title: Wolof people

text: According to David Gamble, the pre-Islamic beliefs of Wolof may be reflected and absorbed in the Sufi beliefs about good and bad spirits ("jinn"), amulets, dances, and other rituals.


title: Wolof people

text: In and after the 18th century, the Wolofs were impacted by the violent jihads in West Africa, which triggered internal disagreements among the Wolof on Islam. Ira Lapidus, a professor of Middle Eastern and Islamic History, states that the early-19th-century Senegambian fighters "swept through Senegambia burning villages, killing pagans and enslaving their enemies," and were responsible for the conversion of substantial numbers of Wolof to Islam. The West African jihads that involved the Wolof and other ethnic groups started early and often inspired by militant reformers such as those of the 15th century. The assaults of the 18th and 19th century jihads, states Lapidus, paved the way for massive conversions to Islam, yet not a nearly universal conversion.


title: Wolof people

text: In the late 19th century, as the French colonial forces launched a war against the Wolof kingdoms, the Wolof people resisted the French and triggered the start of near-universal conversion of the Wolof people in Senegambia to Islam. Wolofs joined the various competing Sufi Muslim movements in the 20th century, particularly those belonging to the Mouride and Tijaniyyah Islamic brotherhoods.


title: Wolof people

text: The Senegalese Sufi Muslim brotherhoods appeared in the Wolof communities in the 19th century and grew in the 20th. The Sufi leaders and marabouts exercise cultural and political influence amongst most Muslim communities, most notably the leader of the "Muridiyya" also called the Mouride brotherhood.


title: Wolof people

text: In the 20th century, Ahmadiyya and Methodist missionaries opened offices in contemporary Senegambia, but very few Wolof have become members of these.


title: Wolof people

text: The Wolof people's traditional culture and practices have survived the colonial era and are a strong element of the Senegalese culture.


title: Wolof people

text: Wolof () is a language of Senegal, the Gambia, and Mauritania, and the native language of the Wolof people. Like the neighbouring languages Serer and Fula, it belongs to the Senegambian branch of the Niger–Congo language family. Unlike most other languages of Sub-Saharan Africa, Wolof is not a tonal language.


title: Wolof people

text: Wolof originated as the language of the Lebu people. It is the most widely spoken language in Senegal, spoken natively by the Wolof people (40% of the population) but also by most other Senegalese as a second language.


title: Wolof people

text: Wolof dialects vary geographically and between rural and urban areas. "Dakar-Wolof," for instance, is an urban mixture of Wolof, French, and Arabic.


title: Wolof people

text: The Wolof people have had a rigid, patriarchal, endogamous social stratified society at least since the 15th-century.


title: Wolof people

text: The social strata have included a free category called "geer", a castes category called "nyeenyo" or "neeno", and a servile category of slaves called "jaam". Caste status has been hereditary, and endogamy among the men and women of a particular caste status has been an enduring feature among the Wolof people, according to Leonardo Villalón, a professor of Political Science and African Studies. The Wolof's caste status, states Villalón, is a greater barrier to inter-marriage than is either ethnicity or religion in Senegal.


title: Wolof people

text: The castes have also been hierarchal, with lowest level being those of griots. Their inherited inferiority has been culturally stated to be close to those of slaves ("jaams" or "kaals"). The castes, states David Gamble, were associated with ideas of relative purity/impurity. The leatherworkers, for example, were considered the lowest of the "nyenyo" because their occupation involving animal skins was considered dirty.


title: Wolof people

text: Slaves have historically been a separate, endogamous group in the Wolof society. Slaves were either inherited by birth in the Wolof society, or were kidnapped, purchased as children from desperate parents during difficult times such as famine, or slavery was imposed by the village elders as a punishment for offenses. By the early 18th-century, all sorts of charges and petty crimes resulted in the accused being punished for the slave strata. Slaves acquired by kidnapping, purchase or as captives of war were called in the Wolof society.


title: Wolof people

text: The or "freeborn" too had a hierarchical structure. At the top were the royal rulers, below them were the regionally or locally dominant noble lineages who controlled territories and collected tribute, and below them were commoner freeborn called the or "lacking power".


title: Wolof people

text: The chronological origin of social stratification based on castes and slavery is unclear, likely linked. Tal Tamari, an anthropological researcher at the Centre national de la recherche scientifique (CNRS) in Paris, suggests that a corollary of the rising slavery system was the development and growth of a caste system among Wolofs by the 15th century, and other ethnic groups of Africa by about the 13th century. However, according to Susan McIntosh, a professor of anthropology specializing in African societies, the emergence of caste systems in West African societies such as the Wolof, Mande, Malinke, Serer, and Soninke was likely older. She places the development and spread of castes in these societies to about the 10th century, because slave capture, slave trade, and slave holding by elite families across the Sahel, West Africa, and North Africa was an established institution by then, and slavery created a template for servile relationships and social stratification. According to Victoria B. Coifman, a professor of Afro-American and African studies, historical evidence suggests that the Wolof people were a matrilineal society before the 14th-century. Later politico-religious changes, such as those brought during the Wolof Empire era, introduced major changes in the social structure among the Wolofs and many other ethnic groups, including a shift to a patrilineal system.


title: Wolof people

text: The divisions, the endogamy among Wolof castes, social and political groups have persisted into the post-colonial independent Senegal.


title: Wolof people

text: The Wolof are primarily rural (~75%), living in small villages. According to David Gamble, the historical evidence suggests Wolofs used to live in large settlements priors to the jihad wars and slave raids.


title: Wolof people

text: Wolof villages consist of a cluster of compounds. Some clusters are random with no central plaza, and many are clustered around a plaza with a mosque in the center. Each compound has either round or square huts made from adobe-like mud-millet stalk walls and thatched roofs with a conical shape. A compound is sometimes fenced with a hedge made from reeds or millet-stalk.


title: Wolof people

text: A single compound may have multiple huts, with a patrilocal male as its head, with a different wife and her children in each hut in polygynous households. A compound traditionally operates a joint kitchen, but if there are internal disputes then each family unit cooks separately.


title: Wolof people

text: A village is headed by a chief, called the "borom dekk". This role belongs to a caste and has been hereditary. The chief has been the tribute (tax) collector and the interface between the kingdom officials and the villagers. Typically, the chief is also a Muslim religious leader, called "seriñ" (marabout). Larger villages have an imam, called the "yélimaan", and a hunting or warriors leader called the "saltigé". Both have traditionally been hereditary castes. Social relationships within a village are based on hierarchy, while disputes are typically settled with intermediaries and Muslim tribunals headed by an Islamic judge called a "qadi".


title: Wolof people

text: Marriages are endogamous. The preferred and common form of marriage is the bilateral cross-cousin type, with most preferred marriages are those between a man and the daughter of his mother's brother. Multiple marriages have been common, with many Wolof households featuring two wives. Dowery among the Wolof people is paid in the form of a brideprice. The dower is the property of the woman upon the consummation of the marriage. Divorce is quite common in the Wolof society and according to the Islamic tenets.


title: Wolof people

text: While slavery is illegal in contemporary African societies, it was common in the history of Wolof people and among the elite castes. The slaves could not marry without the permission of their owner, and it was usually the responsibility of the slave owner to arrange the marriage of or among his slaves. The slave owner and his descendants also had a right to have sex with slave women owned by the household.


title: Wolof people

text: The Wolof people are traditionally settled, farmers and artisans. Millet has been the typical staple, while rice a secondary staple when rains are plenty. Cassava is also grown, but it has been a source of income for the Wolof farmers. Since the colonial era, peanuts have been the primary cash crop.


title: Wolof people

text: Wolof society is patrilineal, and agricultural land is inherited by the landowning caste. The typical farmers in a village pay rent ("waref") to the landowner for the right to crop his land. Wolof farmers raise chickens and goats, and dried or smoked fish purchased, both a part of their diet. Cattle are also raised, not for food, but milk, tilling the land, and as a reserve of wealth. Rural Wolof people eat beef rarely, typically as a part of a ceremonial feast. Some villages in contemporary times share agricultural machinery and sell the peanut harvest as a cooperative.


title: Wolof people

text: Those Wolof people who are of artisan castes work on metal, weave and dye textiles, produce leather goods, make pottery and baskets, tailor clothes, produce thatch and perform such economic activity. Wolof smiths produce tools for agriculture, while another group works on gold jewelry.


title: Wolof people

text: Occupation is traditionally based on gender and inherited caste. Men of certain caste are smiths, leatherworkers, weavers (now the profession of former slave descendants). Religious and political functions have been the domain of men, while women typically keep the household, bring water from their sources such as wells or nearby rivers. Women also plant, weed, harvest crops and collect firewood. Women of the pottery caste group, also help in steps involved in making pottery.


title: Letitia Dean

text: Letitia Jane Dean (born 14 November 1967) is an English actress. She is known for her portrayal of Sharon Watts in the BBC soap opera, "EastEnders". An original cast member from 1985 to 1995, she reprised the role from 2001 to 2006, and again from 2012 onwards.


title: Letitia Dean

text: Her other television roles include "Grange Hill" (1983–1984), "Brookside" (1984), "The Hello Girls" (1996–1998), and "Lucy Sullivan Is Getting Married" (1999–2000). In 2007, she participated in the fifth series of the BBC dance competition "Strictly Come Dancing", finishing fourth. On stage, she starred in the West End production of "High School Musical" in 2008, and in the UK touring production of "Calendar Girls" in 2010.


title: Letitia Dean

text: Dean was born in Potters Bar, Hertfordshire to parents Leslie (a tailor) and Ellie Dean, in a cottage rented on the estate of English romantic novelist Barbara Cartland, known as Camfield Place. Dean has two older brothers.


title: Letitia Dean

text: Dean's family moved to the north Buckinghamshire village of Stoke Goldington near Newport Pagnell when she was three years old. She acquired a penchant for performing at an early age; both she and her older brother Stephen attended a local dance school, The Sylvia Mitchell School of Dance in, and they also performed a dance act together on stage. This later prompted Dean's successful application to attend the Italia Conti Academy of Theatre Arts at ten years old, and later the Sylvia Young Theatre School in Marylebone, London, which has famously produced some of Britain's most familiar television and musical stars.


title: Letitia Dean

text: Dean began performing professionally at the age of 12, when she was cast as "Pepper" in the hit stage musical, "Annie", at London's Victoria Palace Theatre. A trained singer, she played the lead female, Sandy, in the stage musical "Grease", and she also sang with a rock group called "The Young Uns", which toured the country supporting stage acts such as Bobby Davro and Tom O'Connor.


