Audio power is the electrical power transferred from an audio amplifier to a loudspeaker, measured in watts.  The electrical power delivered to the loudspeaker, together with its efficiency, determines the sound power generated (with the rest of the electrical power being converted to heat).

Amplifiers are limited in the electrical energy they can output, while loudspeakers are limited in the electrical energy they can convert to sound energy without being damaged or distorting the audio signal.  These limits, or power ratings, are important to consumers finding compatible products and comparing competitors.

Power handling
In audio electronics, there are several methods of measuring power output (for such things as amplifiers) and power handling capacity (for such things as loudspeakers).

Amplifiers
Amplifier output power is limited by voltage, current, and temperature:
 Voltage: The amp's power supply voltage limits the maximum amplitude of the waveform it can output.  This determines the peak momentary output power for a given load resistance.
 Current: The amp's output devices (transistors or tubes) have a current limit, above which they are damaged.  This determines the minimum load resistance that the amp can drive at its maximum voltage.
 Temperature: The amp's output devices waste some of the electrical energy as heat, and if it is not removed quickly enough, they will rise in temperature to the point of damage.  This determines the continuous output power.
As an amplifier's power output strongly influences its price, there is an incentive for manufacturers to exaggerate output power specs to increase sales. Without regulations, imaginative approaches to advertising power ratings became so common that in 1975 the US Federal Trade Commission intervened in the market and required all amplifier manufacturers to use an engineering measurement (continuous average power) in addition to any other value they might cite.

Loudspeakers
For loudspeakers, there is also a thermal and a mechanical aspect to maximum power handling.
 Thermal: Not all energy delivered to a loudspeaker is emitted as sound. In fact, most is converted to heat, and the temperature must not rise too high. High level signals over a prolonged period can cause thermal damage, which may be immediately obvious, or  reduce longevity or performance margin.
 Mechanical: Loudspeaker components have mechanical limits which can be exceeded by even a very brief power peak; an example is the most common sort of loudspeaker driver, which cannot move in or out more than some excursion limit without mechanical damage.
There are no similar loudspeaker power handling regulations in the US; the problem is much harder as many loudspeaker systems have very different power handling capacities at different frequencies (e.g., tweeters which handle high frequency signals are physically small and easily damaged, while woofers which handle low frequency signals are larger and more robust).

Power calculations

Since the instantaneous power of an AC waveform varies over time, AC power, which includes audio power, is measured as an average over time.  It is based on this formula:

For a purely resistive load, a simpler equation can be used, based on the root mean square (RMS) values of the voltage and current waveforms:

In the case of a steady sinusoidal tone (not music) into a purely resistive load, this can be calculated from the peak amplitude of the voltage waveform (which is easier to measure with an oscilloscope) and the load's resistance:

Though a speaker is not purely resistive, these equations are often used to approximate power measurements for such a system. Approximations may be used as reference on a specification sheet of a product.

Example
An amplifier under test can drive a sinusoidal signal with a peak amplitude of 6 V (driven by a 12 V battery). When connected to an 8 ohm loudspeaker this would deliver:

In most actual car systems, the amplifiers are connected in a bridge-tied load configuration, and speaker impedances are no higher than 4 Ω.  High-power car amplifiers use a DC-to-DC converter to generate a higher supply voltage.

Measurements

Continuous power and "RMS power"

Continuous average sine wave power ratings are a staple of performance specifications for audio amplifiers and, sometimes, loudspeakers.

As described above, the term average power refers to the average value of the instantaneous power waveform over time.  As this is typically derived from the root mean square (RMS) of the sine wave voltage, it is often referred to as "RMS power" or "watts RMS", but this is incorrect: it is not the RMS value of the power waveform (which would be a larger, but meaningless, number).  The erroneous term "watts RMS" is actually used in CE regulations. This is also referred to as the nominal value, there being a regulatory requirement to use it.

Continuous (as opposed to "momentary") implies that the device can function at this power level for long periods of time; that heat can be removed at the same rate it is generated, without temperature building up to the point of damage.

On May 3, 1974, the Federal Trade Commission (FTC) instated its Amplifier Rule to combat the unrealistic power claims made by many hi-fi amplifier manufacturers.  This rule prescribes continuous power measurements performed with sine wave signals for advertising and specifications of amplifiers sold in the US. (See more in the section Standards at the end of this article).  This rule was amended in 1998 to cover self-powered speakers such as are commonly used with personal computers (see examples below).

