal action against developer G. Ben Thompson of South Carolina, his son-in-law Ford Shelley Jr., Susan M. Brown, Esq. for misappropriation and theft of estate property.


title: Howard K. Stern

text: Journalist Rita Cosby alleged in her book, "Blonde Ambition: The Untold Story Behind Anna Nicole Smith's Death", released on September 4, 2007, that Smith's nannies revealed that a sex tape existed of Stern and former rival Larry Birkhead engaged in a homosexual relationship. However, a lawyer for the nannies threatened to file suit, claiming that the nannies never spoke about such an encounter between Stern and Birkhead. After Stern filed a $60-million libel suit against Cosby and her publisher in October 2007, a spokesperson for the nannies claimed Cosby had offered bribes in an unsuccessful attempt to contact the nannies.


title: Howard K. Stern

text: In July 2009, in a court hearing on whether to dismiss the lawsuit, Stern's attorney claimed that in deposition of the suits, Cosby admitted there was no videotape and could not prove other allegations. Cosby replied to the Stern lawsuit by saying "...we are solid on our facts more than ever... we are sure of what we have." In Cosby's videotaped deposition given in a $60 million libel suit against her filed by Stern, Cosby said her sources for the gay sex tape were private investigators Don Clark of Houston and his associate, Wilma Vicedomine. They were hired by attorney John O'Quinn who represented Virgie Arthur. O'Quinn had used the same strategy before in corporate litigations, a death by a thousand cuts, L. Lin Wood explained.


title: Howard K. Stern

text: In August 2009, federal judge Denny Chin ruled that ""Cosby's actions are extremely troubling, and suggest that she was attempting to obstruct justice by tampering with witnesses"" and allowed most of Stern's US$60-million lawsuit against Cosby and her publisher, Hachette, to proceed. Three months later, the lawsuit was withdrawn as settled, but no information has been released on the terms of this out-of-court settlement.


title: Oi u luzi chervona kalyna

text: Oh, the Red Viburnum in the Meadow () is a Ukrainian patriotic march first published in 1875 by Volodymyr Antonovych and Mykhailo Drahomanov. Written in a modern treatment by the composer Stepan Charnetsky in 1914, in honor and memory of the Sich Riflemen of the First World War, it was later adopted by both the Ukrainian People's Army of the Ukrainian War of Independence and the Second World War-era Ukrainian Insurgent Army. This song is known to have many versions and covers.


title: Oi u luzi chervona kalyna

text: The red viburnum of the song ( in Ukrainian)—a deciduous shrub that grows four to five metres tall—is referenced throughout Ukrainian folklore. The red viburnum has a special national appeal and silhouette of it depicted along the edges of the flag of the President of Ukraine.


title: Oi u luzi chervona kalyna

text: Following the 2014 annexation by Russia of the Ukrainian Crimean peninsula, and then the 2022 Russian invasion of Ukraine, singing "nationalist anthems" such as "Chervona Kalyna" in Crimea became punishable by fines and imprisonment.


title: Oi u luzi chervona kalyna

text: Due to the song's association with the Ukrainian people's aspiration for independence, singing of the song was banned during the period in which Ukraine was a Soviet Republic (1919-1991). Nevertheless, it was sung by Ukrainian patriots, with defiance; anyone caught singing it was jailed, beaten, and even exiled.


title: Oi u luzi chervona kalyna

text: In March 2022 the song gained international attention when an Instagram video "(link)" of an a cappella rendition by Andriy Khlyvnyuk of the Ukrainian band BoomBox singing the first verse of the song was remixed by different artists around the world. The melody was somewhat changed, literally in the first line of the chorus the last syllable is sung ascending sixth. According to Valentyna Kuzyk, in this variant the energy of the primordial breath breaks out of stable forms and enters a new life space.


title: Oi u luzi chervona kalyna

text: BoomBox was touring in the United States when the Russian invasion of Ukraine started on 24 February. In response to the invasion, Khlyvnyuk cut the tour short to return to Ukraine in order to join the armed forces. He recorded the video while wearing army fatigues, standing near Sophia Square in Kyiv, Ukraine, and uploaded it to his Instagram account on 27 February, where it became viral.


title: Oi u luzi chervona kalyna

text: The first artist to remix Khlyvnyuk's rendition was South African musician The Kiffness in early March. At the end of the same month, Ukrainian ice dancers Oleksandra Nazarova and Maksym Nikitin performed to the song at the 2022 World Figure Skating Championships in protest of the invasion.


title: Oi u luzi chervona kalyna

text: In April 2022, Pink Floyd made use of Khlyvnyuk's recording for the vocal track of "Hey, Hey, Rise Up!", a single and a video which the band released in aid of Ukrainian humanitarian relief. In the video, Khlyvnyuk's performance is projected behind the band while they are performing and is partly shown full screen. The song opens with a sample from another recording of "Oh, the Red Viburnum...", by the Veryovka Ukrainian Folk Choir.


title: Oi u luzi chervona kalyna

text: Following the 2014 annexation by Russia of the Ukrainian Crimean peninsula, and then the 2022 Russian invasion of Ukraine, singing "nationalist anthems" such as "Chervona Kalyna" in Crimea was deemed to discredit the Russian army, and was punished by fines and imprisonment. In September 2022, Russian occupation authorities in Crimea jailed and fined members of a wedding party for "discrediting" the Russian Armed Forces by playing the song. The singers of the song in an online video were imprisoned and fined.


title: Oi u luzi chervona kalyna

text: Sergey Aksyonov, the Russian head of the Crimean peninsula, warned that authorities would punish people harshly for singing such songs. He said that "People who do this are acting like traitors", and that there was a special FSB security service group working on the matter.


title: 7th Cavalry Regiment

text: The 7th Cavalry Regiment is a United States Army cavalry regiment formed in 1866. Its official nickname is "Garryowen", after the Irish air "Garryowen" that was adopted as its march tune.


title: 7th Cavalry Regiment

text: The regiment participated in some of the largest battles of the Indian Wars, including its famous defeat at the Battle of Little Bighorn, where its commander Lieutenant Colonel George A. Custer was killed. The regiment also committed the Wounded Knee Massacre, where more than 250 men, women and children of the Lakota were killed. The 7th Cavalry became part of the 1st Cavalry Division in the 1920s, it went on to fight in the Pacific Theater of World War II and took part in the Admiralty Islands, Leyte and Luzon campaigns. It later participated several key battles of the Korean War. During the Korean War the unit committed the No Gun Ri massacre, in which between 250–300 South Korean refugees were killed, mostly women and children. The unit later participated in the Vietnam War. It distinguished itself in the Gulf War and in the Global War on Terror where its squadrons and battalions now serve as Combined Arms Battalions or as reconnaissance squadrons for Brigade Combat Teams in Iraq and Afghanistan.