title: Letitia Dean

text: Between the ages of 13 and 17, Dean appeared in numerous television programmes, including: "Love Story"; "Tales Out Of School"; the Matthew Kelly sitcom "Relative Strangers"; "Grange Hill", playing a student named Lucinda Oliver; (credited as Titia Dean) and the role of Dawn in the Channel 4 soap opera "Brookside".


title: Letitia Dean

text: In 1984, Dean auditioned to play one of the original characters in BBC One's brand new soap opera, "EastEnders"—she was selected for an interview on the strength of a photograph alone. The creators of "EastEnders", Tony Holland and Julia Smith, were looking for a "bouncy, attractive, oddly vulnerable young woman" to play the part of Sharon Watts, and out of the various applicants they had seen, only Dean had all of those qualities. Dean lied about her roots to get the part. As the casting directors were only looking for real 'East End' actors, she falsely claimed that she was born and brought up in Hackney, east London. The lie paid off and she got the part, clinching the deal because of her laugh, which Holland and Smith described as "the dirtiest in the world!"


title: Letitia Dean

text: Dean's character Sharon, the troubled and spoilt adopted daughter of landlords "Dirty" Den (Leslie Grantham) and Angie Watts (Anita Dobson), from the show's inception in 1985 until 1995 — Sharon becoming one of the most popular and long-running characters in the serial.


title: Letitia Dean

text: While appearing on "EastEnders", Dean forayed into singing with her fellow "EastEnders" castmate, Paul Medford (who played Kelvin Carpenter). A song penned for the pair as part of a plotline in "EastEnders" (known as The Banned) prompted the BBC to release the song as a single. The song, "Something Outa Nothing", reached number 12 in the UK Singles Chart in November 1986.


title: Letitia Dean

text: Dean featured in one of the soap's most popular storylines, a love triangle featuring Sharon, her husband Grant Mitchell (Ross Kemp) and his brother Phil (Steve McFadden). The plot, nicknamed 'Sharongate', gave the soap one of its highest episode ratings in October 1994, watched by over 25.3 million viewers. A desire to pursue other acting roles prompted Dean to leave the soap in 1995.


title: Letitia Dean

text: Six years following her initial exit, Dean was lured back to "EastEnders" by producer John Yorke, where she reprised the role of Sharon from 2001 to 2006. In December 2004 the "Sunday Mirror" reported that executive producer Kathleen Hutchison offered to double Dean's salary from £150,000 a year to £300,000 a year, to persuade her to remain in the show, making her one of the highest paid actresses in British soap. Dean's character left the serial again in January 2006. Dean's exit was announced in August 2005 and an official "EastEnders" press report stated that she was merely taking a scheduled break and was due back on set later in 2006; however, this did not happen, and in June 2006 the BBC denied press speculation that there were any immediate plans for her to return to the series.


title: Letitia Dean

text: In February 2012, producer Bryan Kirkwood announced that Dean would make a second return to "EastEnders", having been absent for a period of six years. She made her return on 13 August 2012 after fleeing from her wedding to her fiancé John Hewland, with her son, Dennis Rickman Jr. and Phil Mitchell. She is one of three remaining original cast members, along with Gillian Taylforth and Jane Slaughter.


title: Letitia Dean

text: Away from "EastEnders" Dean has had various theatre and television roles. She starred in two series of the BBC drama "The Hello Girls", set in a Derby telephone exchange in the 1960s; medical dramas "Casualty" and "Doctors"; the ITV police drama "The Bill"; romantic comedy "Lucy Sullivan Is Getting Married", and the Channel 4 sitcom "Drop the Dead Donkey" as a weathergirl. She also starred in the 1995 film "England, My England", which told the story of the musician and court composer Henry Purcell.


title: Letitia Dean

text: On stage, she starred as Nurse Fay in the Joe Orton comedy play, "Loot", working alongside actor Michael Elphick. She also played a prostitute in the revival of Charles Dyer's 1960s play "Rattle of a Simple Man" at the Alexandra Theatre, Birmingham.


title: Letitia Dean

text: In 2007 Dean participated in the fifth series of the BBC celebrity dance contest, "Strictly Come Dancing". She was partnered with the professional dancer, Darren Bennett. Dean and Bennett were voted out in the quarter-finals (week 10), one week before the semi-final. Commenting on her experience, Dean said "It's been incredible. I've got to thank [Darren Bennett] for all his patience, hard work, all the injuries. It's been wonderful." Dean was one of several celebrities who took part in the 2008 "Strictly Come Dancing" UK arena tour. She competed against former "EastEnders" stars, Louisa Lytton (Ruby Allen, 2005–2006, 2018–), and Matt Di Angelo (Deano Wicks, 2006–2008, 2014–2016). The tour began in January 2008 and visited various venues throughout the UK, with all the proceeds going to the "Children in Need" appeal.


title: Letitia Dean

text: In April 2008 it was announced that Letitia Dean would be starring in the stage show "High School Musical" as Ms Darbus. Dean commented, "It's a lovely opportunity for me [...] It's something completely different to anything I've ever done – doing an American accent and playing this kind of character." The production played at London's Hammersmith Apollo from June 2008 until 31 August 2008.


title: Letitia Dean

text: In January 2009, Dean released a fitness DVD entitled "Letitia Dean's Lean Routine". She joined the cast of the stage production of "Calendar Girls" the same year, playing Cora (Miss July).


title: Letitia Dean

text: As well as television and theatre work, Dean regularly appears in seasonal pantomimes—she and other "EastEnders" stars such as Steve McFadden are rumoured to have a special clause in their contracts that permits them time off from filming to star in a pantomime each year. In 2001 she starred as "Snow White" at the Orchard in Dartford; and in 2004 she starred in "Jack and the Beanstalk" at the Birmingham Hippodrome, alongside British comedians Joe Pasquale and Don Maclean. In 2006, Dean appeared as the wicked witch in "Snow White and the Seven Dwarfs" at the Deco, Northampton, taking over the role from her former "EastEnders" co-star, Gillian Taylforth, who pulled out due to ill health. December 2007 saw Letitia Dean appear as the Fairy godmother in "Cinderella", at the Regent Theatre, Ipswich. December 2008 saw Letitia Dean appear as the Wicked Queen in "Snow White and the Seven Dwarfs", At the Grove Theatre, in Dunstable and she played the role again at the Ashcroft Theatre in Croydon in 2009.


title: Letitia Dean

text: In 2004 Dean was nominated for the Best Actress Award at The British Soap Awards, but lost out to Suranne Jones from "Coronation Street". Fellow "EastEnders" actresses Jessie Wallace and Kacey Ainsworth were also nominated. She was also nominated in the category of Best Dramatic Performance for "Den's Return" but lost out to Mark Charnock of "Emmerdale". At the 2005 "Inside Soap" awards, Dean was presented with the award for outstanding achievement as homage to her work in "EastEnders". She was also nominated in the category of Best Couple (shared with Nigel Harman). In 2022, she won the Special Recognition award at The British Soap Awards.


title: Letitia Dean

text: Growing up in the public eye was hard for Dean, and the constant media attention on her appearance was especially tough. She says her self-confidence was damaged during this time, and this, as well as back pain, contributed to her decision to get a breast reduction in her teens. By her 30s she considered herself to be a lot more comfortable in her own skin, and far more relaxed about public interest than she used to be as a teenager, commenting: "I have stopped pleasing people – and I'm calmer and more self assured than I've ever been."


title: Letitia Dean

text: In 2001, Dean became engaged to jobbing actor Jason Pethers after knowing him for only a few months. They married in September 2002 at All Saints' Church in Marylebone. Her close friend and "EastEnders" co-star, Susan Tully, was a bridesmaid at the wedding. Many of Dean's fellow castmates from "EastEnders" (past and present) attended the wedding. After five years of marriage, it was announced in 2007 that Dean and Pethers had separated because Pethers was reluctant to have children.


title: Letitia Dean

text: Her older brother, Stephen J. Dean, is also a performer; they have appeared together on stage in several pantomimes. As well as acting, Dean is a keen singer (with a mezzo-soprano voice) and tap dancer. Dean currently lives in the Bedford village of Wootton.


title: Letitia Dean

text: In June 2022, when accepting an award at The British Soap Awards, Dean revealed that her father had died and she dedicated the award to him.


title: Letitia Dean

text: In 1997, Dean along with Susan Tully, were involved with the Third World charity, "Plan International", and were sent to a remote village in Senegal to help highlight one of the organisation's aid projects — designed to bring running water to drought hit areas.


title: Woodworking

text: Woodworking is the skill of making items from wood, and includes cabinet making (cabinetry and furniture), wood carving, joinery, carpentry, and woodturning.


title: Woodworking

text: Along with stone, clay and animal parts, wood was one of the first materials worked by early humans. Microwear analysis of the Mousterian stone tools used by the Neanderthals show that many were used to work wood. The development of civilization was closely tied to the development of increasingly greater degrees of skill in working these materials.


title: Woodworking

text: Among early finds of wooden tools are the worked sticks from Kalambo Falls, Clacton-on-Sea and Lehringen. The spears from Schöningen (Germany) provide some of the first examples of wooden hunting gear. Flint tools were used for carving. Since Neolithic times, carved wooden vessels are known, for example, from the Linear Pottery culture wells at Kückhofen and Eythra.


title: Woodworking

text: Examples of Bronze Age wood-carving include tree trunks worked into coffins from northern Germany and Denmark and wooden folding-chairs. The site of Fellbach-Schmieden in Germany has provided fine examples of wooden animal statues from the Iron Age. Wooden idols from the La Tène period are known from a sanctuary at the source of the Seine in France.


title: Woodworking

text: There is significant evidence of advanced woodworking in ancient Egypt. Woodworking is depicted in many extant ancient Egyptian drawings, and a considerable amount of ancient Egyptian furniture (such as stools, chairs, tables, beds, chests) have been preserved. Tombs represent a large collection of these artifacts and the inner coffins found in the tombs were also made of wood. The metal used by the Egyptians for woodworking tools was originally copper and eventually, after 2000 BC bronze as iron working was unknown until much later.


title: Woodworking

text: Commonly used woodworking tools included axes, adzes, chisels, pull saws, and bow drills. Mortise and tenon joints are attested from the earliest Predynastic period. These joints were strengthened using pegs, dowels and leather or cord lashings. Animal glue came to be used only in the New Kingdom period. Ancient Egyptians invented the art of veneering and used varnishes for finishing, though the composition of these varnishes is unknown. Although different native acacias were used, as was the wood from the local sycamore and tamarisk trees, deforestation in the Nile valley resulted in the need for the importation of wood, notably cedar, but also Aleppo pine, boxwood and oak, starting from the Second Dynasty.