Typically, an amplifier's power specifications are calculated by measuring its RMS output voltage, with a continuous sine wave signal, at the onset of clipping—defined arbitrarily as a stated percentage of total harmonic distortion (THD), usually 1%, into specified load resistances. Typical loads used are 8 and 4 ohms per channel; many amplifiers used in professional audio are also specified at 2 ohms.  Considerably more power can be delivered if distortion is allowed to increase; some manufacturers quote maximum power at a higher distortion, like 10%, making their equipment appear more powerful than if measured at an acceptable distortion level.

Continuous power measurements do not actually describe the highly varied signals found in audio equipment (which could vary from high crest factor instrument recordings down to 0 dB crest factor square waves) but are widely regarded as a reasonable way of describing an amplifier's maximum output capability. For audio equipment, this is nearly always the nominal frequency range of human hearing, 20 Hz to 20 kHz.

In loudspeakers, thermal capacities of the voice coils and magnet structures largely determine continuous power handling ratings. However, at the lower end of a loudspeaker's usable frequency range, its power handling might necessarily be derated because of mechanical excursion limits. For example, a subwoofer rated at 100 watts may be able to handle 100 watts of power at 80 hertz, but at 25 hertz it might not be able to handle nearly as much power since such frequencies would, for some drivers in some enclosures, force the driver beyond its mechanical limits much before reaching 100 watts from the amplifier.

Peak power

Peak power refers to the maximum of the instantaneous power waveform, which, for a sine wave, is always twice the average power. For other waveforms, the relationship between peak power and average power is the peak-to-average power ratio (PAPR).

The peak power of an amplifier is determined by the voltage rails and the maximum amount of current its electronic components can handle for an instant without damage. This characterizes the ability of equipment to handle quickly changing power levels, as many audio signals have a highly dynamic nature.

It always produces a higher value than the average power figure, however, and so has been tempting to use in advertising without context, making it look as though the amp has twice the power of competitors.

Total system power
Total system power is a term often used in audio electronics to rate the power of an audio system. Total system power refers to the total power consumption of the unit, rather than the power handling of the speakers or the power output of the amplifier. This can be viewed as a somewhat deceptive marketing ploy, as the total power consumption of the unit will of course be greater than any of its other power ratings, except for, perhaps, the peak power of the amplifier, which is essentially an exaggerated value anyway. Shelf stereos and surround sound receivers are often rated using total system power.

One way to use total system power to get a more accurate estimate of power is to consider the amplifier class which would give an educated guess of the power output by considering the efficiency of the class. For example, class AB amplifiers can vary widely from 25% to 75% efficiency while Class D amps are much higher at 80% to 95%. An exceptionally efficient Class D amp, the ROHM BD5421efs, operates at 90% efficiency.

In some cases, an audio device may be measured by the total system power of all its loudspeakers by adding all their peak power ratings. Many home theater in a box systems are rated this way. Often low-end home theater systems' power ratings are taken at a high level of harmonic distortion as well; as high as 10%, which would be noticeable.

PMPO
PMPO, which stands for Peak Music Power Output or Peak momentary performance output, is a much more dubious figure of merit, of interest more to advertising copy-writers than to consumers.  The term PMPO has never been defined in any standard, but it is often taken to be the sum of some sort of peak power for each amplifier in a system. Different manufacturers use different definitions, so that the ratio of PMPO to continuous power output varies widely; it is not possible to convert from one to the other. Most amplifiers can sustain their PMPO for only a very short time, if at all; loudspeakers are not designed to withstand their stated PMPO for anything but a momentary peak without serious damage.

Power and loudness in the real world

Perceived "loudness" varies approximately logarithmically with the acoustical output power. The change in perceived loudness as a function of change in acoustical power is dependent on the reference power level. It is both useful and technically accurate to express perceived loudness in the logarithmic decibel (dB) scale that is independent of the reference power, with a somewhat straight-line relationship between 10 dB changes and doublings of perceived loudness.

The approximately logarithmic relationship between power and perceived loudness is an important factor in audio system design. Both amplifier power and speaker sensitivity affect the maximum realizable loudness. Sensitivity is typically measured either suspended in an anechoic chamber in 'free space' (for full range speakers), or with the source and receiver outside on the ground in 'half space' (for a subwoofer).