title: Woodworking

text: Woodworking was essential to the Romans. It provided, material for buildings, transportation, tools, and household items. Wood also provided pipes, dye, waterproofing materials, and energy for heat.Although most examples of Roman woodworking have been lost, the literary record preserved much of the contemporary knowledge. Vitruvius dedicates an entire chapter of his "De architectura" to timber, preserving many details. Pliny, while not a botanist, dedicated six books of his "Natural History" to trees and woody plants, providing a wealth of information on trees and their uses.


title: Woodworking

text: The progenitors of Chinese woodworking are considered to be Lu Ban (魯班) and his wife Lady Yun, from the Spring and Autumn period (771 to 476 BC). Lu Ban is said to have introduced the plane, chalk-line, and other tools to China. His teachings were supposedly left behind in the book "Lu Ban Jing" (魯班經, "Manuscript of Lu Ban"). Despite this, it is believed that the text was written some 1500 years after his death. This book is filled largely with descriptions of dimensions for use in building various items such as flower pots, tables, altars, etc., and also contains extensive instructions concerning Feng Shui. It mentions almost nothing of the intricate glue-less and nail-less joinery for which Chinese furniture was so famous.


title: Woodworking

text: With the advances in modern technology and the demands of industry, woodwork as a field has changed. The development of Computer Numeric Controlled (CNC) Machines, for example, has made us able to mass-produce and reproduce products faster, with less waste, and often more complex in design than ever before. CNC wood routers can carve complicated and highly detailed shapes into flat stock, to create signs or art. Rechargeable power tools speed up creation of many projects and require much less body strength than in the past, for example when boring multiple holes. Skilled fine woodworking, however, remains a craft pursued by many. There remains demand for hand crafted work such as furniture and arts, however with rate and cost of production, the cost for consumers is much higher.


title: Woodworking

text: Historically, woodworkers relied upon the woods native to their region, until transportation and trade innovations made more exotic woods available to the craftsman. Woods are typically sorted into three basic types: hardwoods typified by tight grain and derived from broadleaf trees, softwoods from coniferous trees, and man-made materials such as plywood and MDF.


title: Woodworking

text: Hardwoods, botanically known as angiosperms, are deciduous and shed their leaves annually with temperature changes. Softwoods come from trees botanically known as gymnosperms, which are coniferous, cone-bearing, and stay green year round. Although a general pattern, softwoods are not necessarily always “softer” than hardwoods, and vice versa.


title: Woodworking

text: Softwood is most commonly found in the regions of the world with lower temperatures and is typically less durable, lighter in weight, and more vulnerable to pests and fungal attacks in comparison to hardwoods. They typically have a paler color and a more open grain than hardwoods, which contributes to the tendency of felled softwood to shrink and swell as it dries. Softwoods usually have a lower density, around 432–592 kg/m, which can compromise its strength. Density, however, does vary within both softwoods and hardwoods depending on the wood's geographical origin and growth rate. However, the lower density of softwoods also allows it to have a greater strength with lighter weight. In the United States, softwoods are typically cheaper and more readily available and accessible. Most softwoods are suitable for general construction, especially framing, trim, and finish work, and carcassing.


title: Woodworking

text: Hardwoods are separated into two categories, temperate and tropical hardwoods, depending on their origin. Temperate hardwoods are found in the regions between the tropics and poles, and are of particular interest to wood workers for their cost-effective aesthetic appeal and sustainable sources. Tropical hardwoods are found within the equatorial belt, including Africa, Asia, and South America. Hardwoods flaunt a higher density, around 1041 kg/m as a result of slower growing rates and is more stable when drying. As a result of its high density, hardwoods are typically heavier than softwoods but can also be more brittle. While there are an abundant number of hardwood species, only 200 are common enough and pliable enough to be used for woodworking. Hardwoods have a wide variety of properties, making it easy to find a hardwood to suit nearly any purpose, but they are especially suitable for outdoor use due to their strength and resilience to rot and decay. The coloring of hardwoods ranges from light to very dark, making it especially versatile for aesthetic purposes. However, because hardwoods are more closely grained, they are typically harder to work than softwoods. They are also harder to acquire in the United States and, as a result, are more expensive.


title: Woodworking

text: Typically furniture such as tables and chairs is made using solid stock from hardwoods due to its strength and resistance to warping. Additionally, they also have a greater variety of grain patterns and color and take a finish better which allows the woodworker to exercise a great deal of artistic liberty. Hardwoods can be cut more cleanly and leave less residue on sawblades and other woodworking tools. Cabinet/fixture makers employ the use of plywood and other man made panel products. Some furniture, such as the Windsor chair involve green woodworking, shaping with wood while it contains its natural moisture prior to drying.


title: Woodworking

text: Cedars are strong, aromatic softwoods that are capable of enduring outdoor elements, the most common of which is the western red cedar. Western red cedar can sustain wet environments without succumbing to rot, and as a result is commonly used for outdoor projects such as patios, outdoor furniture, and building exteriors. This wood can be easily found at most home centers in the USA and Canada for a moderate price.


title: Woodworking

text: Within the USA fir, also known as Douglas fir, is inexpensive and common at local home centers. It has a characteristic straight, pronounced grain with a red-brown tint. However, its grain pattern is relatively plain and it does not stain well, so fir is commonly used when the finished product will be painted. While commonly used for building, this softwood would also be suitable for furniture-making.


title: Woodworking

text: White pine, ponderosa, and southern yellow pine are common species used in furniture-making. White pine and ponderosa are typically used for indoor projects, while Southern yellow pine is recommended for outdoor projects due to its durability.


title: Woodworking

text: This hardwood is relatively easy to work with and takes stain well, but its white to light brown color with a straight grain is visually appealing on its own. However, ash is much more difficult to find than other common woods, and will not be found at the local home center. Larger lumber yards should have it in stock.


title: Woodworking

text: Hardwood of the European species Fagus sylvatica is widely used for furniture framing and carcase construction, in plywood, musical instruments (drum shells and piano blocks) and turned items like knobs.


title: Woodworking

text: Whether yellow or white birch, these hardwoods are stable and easy to work with. Despite this, birch is prone to blotching when stained, so painting birch products is probably best. Birch is easily found at many home centers and is a relatively inexpensive hardwood.


title: Woodworking

text: Popular and easy to work with, cherry is in high demand for its reddish-brown color and ease of staining and finishing. Cherry likely will not be at the local home center, but should be at a lumberyard for a somewhat expensive price. This hardwood is a very common material for furniture, and is resistant to normal wear-and-tear, but it is best for indoor pieces.


title: Woodworking

text: A hardwood, mahogany has a trademark reddish-brown to deep-red tint and is known as "one of the great furniture woods". However, mahogany is not typically grown in sustainable forests, and thus runs a steep price at local lumber yards.


title: Woodworking

text: With two varieties, red and white, oak is known to be easy to work with and relatively strong. However, furniture makers often opt for white oak over red oak for its attractive figure and moisture-resistance. Depending on the kind needed, oak can probably be found at a local home center or a lumberyard for a bit pricier than other hardwoods.


title: Woodworking

text: With strength, sturdiness, and durability, maple is a common material for furniture for the bedroom and even china cabinets. Maple is moisture-resistant and frequently displays stand-out swirls in the wood grain, an aesthetically pleasing differentiator from other hardwoods. While most commonly a lighter color, maple also can take stains and paint well.


title: Woodworking

text: There are many factors to consider when deciding what type of wood to use for a project. One of the most important is the workability of the wood: the way in which it responds when worked by hand or tools, the quality of the grain, and how it responds to adhesives and finishes. When the workability of wood is high, it offers a lower resistance when cutting and has a diminished blunting effect on tools. Highly workable wood is easier to manipulate into desired forms. If the wood grain is straight and even, it will be much easier to create strong and durable glued joints. Additionally, it will help protect the wood from splitting when nailed or screwed. Coarse grains require a lengthy process of filing and rubbing down the grain to produce a smooth result.


title: Woodworking

text: Another important factor is the durability of the wood, especially in regards to moisture. If the finished project will be exposed to moisture (e.g. outdoor projects) or high humidity or condensation (e.g. in kitchens or bathrooms), then the wood needs to be especially durable in order to prevent rot. Because of their oily qualities, many tropical hardwoods such as teak and mahogany are popular for such applications.


title: Woodworking

text: While many woods can be used for carving, there are some clear favorites, including aspen, basswood, butternut, black walnut, and oak. Because it has almost no grain and is notably soft, Basswood is particularly popular with beginner carvers. It is used in many lower-cost instruments like guitars and electric basses. Aspen is similarly soft, although slightly harder, and readily available and inexpensive. Butternut has a deeper hue than basswood and aspen and has a nice grain that is easy to carve, and thus friendly for beginners. It is also suitable for furniture. While more expensive than basswood, aspen, and butternut, black walnut is a popular choice for its rich color and grain. Lastly, oak is a strong, sturdy, and versatile wood for carving with a defined grain. It is also a popular wood for furniture making.


title: Woodworking

text: Each area of woodworking requires a different variation of tools. Power tools and hand tools are both used for woodworking. Many modern woodworkers choose to use power tools in their trade for the added ease and to save time. However, many choose to still use only hand tools for several reasons such as the experience and the added character to the work, while some choose to use only hand tools simply for their own enjoyment.


title: Woodworking

text: Hand tools are classified as tools that receive power only from the hands that are holding them. The more common modern hand tools are:


title: Woodworking

text: Power tools are tools that are powered by an external energy such as a battery, motor, or a power cable connected to a wall outlet. The more common power tools are:


title: Maxilla

text: The maxilla (plural: "maxillae" ) in vertebrates is the upper fixed (not fixed in Neopterygii) bone of the jaw formed from the fusion of two maxillary bones. In humans, the upper jaw includes the hard palate in the front of the mouth. The two maxillary bones are fused at the intermaxillary suture, forming the anterior nasal spine. This is similar to the mandible (lower jaw), which is also a fusion of two mandibular bones at the mandibular symphysis. The mandible is the movable part of the jaw.


title: Maxilla

text: Sometimes it articulates with the orbital surface, and sometimes with the lateral pterygoid plate of the sphenoid.


title: Maxilla

text: The maxilla is ossified in membrane. Mall and Fawcett maintain that it is ossified from "two" centers only, one for the maxilla proper and one for the premaxilla.


title: Maxilla

text: These centers appear during the sixth week of prenatal development and unite in the beginning of the third month, but the suture between the two portions persists on the palate until nearly middle life. Mall states that the frontal process is developed from both centers.


title: Maxilla

text: The maxillary sinus appears as a shallow groove on the nasal surface of the bone about the fourth month of development, but does not reach its full size until after the second dentition.


title: Maxilla

text: At birth the transverse and antero-posterior diameters of the bone are each greater than the vertical.


title: Maxilla

text: The frontal process is well-marked and the body of the bone consists of little more than the alveolar process, the teeth sockets reaching almost to the floor of the orbit.


title: Maxilla

text: The maxillary sinus presents the appearance of a furrow on the lateral wall of the nose. In the adult the vertical diameter is the greatest, owing to the development of the alveolar process and the increase in size of the sinus.


title: Maxilla

text: The alveolar process of the maxillae holds the upper teeth, and is referred to as the maxillary arch. Each maxilla attaches laterally to the zygomatic bones (cheek bones).


title: Maxilla

text: Each maxilla also enters into the formation of two fossae: the infratemporal and pterygopalatine, and two fissures, the inferior orbital and pterygomaxillary.


title: Maxilla

text: -When the tender bones of the upper jaw and lower nostril are severely or repetitively damaged, at any age the surrounding cartilage can begin to deteriorate just as it does after death.


title: Maxilla

text: A maxilla fracture is a form of facial fracture. A maxilla fracture is often the result of facial trauma such as violence, falls or automobile accidents. Maxilla fractures are classified according to the Le Fort classification.


title: Maxilla

text: Sometimes (e.g. in bony fish), the maxilla is called "upper maxilla", with the mandible being the "lower maxilla". Conversely, in birds the upper jaw is often called "upper mandible".


title: Maxilla

text: In most vertebrates, the foremost part of the upper jaw, to which the incisors are attached in mammals consists of a separate pair of bones, the premaxillae. These fuse with the maxilla proper to form the bone found in humans, and some other mammals. In bony fish, amphibians, and reptiles, both maxilla and premaxilla are relatively plate-like bones, forming only the sides of the upper jaw, and part of the face, with the premaxilla also forming the lower boundary of the nostrils. However, in mammals, the bones have curved inward, creating the palatine process and thereby also forming part of the roof of the mouth.


title: Maxilla

text: Birds do not have a maxilla in the strict sense; the corresponding part of their beaks (mainly consisting of the premaxilla) is called "upper mandible".


title: Maxilla

text: Cartilaginous fish, such as sharks, also lack a true maxilla. Their upper jaw is instead formed from a cartilaginous bar that is not homologous with the bone found in other vertebrates.


title: Flashdance... What a Feeling

text: "Flashdance... What a Feeling" is a song from the 1983 film "Flashdance" with music by Giorgio Moroder and lyrics by Keith Forsey and the song's performer, Irene Cara. Moroder had been asked to score the film, and Cara and Forsey wrote most of the lyrics after they were shown the last scene from it in which the main character dances at an audition for a group of judges. They felt that the dancer's ambition to succeed could act as a metaphor for achieving any dream a person has and wrote lyrics that described what it feels like when music inspires someone to dance. The song wound up being used for the scene they watched as well as during the opening credits as the main character is shown working as a welder.


title: Flashdance... What a Feeling

text: Their collaboration was the first single to be released from the soundtrack album and received positive reviews. Because "Flashdance" was going to be released in mid-April of that year, Casablanca Records made the single available in March as a way of marketing the film to the target audience. The unexpected success at the box office resulted in stores across the US selling out of both the single and its parent album just days after "Flashdance" was in theaters. The song spent six weeks at number one on the "Billboard" Hot 100 and topped the charts around the world. It was awarded Gold certification by the Recording Industry Association of America for sales of one million copies and won the Academy Award and Golden Globe for Best Original Song and earned Cara the Grammy Award for Best Female Pop Vocal Performance.


title: Flashdance... What a Feeling

text: The success of the song made it clear to Cara that she was not receiving royalties that were stipulated in her recording contract, and she took legal action against her label in order to be compensated. The backlash that she claims she suffered in retaliation for filing a lawsuit left her feeling shut out of the entertainment industry as she struggled to find work. Although she began receiving royalties for the recordings she made for them, the label and its owner declared bankruptcy and claimed that they were unable to pay her the $1.5million settlement she was awarded by a Los Angeles Superior Court.


title: Flashdance... What a Feeling

text: After winning the Academy Award for Best Original Score in 1979 for "Midnight Express", Giorgio Moroder worked with "Flashdance" producer Jerry Bruckheimer on the 1980 film "American Gigolo", and Bruckheimer contacted Moroder in 1982 to see if he would be interested in composing the music for the new film, which told the story of Alex Owens, a young woman who dreams of becoming a ballerina and must overcome her fear of auditioning before a panel of judges. Despite his lack of interest due to other commitments, Moroder came up with some music that was "a very rough sketch". He thought it might fit the project well and sent it in before filming began. The demo was the music for what became "Flashdance... What a Feeling", but Moroder did not agree to composing the score until after seeing a video of a rough cut of the film, which completed shooting on December 30, 1982. He then delegated the writing of the lyrics to his session drummer, Keith Forsey, who started on the task by himself but later received help from Irene Cara. She described Forsey as "very personable, just a sweetheart. He was very funny. We definitely clicked."


title: Flashdance... What a Feeling

text: Cara received her big break in 1980 in the role of Coco Hernandez, a student at the High School of Performing Arts, in the movie "Fame". The soundtrack album included two chart hits that Cara recorded: the title song, which got as high as number 4 on the "Billboard" Hot 100, and "Out Here on My Own", which peaked at number 19. When the record label for the soundtrack, RSO, went out of business, one of its executives, Al Coury, convinced her to join his newly-formed Network Records, and the title track from her first album there, "Anyone Can See", reached number 42 on the Hot 100 during a run of 18 weeks that began in November 1981. She was working on an album and looking for a producer in early 1983 when she was contacted by Paramount Pictures to provide lyrics for the new soundtrack song. Although Moroder had shown interest in working with her once she had success with "Fame", she was reluctant about being compared to another singer he had produced, Donna Summer. "But with 'Flashdance[… What a Feeling],'" Cara explained, "we were thrown together by Paramount."


title: Flashdance... What a Feeling

text: Cara and Forsey were shown the last scene of the film, in which Alex auditions, to have a sense of what the lyrics should be. They were then driven from the screening to Giorgio's studio to record the song and, during the trip, were able to come up with most of the words that Cara would sing. She said, "I had no idea what the movie was about or anything. It did seem to me to have a similar look in regards to "Fame", so I figured, well, this is another performing arts film." She told Forsey that she thought the lyrics should describe the feeling of dance and credits him with coming up with the lyric that inspired the working title for the song, "Dancing for Your Life". She explained how the song became "a metaphor about a dancer, how she's in control of her body when she dances and how she can be in control of her life" and how that particular art form could represent any goal someone has. Moroder felt that the lyric "what a feeling" was right for the story but tried persuading them to incorporate the title of the film into the lyrics; the closest they could come to doing that was to use the two words that formed the title in separate lines of the song, such as, "In a flash it takes hold of my heart". It was only after the song was completed with the title "What a Feeling" that "Flashdance…" was added "to get some extra promotional mileage" out of it.


title: Flashdance... What a Feeling

text: The song is in the key of B♭ Major and has a tempo of 122 beats per minute. Cara's voice spans from the tonal nodes of F to D.


title: Flashdance... What a Feeling

text: Moroder had produced Summer's hit "Heaven Knows", which featured Brooklyn Dreams vocalist Joe "Bean" Esposito, and had Esposito record a vocal demo of "Flashdance... What a Feeling". Moroder would have had Esposito do the final recording, but Paramount wanted somebody who was well known. The film's producers also felt the singer of the song should be female. Cara stipulated in her agreement to write the lyrics that she would be the one to sing the song, and Moroder thought "she did absolutely fantastic work." She wanted to do more than one take, and he felt her third crack at it was her best.


title: Flashdance... What a Feeling

text: They completed recording the song in a few days, and the movie studio liked what they heard. On the "Special Collector's Edition" DVD release of "Flashdance" from 2010, Bruckheimer said, "When you first heard it, you said, 'Its a hit.' It’s one of those things you just heard, and you just couldn’t get it out of your head. And it just got us all so excited. We kept playing it over and over and never got tired of it. To this day, I’m not tired of that song. Cara also had a good feeling about it: "I knew when we were recording it that we had something special with the song. Some things you just feel, you know? You can’t really dissect it or analyze it. It’s a spiritual thing that you sense, and I did sense that I had something special with this song."


title: Flashdance... What a Feeling

text: "Flashdance…What a Feeling" received predominantly positive reviews at the time of its release and has continued to do so. "Billboard" magazine proclaimed that the song was "the best showcase for Cara's vocal talents since she first came to 'Fame' three years ago. The spirited Giorgio Moroder tune has the same kind of yearning optimism as that initial hit." "Cash Box" concurred, "This should be the vehicle Cara has been searching for since her 'Fame' debut. Moroder's hook is powerful, the arrangement well sculpted. Strong stuff." "Record Mirror"'s Betty Page predicted, "Huge hitsville, USA... Next year's Grammy, Oscar... winner, no doubt." Maureen Rice of "Number One" magazine admitted, "I really like this", and described it as "a perfect radio record". "New York Times" pop music critic John Rockwell wrote that the song, "sung by Irene Cara in a manner directly evocative of her big hit, 'Fame,' still possesses a buoyant energy of its own." The editors of "Digital Audios Guide to Compact Discs" described the song as "a blend of crooning synthesizer background music and a hard disco beat," and concluded, "These effects and Cara's enthusiastic voice make this an impressive song."


title: Flashdance... What a Feeling

text: In their retrospective reviews, AllMusic labeled the song as one of their Album Picks from the "Flashdance" soundtrack, Cara's "What a Feelin'" album, and the 1994 "Casablanca Records Story" compilation.