While a doubling/halving of perceived loudness corresponds to approximately 10 dB increase/decrease in speaker sensitivity, it also corresponds to approximately 10X multiplication/division of acoustical power. Even a relatively modest 3 dB increase/decrease in sensitivity corresponds to a doubling/halving of acoustical power. When measuring in 'half space', the boundary of the ground plane cuts the available space that the sound radiates into in half and doubles the acoustical power at the receiver, for a corresponding 3 dB increase in measured sensitivity, so it is important to know the test conditions. ±3 dB change in measured sensitivity also corresponds to a similar doubling/halving of electrical power required to generate a given perceived loudness, so even deceptively 'minor' differences in sensitivity can result in large changes in amplifier power requirement. This is important because power amplifiers become increasingly impractical with increasing amplifier power output.

Many high-quality domestic speakers have a sensitivity between ~84 dB and ~94 dB, but professional speakers can have a sensitivity between ~90 dB and ~100 dB. An '84 dB' source would require a 400-watt amplifier to produce the same acoustical power (perceived loudness) as a '90 dB' source being driven by a 100-watt amplifier, or a '100 dB' source being driven by a 10 watt amplifier. A good measure of the 'power' of a system is therefore a plot of maximum loudness before clipping of the amplifier and loudspeaker combined, in dB SPL, at the listening position intended, over the audible frequency spectrum. The human ear is less sensitive to low frequencies, as indicated by equal-loudness contours, so a well-designed system should be capable of generating relatively higher sound levels below 100 Hz before clipping.

Like perceived loudness, speaker sensitivity also varies with frequency and power. The sensitivity is measured at 1 watt to minimize nonlinear effects such as power compression and harmonic distortion, and averaged over the usable bandwidth. The bandwidth is often specified between the measured '+/-3 dB' cutoff frequencies where the relative loudness becomes attenuated from the peak loudness by at least 6 dB. Some speaker manufacturers use '+3 dB/-6 dB' instead, to take into account the real-world in-room response of a speaker at frequency extremes where the floor/wall/ceiling boundaries may increase the perceived loudness.

Speaker sensitivity is measured and rated on the assumption of a fixed amplifier output voltage because audio amplifiers tend to behave like voltage sources. Sensitivity can be a misleading metric due to differences in speaker impedance between differently designed speakers. A speaker with a higher impedance may have lower measured sensitivity and thus appear to be less efficient than a speaker with a lower impedance even though their efficiencies are actually similar. Speaker efficiency is a metric that only measures the actual percentage of electrical power that the speaker converts to acoustic power and is sometimes a more appropriate metric to use when investigating ways to achieve a given acoustic power from a speaker.

Adding an identical and mutually coupled speaker driver (much less than a wavelength away from each other) and splitting the electrical power equally between the two drivers increases their combined efficiency by a maximum of 3 dB, similar to increasing the size of a single driver until the diaphragm area doubles. Multiple drivers can be more practical to increase efficiency than larger drivers since frequency response is generally proportional to driver size.

System designers take advantage of this efficiency boost by using mutually coupled drivers in a speaker cabinet, and by using mutually coupled speaker cabinets in a venue. Each doubling of total driver area in the array of drivers brings ~3 dB increase in efficiency until the limit where the total distance between any two drivers of the array exceeds ~1/4 wavelength.

Power handling capability is also doubled when the number of drivers doubles, for a maximum realizable increase of ~6 dB in total acoustic output per doubling of mutually coupled drivers when the total amplifier power is also doubled. Mutual coupling efficiency gains become difficult to realize with multiple drivers at higher frequencies because the total size of a single driver including its diaphragm, basket, waveguide or horn may already exceed one wavelength.

Sources that are much smaller than a wavelength behave like point sources that radiate omnidirectionally in free space, whereas sources larger than a wavelength act as their own 'ground plane' and beam the sound forward. This beaming tends to make high frequency dispersion problematic in larger venues, so a designer may have to cover the listening area with multiple sources aimed in various directions or placed in various locations.

Likewise, speaker proximity much less than 1/4 wavelength to one or more boundaries such as floor/walls/ceiling can increase the effective sensitivity by changing free space into half space, quarter space, or eighth space. When the distance to boundaries is > 1/4 wavelength, delayed reflections can increase the perceived loudness but can also induce ambient effects such as comb filtering and reverberation that can make the frequency response uneven across a venue or make the sound diffuse and harsh, especially with smaller venues and hard reflective surfaces.

Sound absorbing structures, sound diffusing structures, and digital signal processing may be employed to compensate for boundary effects within the designated listening area.