title: Flashdance... What a Feeling

text: Since "Flashdance" was to be released on April 15, 1983, Cara's recording was made available as a "scout" single in March as a way of getting the attention of the target audience for the film, but Paramount Pictures had doubts that the movie would do well at the box office. Bruckheimer explained that Casablanca's parent company, Polygram, "only shipped 60,000 [copies of the soundtrack album], so they really had no faith in the record." The May 7 issue of "Cashbox" magazine, however, reported on the surprise success of the film, noting that by Tuesday, April 19, retailers were reporting that all "Flashdance" merchandise was gone. Paramount planned to have the film's director, Adrian Lyne, take parts of scenes from it to create music videos for songs from the soundtrack, including Cara's contribution, which would also be used in all subsequent radio and television ads for the film as a way for potential ticket buyers to "identify the motion picture".


title: Flashdance... What a Feeling

text: In the April 2, 1983, issue of "Billboard" magazine, "Flashdance…What a Feeling" began a run of 25 weeks on the Hot 100, which included 14 weeks in the top 10, making it the longest-running top-10 single of 1983. The May 28 "Billboard" marked its first of 6 weeks as the most popular song in the US, and it also went to number one in Australia, Canada, Denmark, Japan, New Zealand, Norway, South Africa, Spain, Sweden, and Switzerland and made the top five in Austria, Finland, Ireland, the UK, and West Germany. It debuted on "Billboard"'s Adult Contemporary chart in the April 30 issue and got as high as number 4 during its 24 weeks there. In the May 7 issue it made its first appearance on their list of the most popular Black Singles in the US and spent 5 of its 22 weeks there at number 2 (behind "Juicy Fruit" by Mtume, which only reached #45 on the Hot 100). The May 7 issue also began the 18 weeks that the 12-inch remix spent on their Dance/Disco Top 80 chart, 3 of which were in the top spot. On "Billboard"<nowiki>'</nowiki>s Year-End Hot 100 singles of 1983, it came in at number 3.


title: Flashdance... What a Feeling

text: On June 17, the Recording Industry Association of America awarded the single Gold certification for achieving sales of one million copies, and on July 1, the British Phonographic Industry issued Silver certification to it for shipment of 250,000 units. Also on July 1, Music Canada awarded the single both Gold and Platinum awards for reaching the 50,000 and 100,000 thresholds for units shipped, respectively, and the Double Platinum award was issued on January 1, 1984, after reaching the 200,000 mark. Later that month, "Billboard" reported that sales in Japan were over 700,000. In France, sales have also reached the one million mark for Platinum certification.


title: Flashdance... What a Feeling

text: Film scholars who have commented on "Flashdance" in essays have highlighted the relationship between the song and Alex's story. "Flashdance... What a Feeling" is heard over the opening credits of the film as a young woman rides her bike through the streets of Pittsburgh just after sunrise and then continues as work goes on in a steel mill. In his dissertation on film musicals about dance, John Trenz explained that the song functions as our way into the story since no other introductory information, such as the bicyclist's identity, is provided on the soundtrack. The mill workers use machinery that represents the "world made of steel, made of stone" that Cara sings about, and we are shown several of them at work while the song continues. As the chorus is heard for the last time to finish presenting the opening credits, the worker that the film keeps cutting back to is wearing a welding helmet with Alex printed on the front. The welder removes the protective gear to reveal that Alex is female, and she shakes her hair loose from the helmet and catches her breath. With the film's unveiling of its main character, Trenz wrote, "The gender revelation seems to punctuate the song's lyrics, 'What a feeling! Being’s believing, I can have it all.'"


title: Flashdance... What a Feeling

text: In the February 1984 issue of "Jump Cut", Kathryn Kalinak delineated an instance in which the lyrics coincide with Alex's dialogue. Alex is uncomfortable when her boyfriend Nick sees her dancing outside of her work setting, but her job performing onstage to contemporary music in a bar is a different kind of presentation where the audience means nothing to her. When Nick asks why she seems so comfortable in front of the bar patrons, she explains, "I never see them. You go out there, and the music starts, and you begin to feel it. And your body just starts to move. I know it sounds really silly. But something inside you just clicks, and you just take off. You're gone. It's like you're somebody else for a second." This freedom she describes is reflected in the lyrics, "When I hear the music, close my eyes, feel the rhythm wrap around, take ahold of my heart, what a feeling."


title: Flashdance... What a Feeling

text: The song is heard again during Alex's audition at the Pittsburgh Conservatory of Dance and Repertory as the recording that she brings to play while she performs, but Trenz pointed out that, instead of functioning as an introduction to the character as it did during the opening credits, the song is now Alex's means of interpreting her story through dance. He averred that "she inhabits the song and reproduces an expression of her story by dancing to it and signifying the music and being the significance of its lyrics at the same time." Since this is an audition to measure her skill as a dancer and not judge an acting performance, the song provides a unique function for the two audiences witnessing the audition. For the judges in the film, she is translating the artistry of the song, which symbolizes this applicant reaching the goal of being considered for admission. The film audience, however, can now interpret the song as her story, making it more than just a soundtrack hit. Trenz wrote, "The narrative allows the film audience to read the sequence as expressive of her story in association with the song while the reactions of the committee seem to signify the resolution expressed by the song – that Alex can make it happen and have it all."


title: Flashdance... What a Feeling

text: In his essay, "Reaganite Cinema: What a Feeling!", Gary Needham, a senior lecturer in film at the University of Liverpool, provided a different interpretation of the ending of "Flashdance" because of the way the song is used. In contributing momentum to the audition performance, the tempo of "Flashdance... What a Feeling" combines with the editing and choreography of the scene in such a way to make it clear to the audience that Alex has earned her happy ending. The song continues to play when she bounds down the steps outside of the Conservatory and rounds the sidewalk to find Nick and her dog Grunt waiting to greet her afterward, but the meaning of the song changes. During the audition, it exists in the world created by the film and conveys the success that has been her goal, but because it continues on the soundtrack as her joyous reunion with Nick is presented, Needham argues, "Everything that we feel about Alex's success as a dancer through her performance and the music is hijacked… so that our 'feeling' about success, performance, and dance is conflated with romance, surrender, and the loss of independence." The politics of the film shift from the idea that a woman can thrive on her own to one in which she relies on a relationship to survive, which, "echoed in the lyrics 'What a Feeling', secures her a place in a traditional, appropriately feminine, patriarchal system."


title: Flashdance... What a Feeling

text: Some of Cara's appearances to promote "Flashdance…What a Feeling" included programs where performers would lip sync to the hit recording of their song, such as "American Bandstand", where she appeared on the April 30, 1983, broadcast. This sort of performance on the "Solid Gold" episode from that same date allowed her to show off some of her own moves alongside the Solid Gold Dancers. When she returned for their 1983 year-end countdown to perform the song again, she only lip synched through the first chorus, after which she sang live to a remix as a group of breakdancers performed. In 2013, she commented, "This "Solid Gold" performance of "Flashdance..." was one of the most memorable for me. It included all the great pioneers of breakdancing and I got to perform the long version of the song!" In 1984, she also incorporated her training as a dancer into a lip sync performance of the song at the 11th Annual American Music Awards on January 16. Vocal performances included the "Fame Looks at Music '83" television concert that was broadcast on January 28, the 26th Annual Grammy Awards a month later, on February 28, and the 56th Academy Awards on April 9, where she was joined onstage by 44 boys and girls from the National Dance Institute. The song became a part of her first concert tour, which began at the end of the following summer.


title: Flashdance... What a Feeling

text: As a single, "Flashdance…What a Feeling" earned Cara the Grammy Award for Best Pop Vocal Performance, Female, and a nomination for Record of the Year. As part of the "Flashdance" soundtrack, it gave her and all of the songwriters who contributed to the album the Grammy Award for Best Album of Original Score Written for a Motion Picture or a Television Special, and she was also nominated alongside all of the other performers on the soundtrack for Album of the Year. "Flashdance…What a Feeling" won the Academy Award and Golden Globe for Best Original Song and was also nominated in that category at the BAFTA Film Awards. It also contributed as a whole or in part to three American Music Award nominations: Favorite Pop/Rock Album, Favorite Pop/Rock Song, and Favorite Soul/R&B Female Artist for Cara.


title: Flashdance... What a Feeling

text: In 1998, "Flashdance... What a Feeling" came in at number nine on "Billboard" magazine's list of the top 10 soundtrack songs, and on the Songs of the Century list compiled by the Recording Industry Association of America in 2001, the song was listed at number 256. In 2004, it finished at number 55 on AFI's 100 Years ... 100 Songs survey of top tunes in American cinema, and in 2008, the song was ranked at number 26 on "Billboard"s All Time Top 100, which commemorated the 50th anniversary of the "Billboard" Hot 100. When "Rolling Stone" magazine ranked the 20 Greatest Best Song Oscar Performances in 2016, Cara's appearance at the 1984 Academy Awards was listed at number 20. In 2018, Insider included the title song on its list of 35 of the most iconic movie songs of all time, generously adding that it "has a special place in pop culture history." That same year, it came in at number 34 on "Billboard"'s list of the "600 most massive smashes over the [Hot 100]'s six decades", and in 2019, the magazine ranked the song at number 11 on its list of the Greatest of All Time Hot 100 Songs by Women.


title: Flashdance... What a Feeling

text: In addition to being available on the soundtrack album, "Flashdance... What a Feeling" was included on Cara's follow-up LP, "What a Feelin'", which was produced by Moroder. As she promoted the new hit singles from that album at the end of 1983 and through the first half of 1984, she was also busy collecting awards for her soundtrack hit, but the good fortune was tainted by the feeling of being cheated by her record company. Even with this recent success, she had only been paid $183 in royalties from Network Records and demanded an explanation from Coury, who "tried to appease her with gifts and promises." By the end of 1984 she still had only received $61,343 and decided to hire entertainment lawyers to get the money that her contract said she was due and also to help her break free from the label. Years later she said, "I never realized that what seemed so logical a decision at the time would cost me so much."


title: Flashdance... What a Feeling

text: In 1985 Cara filed a lawsuit against Al Coury Inc. and Network Records seeking $10million in punitive and approximately $2million in compensatory damages, claiming, among other things, that Coury withheld $2million in composing and recording deals involving "Flashdance... What a Feeling". The treatment she received in the entertainment industry from that point on, however, caused her to suspect that Coury initiated a smear campaign to ruin her career. She claims that they warned the other record labels of her lawsuit so that no one would sign her and that people who once welcomed her—from producers and casting agents to the staff at restaurants and other favorite establishments around Los Angeles—now wanted nothing to do with her. There was even talk that her career had been destroyed by drug addiction. When Network Records folded, Coury went to work for David Geffen, whom Cara is certain also took part in vilifying her.


title: Flashdance... What a Feeling

text: The original team of lawyers that Cara hired had argued in her lawsuit that Network was not a functioning label instead of simply making a case for fraud, so she tried several other firms when the case was no longer going anywhere before she found Tom Nunziato, an attorney who got things moving again. "She was obviously strung out and upset, but she was very credible," Nunziato recalled. "She was impressive. I'm a contingency lawyer, and ninety percent of a contingency case is the believability of your client, assuming the facts are there." Because the statute of limitations had run out on claiming fraud, he had to focus on it as an accounting matter, but Cara would finally be able to make her case before a jury.


title: Flashdance... What a Feeling

text: In 1993, after concluding that Cara's career was damaged as a result of the treatment she received, a Los Angeles County Superior Court awarded her $1.5million for misaccounted funds. No case was allowed to be made for punitive damages, however, and Nunziato explained how actually getting the money was more complicated: "Because only the corporations [Al Coury Inc. and Network Records] were sued back in the beginning and not the individuals, the corporations just declared bankruptcy; supposedly they used all the money to pay attorneys… Irene was vindicated by the jury, but the legal system kind of fell down, and there was no way to compensate her." She did, however, begin earning royalties for her Network recordings almost a decade after her last chart hit in 1984.


title: Flashdance... What a Feeling

text: American-Australian singer Marcia Hines recorded a version of the song titled "What a Feeling" in 1998. It was released as the lead single from her ninth studio album, "Time of Our Lives" (1999).


title: Flashdance... What a Feeling

text: In 2005, Austrian house music group Global Deejays covered "Flashdance... What a Feeling" on their album "Network", retitled "What a Feeling (Flashdance)".


title: Shygirl

text: Blane Muise (born May 4, 1993), better known by her stage name Shygirl, is an English rapper, DJ, singer, songwriter and co-head/founder of record label and collective Nuxxe. Shygirl's music incorporates elements of hip house, industrial hip-hop, grime and deconstructed club. She has also been associated with the hyperpop music scene. Shygirl rose to prominence after working with close collaborator and friend Sega Bodega, as well as other well-known experimental pop producers Arca and Sophie, and gaining attention from the likes of Rihanna, who has used various Nuxxe tracks for her Fenty Beauty commercials and fashion shows. Shygirl has released various singles since 2016, and two EPs titled "Cruel Practice" and "Alias". Her debut studio album "Nymph" was released on 30 September 2022.


title: Shygirl

text: Shygirl was born in South London and grew up around Blackheath. She is of Grenadian descent. She describes herself as a "total homebody" and "delving into fantasy and reading constantly" growing up. She was her secondary school's head girl. She went on to study practical photography at the University of Bristol, travelling back to London on the weekends for parties.


title: Shygirl

text: Shygirl released her first single "Want More", produced by Sega Bodega in 2016. This was the first song released on the Nuxxe label, founded by Shygirl, Sega Bodega, and Coucou Chloe. She went on to work with Sega Bodega on her singles "Msry" and "Nvr" in 2017, having featured on his song "CC" earlier in the year. In 2018, Shygirl quit her day job at a modelling agency to pursue her music career.


title: Shygirl

text: In May 2018, Shygirl released her debut EP, "Cruel Practice", on Nuxxe. The EP received positive reviews from "Pitchfork", "Crack Magazine" and "Tiny Mix Tapes".


title: Shygirl

text: She featured on Arca's song "Watch" on her 2020 album, "Kick I". The pair had previously collaborated on the song "Unconditional", with all of the proceeds from that single going towards Black Lives Matter and Inquest UK. In November 2020, she released her second EP, "Alias" on the Because Music label. This EP received positive attention from "Pitchfork", "Vogue" and "NME". "Alias" was listed as one of the best EPs of 2020 by audio and music publication "MusicNGear".


title: Shygirl

text: In June 2021, Shygirl released a performance film titled "Blu". It featured performances of songs from her "Alias" EP, as well as a new song, titled "BDE" featuring British rapper slowthai. She released the song as a single the next day. She would later release the "BDE 3XL" remix EP in September. Shygirl and British producer Mura Masa were additionally featured on a remix of Lady Gaga and Blackpink's "Sour Candy" on Lady Gaga's "Dawn of Chromatica" remix album.


title: Shygirl

text: In September 2022, Shygirl released her debut studio album titled "Nymph". The album received positive reviews from "NME", "Crack Magazine" and "Pitchfork".


title: Shygirl

text: Shygirl has listed Mariah Carey, Aphex Twin, Madonna, Rihanna, Björk, and Róisín Murphy as her biggest musical influences.


title: Green-Wood Cemetery

text: Green-Wood Cemetery is a cemetery in the western portion of Brooklyn, New York City. The cemetery is located between South Slope/Greenwood Heights, Park Slope, Windsor Terrace, Borough Park, Kensington, and Sunset Park, and lies several blocks southwest of Prospect Park. Its boundaries include, among other streets, 20th Street to the northeast, Fifth Avenue to the northwest, 36th and 37th Streets to the southwest, Fort Hamilton Parkway to the south, and McDonald Avenue to the east.


title: Green-Wood Cemetery

text: Green-Wood Cemetery was founded in 1838 as a rural cemetery, in a time of rapid urbanization when churchyards in New York City were becoming overcrowded. Described as "Brooklyn's first public park by default long before Prospect Park was created", Green-Wood Cemetery was so popular that it inspired a competition to design Central Park in Manhattan, as well as Prospect Park nearby.


title: Green-Wood Cemetery

text: The cemetery was listed on the National Register of Historic Places in 1997 and was made a National Historic Landmark in 2006. In addition, the 25th Street gates, the Weir Greenhouse, and the Fort Hamilton Parkway Gate & Green-Wood Cemetery Chapel were separately designated as city landmarks by the New York City Landmarks Preservation Commission at various times.


title: Green-Wood Cemetery

text: Green-Wood's site is characterized by varied topography created by glacial moraines, particularly the Harbor Hill Moraine. Battle Hill (also known as Gowan's Heights), the highest point in Brooklyn, is on cemetery grounds, rising approximately above sea level. It was the site of an important action during the Battle of Long Island on August 27, 1776. A Revolutionary War monument by Frederick Ruckstull, "Altar to Liberty: Minerva", was erected there in 1920. From this height, the bronze Minerva statue gazes towards the Statue of Liberty across New York Harbor.


title: Green-Wood Cemetery

text: Green-Wood was less inspired by Père Lachaise Cemetery in Paris, which at the time retained the primarily axial formality of Alexandre Théodore Brongniart's original design, than by Mount Auburn Cemetery in Cambridge, Massachusetts, where a cemetery in a naturalistic park-like landscape in the English manner was first established. It has been called "Brooklyn's first public park by default long before Prospect Park was created." The architecture critic Paul Goldberger, quoting "The New York Times" from 1866, observed that "it is the ambition of the New Yorker to live upon the Fifth Avenue, to take his airings in the [Central] Park, and to sleep with his fathers in Green-wood".


title: Green-Wood Cemetery

text: Green-Wood Cemetery contains 600,000 graves and 7,000 trees spread out over . The landscape includes rolling hills and dales, several ponds, and an on-site chapel. In 2017, it received 280,000 visitors. Though at one point there were numerous gravediggers at Green-Wood, there were just a few gravediggers due to a decrease in the number of burials, as well as the limited amount of space for new burials. Because of this shortage of space, several family members may be buried atop each other in some plots.


title: Green-Wood Cemetery

text: Several wooden shelters were also built, including one in a Gothic Revival style, one resembling an Italian villa, and another resembling a Swiss chalet. These shelters, designed by Richard Upjohn, had largely deteriorated by the late 20th century except for a ladies' shelter. In 2008, Green-Wood started to acquire a collection of art pertaining to those buried in the cemetery.


title: Green-Wood Cemetery

text: Green-Wood Cemetery contains numerous landscape features, which in turn are named after terms that evoke a naturalistic scene. These names include Camellia Path, Halcyon Lake, Oaken Bluff, Sylvan Cliff, and Vista Hill. David Bates Douglass, Green-Wood's landscape architect, mostly kept the cemetery's natural landscaping intact. Much of Douglass's plan is still in place with its original plantings and curving-road systems. The original street names and original cast-iron perimeter fence have been retained, but many of the roads have been paved.


title: Green-Wood Cemetery

text: The cemetery has been expanded several times. Most of these regions have been landscaped to resemble the original plot, except the area near Fort Hamilton Avenue to the north, which is flatter because it was acquired last.


title: Green-Wood Cemetery

text: There are several notable monuments and mausoleums in the cemetery, designed in several styles including the Classical, Egyptian, Gothic, and Romanesque. Some of monuments and mausoleums were designed by popular architects of the time, including Minard Lafever, Richard Upjohn, and Warren and Wetmore. In addition, many tombs contain ornate sculptural decoration. The National Register of Historic Places designation subdivides these monuments into four primary categories: those honoring events or professions; those with architectural significance; those whose graves contain people of historical significance; and "monuments of sculptural interest".


title: Green-Wood Cemetery

text: Among the first monuments was a statue of DeWitt Clinton, built in 1853. There is also a memorial erected by James Brown, president of both Brown Brothers bank and the Collins Line, to the six members of his family lost in the disaster of 1854. This incorporates a sculpture of the ship, half-submerged by the waves, as well as a Civil War Memorial. During the American Civil War, Green-Wood Cemetery created the "Soldiers' Lot" for free veterans' burials; this lot included less than of land. In 1868–1876, after the war ended, the Civil War Soldiers' Monument was erected at the highest point in Green-Wood.


title: Green-Wood Cemetery

text: Other monuments of note include the Pilots' Monument and the Sea Captain's Monument, each dedicated to a notable person in these respective professions. "J. Marion Sims", a monument of gynecologist J. Marion Sims by Ferdinand Freiherr von Miller, is also planned to be installed in Green-Wood; the statue was formerly in Bryant Park and Central Park but was removed from the latter in 2017. Some elaborate monuments honor notable figures, such as William Niblo's Grand Gothic mausoleum, the Steinway & Sons family's Classical mausoleum, Abiel Abbot Low's tomb, and the Lispenard family's Norman-style mausoleum. Numerous other monuments to notable figures exist but are extremely simple in design, such as the tombs of Samuel Morse, William M. Tweed, Lola Montez, Henry Ward Beecher, and Currier and Ives. On the other hand, several monuments commemorate less well-known figures, including a Gothic memorial for 17-year-old Charlotte Canda, and a High Victorian pier designed by William or Edward Potter for their relatives.