Matching amplifier to loudspeaker
Charles "Chuck" McGregor, while serving as senior technologist for Eastern Acoustic Works, wrote a guideline for professional audio purchasers wishing to select properly sized amplifiers for their loudspeakers. Chuck McGregor recommended a rule of thumb in which the amplifier's maximum power output rating was twice the loudspeaker's continuous (so-called "RMS") rating, give or take 20%. In his example, a loudspeaker with a continuous power rating of 250 watts would be well-matched by an amplifier with a maximum power output within the range of 400 to 625 watts.

JBL, which tests and labels their loudspeakers according to the IEC 268-5 standard (called IEC 60268-5 more recently) has a more nuanced set of recommendations, depending on the usage profile of the system, which more fundamentally involves the (worst case) crest factor of the signal used to drive the loudspeakers:
 For "carefully monitored applications where peak transient capability must be maintained, a system should be powered with an amplifier capable of delivering twice its IEC rating." As an example, a studio monitor rated at 300 watts IEC, can be safely driven by a 600-watt (RMS) amplifier, provided that "peak signals are normally of such short duration that they hardly stress the system's components".
 For "routine application where high continuous, but non-distorted, output is likely to be encountered, a system should be powered with an amplifier capable of delivering the IEC rating of the system". This includes most consumer systems. "Such systems can often be inadvertently overdriven, or can go into feedback. When powered with an amplifier equal to their IEC rating, the user is guaranteed of safe operation."
  "For musical instrument application, where distorted (overdriven) output may be a musical requirement, the system should be powered with an amplifier capable of delivering only one-half of the IEC rating for the system." This necessary because, for example, an amplifier normally outputting "300 watts of undistorted sinewave" can reach closer to 600 watts of power when clipping (i.e. when its output is closer to a square wave). If such a scenario is plausible, then for safe operation of the loudspeaker, the amplifier's (RMS) rating must no more than half the IEC power of the loudspeaker.

Power handling in 'active' speakers

Active speakers comprise two or three speakers per channel, each fitted with its own amplifier, and preceded by an electronic crossover filter to separate the low-level audio signal into the frequency bands to be handled by each speaker. This approach enables complex active filters to be used on the low level signal, without the need to use passive crossovers of high power handling capability but limited rolloff and with large and expensive inductors and capacitors. An additional advantage is that peak power handling is greater if the signal has simultaneous peaks in two different frequency bands. A single amplifier has to handle the peak power when both signal voltages are at their crest; as power is proportional to the square of voltage, the peak power when both signals are at the same peak voltage is proportional to the square of the sum of the voltages. If separate amplifiers are used, each must handle the square of the peak voltage in its own band. For example, if bass and midrange each has a signal corresponding to 10 W of output, a single amplifier capable of handling a 40 W peak would be needed, but a bass and a treble amplifier each capable of handling 10 W would be sufficient. This is relevant when peaks of comparable amplitude occur in different frequency bands, as with wideband percussion and high-amplitude bass notes.

For most audio applications more power is needed at low frequencies. This requires a high-power amplifier for low frequencies (e.g., 200 watts for 20–200 Hz band), lower power amplifier for the midrange (e.g., 50 watts for  200 to 1000 Hz), and even less the high end (e.g. 5 watts for 1000–20000 Hz). Proper design of a bi/tri amplifier system requires a study of driver (speaker) frequency response and sensitivities to determine optimal crossover frequencies and power amplifier powers.

Regional Variations

United States
Peak momentary power output and peak music power output are two different measurements with different specifications and should not be used interchangeably.  Manufacturers who use different words such as pulse or performance may be reflecting their own non-standard system of measurement, with an unknown meaning.  The Federal Trade Commission is putting an end to this with Federal Trade Commission (FTC) Rule 46 CFR 432 (1974), affecting Power Output Claims for Amplifiers Utilized in Home Entertainment Products.

In response to a Federal Trade Commission order, the Consumer Electronics Association has established a clear and concise measure of audio power for consumer electronics. They have posted an FTC approved product marking template on their web site and the full standard is available for a fee.
Many believe this will resolve much of the ambiguity and confusion in amplifier ratings.
There will be ratings for speaker and powered speaker system too. This specification only applies to audio amplifiers. An EU counterpart is expected and all equipment sold in the US and Europe will be identically tested and rated.

This regulation did not cover automobile entertainment systems, which consequently still suffer from power ratings confusion.  However, a new Approved American National Standard ANSI/CEA-2006-B which includes testing & measurement methods for mobile audio amplifiers is being slowly phased into the market by many manufacturers.

Europe

DIN (Deutsches Institut für Normung, German Institute for Standardization) describes in DIN 45xxx several standards for measuring audio power. The DIN-standards (DIN-norms) are in common use in Europe.

International

IEC 60268-2 defines power amplifier specifications including power output.

See also
Programme level
Audio system measurements
Sound level meter
Audio noise measurement

References

External links
Amplifier Power Ratings (and How to calculate satisfactory PMPO values) by Rod Elliott
Understanding amplifier power ratings
Audio power and the corresponding factors: Subjectivly sensed loudness (volume), objectively measured sound pressure (voltage), and theoretically calculated sound intensity (acoustic power)
 The 5 Best JBL Speakers of 2021

Power (physics)
Audio electronics
Audio amplifier specifications

Audio power


The VIDC20 was a video display controller chip created as an accompanying chip to the ARM CPU as used in RiscPC computer systems.

A simpler version of the VIDC20, the VIDC1, was used in the earlier Acorn Archimedes computers.

A VIDC20 chip controls both the computer's video and sound.

The data is read from the 64-bit ARM data bus using DMA control and then processed and converted into the necessary analogue signals to drive the video output displays and sound system. The VIDC20 can handle many more display and sound formats than the original VIDC1 chip found in the Archimedes hardware. It can also read data from VRAM if installed in the machine, otherwise it reads from DRAM.

Video
Data from the video buffer is converted and processed, as follows:

Data is serialised by the VIDC20 chip into either 1, 2, 4, 8, 16 or 32 bits per pixel, then passed through a colour look-up palette RAM.

The palette has 256 28-bit-wide registers: 8 red bits, 8 green bits, 8 blue bits and 4 bits for external data. The output is then converted by three 8-bit DACs, one each for red, green and blue colour. Output is then used to drive the display output device with a maximum of 16 million possible colours. The VIDC20 chip can handle any pixel rate up to 110 MHz, with the clock selected from one of three sources, which can then be further divided by a factor between 1 and 8.

It also contains a phase comparator which allows for a single clock to generate all the required frequencies for any display mode.

Sound
Up to eight separate channels of mono sounds are provided by the VIDC20 chip. The chip can work with 1, 2, 4 or 8 stereo channels using time division multiplexing to synthesize left and right outputs. Each channel can be assigned a stereo position (between left to right).

Data from the buffer is converted and processed.

Data from the buffer is read at a programmable rate and passed to an 8-bit/16-bit DAC. The DAC uses the stereo image registers to convert the digital samples to a stereo analogue sample which is sent to the computer's internal amplifier

Cursor
The cursor data controller controls a 32-pixel-wide, and an unlimited number of pixels high, cursor. The pixels can be transparent or can be any three colors picked from the possible 16 million available colors.

References

Graphics chips
Acorn Computers
RISC OS

VIDC20


Prince Regent DLR station is a station on the Docklands Light Railway (DLR) in the Docklands area of East London. The station was opened on 28 March 1994. It provides access to the eastern end of the ExCeL Exhibition Centre. The station signage is subtitled 'for ExCeL East'. There is a small bus station adjoining the station. Buses from here go to Plaistow and London City Airport. The station is on the DLR's Beckton branch, between Custom House and Royal Albert stations. It is in Travelcard Zone 3.

Docklands Light Railway stations in the London Borough of Newham

Prince Regent DLR station


Christopher Edward Martin (born March 21, 1966), known professionally as DJ Premier (also known as Preemo), is an American record producer and DJ. He is considered one of the greatest hip hop producers of all time. He was half of the hip hop duo Gang Starr—alongside the rapper Guru—and presently forms half of the hip hop duo PRhyme, together with Royce da 5'9".

Early life

Christopher Edward Martin was born in the Fifth Ward of Houston, Texas on March 21, 1966. He was then raised in Prairie View, Texas, before moving to Brooklyn, New York, during his teenage years. He attended Prairie View A&M University, where he honed his musical skills as the campus DJ, and he also occasionally performed with the Marching Storm band.