title: Green-Wood Cemetery

text: The gates were designed by Richard Upjohn in Gothic Revival style. There are four gates in total. Two are city landmarks: the main gate at 25th Street to the northwest, which is closest to South Slope/Greenwood Heights, and Fort Hamilton Parkway to the south, which is in Kensington. Two additional gates exist. One of these, at 20th Street and Ninth Avenue, provides access from the northeast and is in Windsor Terrace. The other, at 34th Street and Fourth Avenue, provides access from the southwest and is located next to Sunset Park and the 36th Street station of the New York City Subway, serving the . These gates were developed from the 1840s to the 1860s. A fifth gate at Ninth Avenue and 37th Street no longer exists.


title: Green-Wood Cemetery

text: The main entrance to the cemetery, a double-gate located at 25th Street and Fifth Avenue near its northwestern corner, was built in 1861–65, though the entrance itself opened in 1862. It is composed of Belleville, New Jersey brownstone. The sculptured groups on Nova Scotia limestone panels depicting biblical scenes of death and resurrection from the New Testament including Lazarus, The Widow's Son, and Jesus' Resurrection over the gateways are the work of sculptor John M. Moffitt. In between the two gateways is a clock tower in the Flamboyant style. The tower measures tall. A cemetery office is to one side of the gate, while the chapel and reception room are on the opposite side. A descendant colony of monk parakeets that are believed to have escaped their containers while in transit now nests in the spires of the gate, as well as other areas in Brooklyn.


title: Green-Wood Cemetery

text: The New York Community Trust placed a Designated Landmarks of New York plaque on the gate in 1958, and the gate was designated an official New York City landmark in 1966.


title: Green-Wood Cemetery

text: The Fort Hamilton gate is located at Fort Hamilton Parkway and Macieli Place. Similar to the 25th Street gate, it is made of a double gateway made of brownstone. It is also flanked by two structures, a visitor's lounge and the gatekeeper's residence. The gate was built in 1876 and completed the next year; it was designated as an official New York City landmark in 2016.


title: Green-Wood Cemetery

text: To the east of the entrance is the visitor's lounge, a brownstone building. It is a -story structure with an entrance located inside a center bay on the west side of the building. The visitor's lounge contains two side bays, each with a porch, as well as restrooms for men and women. The hip roof is made of gray slate with metal ornamentation along the ridge at the top. The roof slopes down toward the perimeter walls of the building, though each of the four sides of the roof is punctuated by dormers with small windows. The corner porches feature stone banisters, and contain four yellow sandstone bas-reliefs sculpted by Moffitt.


title: Green-Wood Cemetery

text: The west side of the entrance, also a brownstone structure, contains the gatekeeper's residence, a -story structure that is similar in design to the visitor's lounge. Only the center section is stories, while the two pavilions to the west and east are stories. The residence's main entrance is through the eastern pavilion, while there is another pavilion on the western facade. Both pavilions have hip roofs of gray slate, and the second floor contains dormers with windows that project from the hip roof. The central "tower" section contains entrances to both the north and south, as well as windows on the second, third, and attic floors that face north and south. The roof of the central tower contains a stone chimney.


title: Green-Wood Cemetery

text: The Green-Wood Cemetery chapel is located near the 25th Street gate. Built in 1911–1913 by Warren and Wetmore, the chapel is located on the site of one of Green-Wood's original ponds. Though it is generally designed in the late Gothic style, its massing is in the Beaux-Arts style. It is made of limestone, and consists of multiple towers, including a central octagonal tower and four octagonal turrets, one at each corner. The three-story chapel contains a ground level, clerestory level, and the second story in the central tower. It was patterned after the Tom Tower at Christ Church, Oxford.


title: Green-Wood Cemetery

text: Plans for the Green-Wood chapel date to shortly after the chapel's establishment, when a "Chapel Hill" was set aside within the cemetery. Though Richard Upjohn submitted plans for such a chapel in 1855, Green-Wood initially voted against such a chapel. A new location was selected near Arbor Water in the first decade of the 20th century, and plans were solicited from three firms in 1909. After Warren and Wetmore were selected, work started in 1911, and the chapel was officially opened in June 1913. The chapel was made a city landmark in 2016.


title: Green-Wood Cemetery

text: Following the founding of Mount Auburn Cemetery in Massachusetts in 1831, leaders of the cities of New York and Brooklyn began discussing locations to build a cemetery of their own. At the time, over 10,000 people were being buried per year in the two cities. The cemetery was the idea of Henry Evelyn Pierrepont, a Brooklyn social leader. As early as 1832, Pierrepont was considering constructing such a cemetery on a hilly area to the east of Gowanus Bay. Acts of incorporation for "The Greenwood Cemetery" were passed on April 18, 1838, entitling the corporation to a capital of $300,000 and the right to of land. David Bates Douglass, Green-Wood's landscape architect, started working on the layout in 1838. He opposed an early suggestion to call the cemetery a necropolis, as he thought the landscaped site should also attract the living.


title: Green-Wood Cemetery

text: On April 11, 1839, a modification to that act was enacted, changing the corporation to a nonprofit organization. Construction started in May 1839 and the first interment was performed on September 5, 1840. At that point, the cemetery commissioners decided to enclose the site with a long picket fence (later replaced with a metal fence in 1860). Douglass mostly kept the cemetery's natural landscaping intact, working on the project until he resigned in 1841. Douglass modeled his two subsequently designed garden cemeteries upon Green-Wood: Albany Rural Cemetery (1845–1846), located in Menands, New York, and Mount Hermon Cemetery (1848), in Quebec City. Initially some of roads were paved inside Green-Wood to showcase its natural scenery. The earliest map dating from 1846 indicates that there were originally three ponds in Green-Wood: Sylvan Water, Green-Isle Water, and Arbor Water, all on the western side of the modern cemetery.


title: Green-Wood Cemetery

text: There were initially very few burials per year; by 1843, there had been 352 burials total, though the number of burials doubled just in the next year. Throughout the 1840s, several churches were allocated plots in Green-Wood Cemetery. These included the Presbyterian, Unitarian, and German Lutheran churches of Brooklyn. By the 1850s, various fauna were being introduced to the cemetery.


title: Green-Wood Cemetery

text: As early as the 1840s, the cemetery had 30,000 visitors per season during the spring and fall; the visitors took horse-drawn carriages or ferries to the cemetery. To accommodate those who came to the cemetery, a ferry service to the cemetery was established in 1846. The burial ground was expanded multiple times. Originally 175 acres were enclosed, stretching between 21st and 37th Streets from 5th to 9th Avenue. The first additional acquisition in 1847 was for at the southwest corner of the cemetery, adjacent to the contemporary border of the city of Brooklyn. Another to the east was acquired in 1852 through the annexation of land in the then-separate village of Flatbush. Finally, in 1858 another was acquired at the southeastern corner of the cemetery grounds. A plot at the southeast corner of the cemetery was purchased in 1863, allowing the commissioners to straighten out that border.


title: Green-Wood Cemetery

text: This era was also associated with the construction of other structures. A receiving tomb was installed in 1853, and around the same time, the ponds were cleaned and landscaped. In addition, several gates to the cemetery were added. The main gate at 5th Avenue and 25th Street was built in 1861–65, followed by other entrances near the cemetery's service yard; at 9th Avenue and 20th Street; and at 9th Avenue and 37th Street (later removed). In addition, a gatekeeper's house was installed at the original southern entrance in 1848, the "Thirty Vaults" catacombs in 1854, and a well house in 1855. Furthermore, the paths were paved in the 1860s to allow for easier transport within the cemetery. Several additional ponds were carved out through the 1870s, including Border Water, Dell Water, Crescent Water, Dale Water, and Meadow Water.


title: Green-Wood Cemetery

text: At first, lots were being sold for $100 apiece, and it soon became a frequent place for burials, with 7,000 annual burials and 100,000 graves by the 1860s. Green-Wood became more popular after former governor DeWitt Clinton was disinterred from a cemetery in Albany, the New York state capital, and moved to Green-Wood, where a monument to him was erected in 1853. By the early 1860s it was drawing annual crowds second in size only to Niagara Falls. Numerous guides to the cemetery were published for these visitors, including an illustrated guidebook and a directory in the late 1840s, as well as a cemetery history and a handbook in the late 1860s.


title: Green-Wood Cemetery

text: By the 1860s, Prospect Park was being constructed and public streetcar and elevated lines were established across Brooklyn. In particular, the opening of the Fifth Avenue Elevated station at 25th Street, near the main entrance, proved to be a benefit to lot owners in Green-Wood Cemetery. As a result, in 1876, Green-Wood built the Fort Hamilton gate to accommodate the anticipated extra crowds. By the end of the 19th century, several florists, greenhouses, and monument sellers had opened shops near each of the gates. One such structure was the Weir Greenhouse, located across from the 25th Street entrance; that building is now both a National Register of Historic Places listing and a city landmark.


title: Green-Wood Cemetery

text: Improvements also continued throughout the late 19th century. In 1871, Border Water was partially eliminated to make extra burial space, and in 1874, the cemetery was slightly expanded to . Also, an underground drainage system, extra roads, and a permanent stone fence were built through the late 1870s. The cemetery was enlarged again in 1884 to via the acquisition of land on the northern border. To prevent the view being marred by the construction of tenements, Green-Wood also purchased lots on the southwest corner. By the 1890s, a reservoir was added atop Mt. Washington, the highest point in the cemetery, while two ponds had been removed. At the turn of the century, an old engine house, stables, and several enclosures were being removed, while waiting rooms and restrooms were added at the southern entrance. During this period, thousands of trees were planted, and roads continued to be graded.


title: Green-Wood Cemetery

text: Most famous New Yorkers who died during the second half of the 19th century were buried at Green-Wood. Starting in 1862, free interments were offered to the families of New York soldiers who died in war. In 1868, work started on the installation of the Civil War Soldiers' Monument at the highest point in Green-Wood to commemorate hundreds of thousands of New Yorkers who fought in the war. The monument was not dedicated until 1876. On December 5, 1876, the Brooklyn Theater Fire claimed the lives of at least 278 individuals, with some accounts reporting over 300 dead. Out of that total, 103 unidentified victims were interred in a common grave at Green-Wood Cemetery. An obelisk near the main entrance marks the burial site.


title: Green-Wood Cemetery

text: Green-Wood has remained non-sectarian, but was generally considered a Christian burial place for white Anglo-Saxon Protestants of good repute. One early regulation was that no one executed for a crime, or even dying in jail, could be buried there. However, the family of infamous political leader "Boss" Tweed managed to circumvent this rule even though he died in the Ludlow Street Jail. The cemetery's chapel was completed in 1913 by Warren and Wetmore, on the site of Arbor Water. By 1916, the cemetery had 325,000 burials.