Musical career

Premier is known for producing all of Gang Starr's songs as well as many of those composed by the Gang Starr Foundation. Notable artists he has worked with include Afu-Ra, Anderson .Paak, AZ, Big Daddy Kane, Big L, Big Shug, Blaq Poet, Bun B, Canibus, Christina Aguilera, Common, Cormega, D'Angelo, Dilated Peoples, D.I.T.C., Doug E. Fresh, Dr. Dre, Fat Joe, Freddie Foxxx, The Game, Group Home, Ill Bill, J. Cole, Jeru the Damaja, Janet Jackson, Jay-Z, Joey Bada$$, Kanye West, KRS-One, The Lady of Rage, Limp Bizkit, Lord Finesse, The LOX, Ludacris, Mac Miller, Mobb Deep, M.O.P., Mos Def, Eminem, Nas, The Notorious B.I.G., O.C., Papoose, Rakim, Ras Kass, Reks, Royce da 5'9", Showbiz & A.G., Smif-N-Wessun, Snoop Dogg, Xzibit, Logic, Apathy, Celph Titled, Method Man and more.

Premier collaborated with MC Jeru the Damaja on the album The Sun Rises in the East, released in 1994, as well as the 1996 follow-up, Wrath of the Math. Premier produced and supervised Livin' Proof by Group Home, also from the Gang Starr Foundation; although overlooked at the time of its 1995 release, the album eventually received acclaim. He produced several tracks on fellow Gang Starr Foundation member Afu-Ra's debut album Body of the Life Force and KRS-One's debut solo album Return of the Boom Bap.

In 2006, pop/R&B singer Christina Aguilera recruited Premier to produce her album Back to Basics. Premier explained the reservations he heard from people regarding the collaboration:

When Christina [Aguilera] had me work with her, people were like, "Oh no. Please don't." Then, when they heard "Ain't No Other Man," "Back In The Day," and all the other records were still constructed like Premier tracks they were like, "Yo, I really love this album. I was really impressed. I was worried, but you totally sound like what we love about you." Until you hear it, don't say a word. I never want to be just attached to hip hop. I want to be attached to music—country, rap, soul, jazz, blues, it doesn't matter, gospel music—I come from all of that.

In 2008, Premier appeared in Grand Theft Auto IV as himself – the host for radio station The Classics 104.1.

Premier produced the majority of Blaq Poet's Tha Blaqprint, which was released in mid-2009.  Premier contributed a song on Game's 2011 album, The R.E.D. Album. Also in 2011, Premier appeared on the song "Gangster", on Bushido's album Jenseits von Gut und Böse.

Premier was one of the artists followed in the 2012 documentary, Re:GENERATION. The film followed his production of the song "Regeneration," for which he used a live performance of his work by the Berklee Symphony Orchestra.

In September 2012, Immortal Technique said that a song called "Born in the Trap," on his upcoming album, titled The Middle Passage, would feature production by Premier.

In early 2014, Premier revealed that he was working with Aguilera again in an interview with New Zealand's Rip It Up magazine. Premier produced Y'all Ready Know by Slaughterhouse, from the Shady Records album, Shady XV, and the music video was published in November 2014.

In mid-2014, Premier collaborated with Korean hip-hop group Dynamic Duo on two singles "AEAO" and "Animal", which were both warmly received.

A mid-January 2015 announcement from Premier stated that the producer's studio, D&D, also known as "The HeadQcouterz," will cease to be operational. As part of the announcement, Premier confirmed that he was working on the album, Last Session @320, after he relocated to a recording space in Astoria, New York City, U.S. As of 2023, the album remains unreleased.

DJ Premier hosted a weekly two-hour show, Live From HeadQCourterz, on Sirius Satellite Radio's Shade 45. The show ended in 2022.

DJ Premier served as one of the three curators for the soundtrack to the video game NBA 2K16, alongside DJ Khaled and DJ Mustard.

Collaborations

The early line-up of the Gang Starr Foundation in the mid-1990s included Jeru the Damaja, Group Home, Big Shug, and Gang Starr. Premier was fully responsible for the production of Jeru the Damaja's first two albums, The Sun Rises in the East and Wrath of the Math. Jeru released three subsequent albums that did not include Premier's involvement. In terms of his Group Home collaboration, Premier commented in a 2003 interview: "They [Group Home] don't respect what fed them." He further explained that he only agreed to produce the track "The Legacy" because of Guru's involvement.

Other artists closely tied to the Gang Starr Foundation who Premier collaborated with include: Afu Ra, Bahamadia, Krumbsnatcha, Big Shug, Smiley the Ghetto Child, and NYGz.

Afu Ra explained Premier's influence in a September 2014 interview with the "Lyrically Fit" website:

Premier definitely coached me when I was in the booth. "harder..stronger..more this..more that"—I was an untamed artist and rapping next to recording your vocals are different. He gave me this knowledge through the work we did.

Besides the Gang Starr Foundation, Premier is closely affiliated with M.O.P., which he names as one of his all-time favorite groups. The relationship started with the remix of "Rugged, Neva Smoove" in 1994, a single from the group's first album, which also included the exclusive B-side "Downtown Swinga." From then, Premier produced about one-third of the songs on each subsequent album and overseeing and mixing the projects. On M.O.P.'s 2009 Foundation album, Premier provided only one track, which was called "What I Wanna B."

On May 16, 2019, DJ Premier released a collaboration with Buffalo (New York) rappers Conway The Machine, Westside Gunn, and Benny the Butcher, called "Headlines."

In June 2020, DJ Premier produced a track for Public Enemy called "State of the Union (STFU)".

In August 2023, DJ Premier's collaboration clothing collection with AMIRI was released, marked with "PREEMO" alongside the Amiri typography, with a record print.

Style and influences

DJ Premier's style of production epitomizes the New York sound of his earlier peers. He is known for sampling jazz, funk, and soul artists, as well as sampling an artist's past work when creating a new track for that same artist. For example, on Jay-Z's "So Ghetto", from the 1999 album Vol. 3... Life and Times of S. Carter, Premier samples an older Jay-Z song, 1997's "Who You Wit II". In addition, his encyclopedic memory of hip-hop lyrics allows him to distinctively speak with his hands by scratching in lyrics from several different songs to construct new phrases. Premier's beats are known for his oft-imitated combinations of short vocal samples, often from multiple artists, to create a chorus. Premier has also experimented with atonal samples that are not confined to soul, jazz, and funk. For example, he sampled and chopped up seminal electro-acoustic music from the 1960s on the track "Physical Stamina" by Jeru the Damaja.

In an interview with XXL Magazine, DJ Premier was asked how his sound evolved, to which he replied, "Marley Marl is my number-one inspiration. Jam Master Jay, Mix Master Ice, and UTFO. Grandmaster D, and Whodini. DJ Cheese, Grandmaster Flash, Kool Herc, Afrika Bambaataa. Jazzy Jay—even Cut Creator. Seeing them do what they do. It's black music, it's black culture, it comes from the ghetto. How can you not relate to ghetto people when that's the rawest form of blackness? Even though it's not a good place in regards to the economy and how bad people have it in the neighborhood, the realism's there, and that's what we were born out of. So I very much pay respect by doing the same type of music in return." DJ Premier attended Prairie View A&M University and may have been influenced by the musical atmosphere at the university while serving as the campus DJ and occasional performer with the world-famous Marching Storm band. He was a major progenitor of the boom-bap style of hip-hop production.

Business career

As a businessman, DJ Premier has his own record company named Year Round Records. Among its artists are New York group NYGz, New Jersey rapper Nick Javas, and Houston rapper Khalil. Tha Blaqprint by Blaq Poet, which features 13 Premier productions, was released by Year Round Records through Fat Beats Records in June 2009.

Legacy

For its 20th-anniversary issue in 2008, The Source selected DJ Premier for its list of the 20 greatest producers in the magazine's history. He also made the finals in Vibe magazine's 2010 search for the greatest hip hop producer of all time—he finished second after Dr. Dre received 62 percent of the votes.

Discography

 DJ Premier Presents Get Used To Us (2010)
 Kolexxxion (with Bumpy Knuckles) (2012)
 PRhyme (with Royce da 5'9") (2014)
 PRhyme 2 (with Royce da 5'9") (2018)
 Hip Hop 50: Vol. 1 (2022)

References

External links

1966 births
Living people
20th-century American musicians
21st-century American musicians
African-American businesspeople
African-American record producers
American hip hop DJs
African-American DJs
American hip hop record producers
American music industry executives
Businesspeople from Texas
Businesspeople from New York City
East Coast hip hop musicians
Five percenters
Musicians from Houston
Musicians from Brooklyn
Prairie View A&M University alumni
Record producers from New York (state)
Record producers from Texas
Buckshot LeFonque members
Gang Starr Foundation members

DJ Premier


Bryan Edwards (27 October 1930 – 21 June 2016) was an English football player and manager. He played 518 games for Bolton Wanderers picking up an FA Cup Winners medal in 1958 and later managed Bradford City and was a coach and physiotherapist at several clubs.