title: Green-Wood Cemetery

text: Modifications to Green-Wood's landscape continued through the 20th century. In 1915, the entrance at 20th Street was realigned to connect with 9th Avenue/Prospect Park West (the entrance there being completed in 1926), and another pond was drained. The landscape was in decline by the late 1910s, but this was followed shortly after by dead-tree removals in the 1920s and a five-year road repaving project began in 1924. Road reconstructions continued through the mid-1930s and demolition of enclosures continued. Notably, the clock tower at the 34th Street entrance was demolished in 1941, and iron fences were removed during World War II for the war effort. The old main entrance was demolished in 1951, and four years later, the first new crematorium in New York City in a half-century was built at Green-Wood, with a columbarium. By the end of the 1950s, another reservoir had been filled for new lots.


title: Green-Wood Cemetery

text: More than 1,000 enclosures were removed from 1950 to 1961, the same year that work on a new crematorium began. The columbarium was expanded from 1975 to 1977. However, through the 1970s, vandalism was common at Green-Wood Cemetery. The cemetery was also affected by labor strikes among the gravediggers in 1966, 1973, and 1982. The cemetery also continued to add new structures: the Garden Mausoleum and Community Mausoleum were finished in the late 1980s, and the Hillside Mausoleum was expanded. In addition, in 1994, the north gate was restored and new offices were built. This was followed by the restoration of the chapel in the late 1990s, and it reopened in 2000 after having been closed for four decades.


title: Green-Wood Cemetery

text: In 1999, The Green-Wood Historic Fund, a 501(c)(3) not-for-profit institution, was created to continue preservation, beautification, educational programs and community outreach as the current "working cemetery" evolves into a Brooklyn cultural institution. The Historic Fund's Civil War Project, an effort to identify and remember Civil War veterans buried at Green-Wood, was created following the rededication ceremony of the Civil War Soldiers' Monument. These early graves had either sunk into the soil, been damaged, or had their markers erased before the monument was restored between 2000 and 2002. Further, construction of the last phase of the Hillside Mausoleum began in 2001, and the same year 50 victims of the September 11 attacks were buried there. By 2009, there was little space for new interments at Green-Wood Cemetery. In December 2010, a memorial was unveiled for the 134 victims of the 1960 New York mid-air collision; the cemetery contains the common grave in which were placed the remains of unidentified victims .


title: Green-Wood Cemetery

text: On October 13, 2012, another "Angel of Music" was installed to replace the one vandalized in 1959, this one made by sculptors Giancarlo Biagi and Jill Burkee, was unveiled to memorialize Louis Moreau Gottschalk. Two weeks later, Hurricane Sandy toppled or damaged at least 292 of the mature trees, 210 gravestones, and 2 mausoleums in the cemetery. The damage was estimated at $500,000. In December 2012 the statue "The Triumph of Civic Virtue" by Frederick MacMonnies was moved to Green-Wood. In August 2013, in partnership with the Connecticut Society of the Cincinnati, signage in the Battle Hill area of the cemetery was updated to reflect new research on Battle Hill's importance in the Battle of Brooklyn.


title: Green-Wood Cemetery

text: Green-Wood Cemetery's interments include people from a variety of occupations. Painter George Catlin, designer Louis Comfort Tiffany, painter Asher B. Durand, printmakers Nathaniel Currier and James Ives, and architects James Renwick Jr. and Richard Upjohn are among the artists interred in the cemetery. In addition, public leaders William M. Tweed, Henry Ward Beecher, Horace Greeley, and DeWitt Clinton, as well as businessmen Edward R. Squibb, William Colgate, and Charles Pfizer, are buried in the cemetery. Among the burials at the cemetery are six British Commonwealth service personnel whose graves are registered by the Commonwealth War Graves Commission, three from World War I and three from World War II. There are other notable burials like the economist Henry George, Charles Ebbets, Jean-Michel Basquiat, Leonard Bernstein, Brooklyn rapper Bashar Barakah "Pop Smoke" Jackson and poets Phoebe Cary and Alice Cary.


title: Green-Wood Cemetery

text: The gates of the cemetery were designated a New York City landmark in 1966, and the Weir Greenhouse, used as a visitor's center, was designated as such in 1982. The cemetery was listed on the National Register of Historic Places in 1997 and was granted National Historic Landmark status in 2006 by the U.S. Department of the Interior. The Fort Hamilton Parkway Gate and the cemetery's chapel were designated as official New York City landmarks in 2016.


title: Jehoshaphat

text: Jehoshaphat (; alternatively spelled Jehosaphat, Josaphat, or Yehoshafat; ; ; ), according to 1 Kings 22:41, was the son of Asa, and the fourth king of the Kingdom of Judah, in succession to his father. His children included Jehoram, who succeeded him as king. His mother was Azubah. Historically, his name has sometimes been connected with the Valley of Josaphat.


title: Jehoshaphat

text: 2 Chronicles chapters 17 to 21 are devoted to the reign of Jehoshaphat. 1 Kings 15:24 mentions him as successor to Asa, and 1 Kings 22:1-50 summarizes the events of his life. The Jerusalem Bible states that "the Chronicler sees Asa as a type of the peaceful, Jehoshaphat of the strong king". According to these passages, Jehoshaphat ascended the throne at the age of thirty-five and reigned for twenty-five years. He "walked in the ways" of his father or ancestor, King David. He spent the first years of his reign fortifying his kingdom against the Kingdom of Israel. His zeal in suppressing the idolatrous worship of the "high places" is commended in 2 Chronicles 17:6.


title: Jehoshaphat

text: In the third year of his reign, Jehoshaphat sent out priests and Levites over the land to instruct the people in the Law, an activity which was commanded for a Sabbatical year in Deuteronomy 31:10-13 (taking place in Jerusalem). Later reforms in Judah instituted by Jehoshaphat appear to have included further religious reforms, appointment of judges throughout the cities of Judah and a form of "court of appeal" in Jerusalem. Ecclesiastical and secular jurisdictions, according to 2 Chronicles 19:11, were by royal command kept distinct.


title: Jehoshaphat

text: The author of the Books of Chronicles generally praises his reign, stating that the kingdom enjoyed a great measure of peace and prosperity, the blessing of God resting on the people "in their basket and their store".


title: Jehoshaphat

text: Jehoshaphat also pursued alliances with the kingdom of Israel in the North. Jehoshaphat's son Jehoram married Athaliah, daughter of king Ahab of Israel. In the eighteenth year of his reign Jehosaphat visited Ahab in Samaria, and nearly lost his life accompanying his ally to the siege of Ramoth-Gilead. While Jehoshaphat safely returned from this battle, he was reproached by the prophet Jehu, son of Hanani, about this alliance. We are told that Jehoshaphat repented, and returned to his former course of opposition to all idolatry, and promoting the worship of God and in the government of his people.


title: Jehoshaphat

text: Later it appears that Jehoshaphat entered into an alliance with Ahaziah of Israel, for the purpose of carrying on maritime commerce with Ophir. He subsequently joined Jehoram of Israel in a war against the Moabites, who were under tribute to Israel. The Moabites were subdued, but seeing Mesha's act of offering his own son (and singular heir) as a propitiatory human sacrifice on the walls of Kir of Moab filled Israel with horror, and they withdrew and returned to their own land.


title: Jehoshaphat

text: According to "Chronicles", the Moabites formed a great and powerful confederacy with the surrounding nations, and marched against Jehoshaphat. The allied forces were encamped at Ein Gedi. The king and his people were filled with alarm. The king prayed in the court of the Temple, "O our God, will you not judge them? For we have no power to face this vast army that is attacking us. We do not know what to do; but our eyes are upon you." The voice of Jahaziel the Levite was heard announcing that the next day all this great host would be overthrown. So it was, for they quarreled among themselves, and slew one another, leaving to the people of Judah only to gather the rich spoils of the slain. Soon after this victory Jehoshaphat died after a reign of twenty-five years at the age of sixty. According to some sources (such as the eleventh-century Jewish commentator Rashi), he actually died two years later, but gave up his throne earlier for unknown reasons. As with his father Asa, a bonfire was lit in his honor.


title: Jehoshaphat

text: He also had the ambition to emulate Solomon's maritime ventures to Ophir, and built a large vessel for Tarshish. But when this boat was wrecked at Ezion-Geber he relinquished the project.


title: Jehoshaphat

text: In I Kings xxii. 43 the piety of Jehoshaphat is briefly dwelt on. Chronicles, in keeping with its tendency, elaborates this trait of the king's character. According to its report, Jehoshaphat organized a missionary movement by sending out his officers, the priests, and the Levites to instruct the people throughout the land in the Law of YHWH, the king himself delivering sermons.


title: Jehoshaphat

text: Underlying this ascription to the king of the purpose to carry out the Priestly Code, is the historical fact that Jehoshaphat took heed to organize the administration of justice on a solid foundation, and was an honest worshiper of Yhwh. In connection with this the statement that Jehoshaphat expelled the "Ḳedeshim" (R. V. "Sodomites") from the land (1 Kings 22:46) is characteristic; while 2 Chron. 19:3 credits him with having cut down the Asherot. The report that he took away the "high places" (and the Asherim) conflicts with 1 Kings 22:44 (A. V. v. 43) and 2 Chron. 20:33. The account of Jehoshaphat's tremendous army (1,160,000 men) and the rich tribute received from (among others) the Philistines and the Arabs is not historical. It is in harmony with the theory worked out in Chronicles that pious monarchs have always been the mightiest and most prosperous.


title: Jehoshaphat

text: The question that puzzled Heinrich Ewald and others, "Where was the brazen serpent till the time of Hezekiah?" occupied the Talmudists also. They answered it in a very simple way: Asa and Joshaphat, when clearing away the idols, purposely left the brazen serpent behind, in order that Hezekiah might also be able to do a praiseworthy deed in breaking it.


title: Jehoshaphat

text: William F. Albright estimated the reign of Jehoshaphat to 873–849 BCE. Edwin R. Thiele held that he became coregent with his father Asa in Asa's 39th year, 872/871 BCE, the year Asa was infected with a severe disease in his feet, and then became sole regent when Asa died of the disease in 870/869 BCE, his own death occurring in 848/847 BCE. So Jehoshaphat's dates are taken as one year earlier: co-regency beginning in 873/871, sole reign commencing in 871/870, and death in 849/848 BCE.