Playing career
Edwards excelled at both football and cricket and had trials for both sports, at Bolton Wanderers and Yorkshire CCC in 1947. He joined Bolton and signed a full-time professional contract in October 1947. He stayed at Burnden Park for 18 years, although his career was interrupted by two years National Service, winning an FA Cup winners medal in 1958 when Bolton defeated Manchester United 2–0. He made 483 league appearances and 518 in all league and cup games mostly as a wing half before later playing as a centre half retiring in 1965, aged 35.

Managerial career
When Edwards retired he first joined Blackpool as assistant trainer-coach before moving to Preston North End first as coach and later first-team trainer. He moved to Plymouth Argyle as chief coach, before becoming manager at Bradford City in November 1971.

He took over with City struggling towards the bottom of Division Three but he could not arrest the slide and the club were relegated in bottom place in the 1971–72 season. The club came 16th the following season and 8th in 1973–74 before Edwards resigned in January 1975 to be replaced by Bobby Kennedy.

He became a qualified physiotherapist and served as physio and coach at Huddersfield Town and youth team coach at Leeds United before returning to Bradford City in July 1977. He filled a host of roles at Valley Parade including physio, assistant manager, and general manager.

Later life
He died in June 2016, aged 85.

Managerial statistics

References

1930 births
2016 deaths
English men's footballers
Bolton Wanderers F.C. players
English football managers
Blackpool F.C. non-playing staff
Preston North End F.C. non-playing staff
Leeds United F.C. non-playing staff
Bradford City A.F.C. managers
Association football physiotherapists
Men's association football midfielders
Footballers from Leeds

Bryan Edwards (footballer, born 1930)


Usermaatre Amenemope was an ancient Egyptian pharaoh of the 21st Dynasty who ruled between 1001–992 BC or 993–984 BC.

Amenemope's tomb is notable for being one of only two entirely intact royal burials known from ancient Egypt; the other is that of Psusennes I. However, only the metal objects from the tomb survived.

Reign
A probable son of Psusennes I and his queen Mutnedjmet, Amenemope succeeded his purported father's long reign after a period of coregency. This coregency has been deduced thanks to a linen bandage mentioning a "... king Amenemope, Year 49..." which has been reconstructed as "[Year X under] king Amenemope, Year 49 [under king Psusennes I]". It has been suggested, however, that this Year 49 may belong to the High Priest of Amun Menkheperre instead of Psusennes I, thus ruling out the coregency; this hypothesis has been rejected by Kenneth Kitchen, who still supports a coregency.  Kitchen refers to the existence of Papyrus Brooklyn 16.205, a document mentioning a Year 49 followed by a Year 4, once thought to refer to Shoshenq III and Pami, but more recently to Psusennes I and Amenemope, and thus issued in regnal Year 4 of the latter.

During his reign as Pharaoh, Amenemope claimed the title of "High Priest of Amun in Tanis" as Psusennes also did before him. Amenemope's authority was fully recognized at Thebes – at this time governed by the High Priest of Amun Smendes II and then by his brother Pinedjem II – as his name appears on funerary goods of at least nine Theban burials, among these is the Book of the Dead of the "Captain of the barque of Amun", Pennestawy, dating to Amenemope's Year 5.

Apart from his Tanite tomb and the aforementioned Theban burials, Amemenope is a poorly attested ruler. He continued with the decoration of the chapel of Isis "Mistress of the Pyramids at Giza" and made an addition to one of the temples in Memphis.

All versions of Manetho's Epitome reports that Amenophthis (Amenemope's Hellenised name) enjoyed 9 years of reign, a duration more or less confirmed by archaeological sources. Neither children nor wives are known for him, and he was succeeded by the seemingly unrelated Osorkon the Elder.

According to the analysis of his skeleton performed by Dr. Douglas Derry, Amenemope was a strongly-built man who reached a fairly advanced age. It seems that the king suffered a skull infection which likely developed into meningitis and led to his death.

Burial

Amenemope was originally buried in the only chamber of a small tomb (NRT IV) in the royal necropolis of Tanis; a few years after his death, during the reign of Siamun, Amenemope was moved and reburied in NRT III, inside the chamber once belonging to his purported mother Mutnedjmet and just next to Psusennes I. His undisturbed tomb was rediscovered by French Egyptologists Pierre Montet and Georges Goyon in April 1940, just a month before the Nazi invasion of France. Montet had to stop his excavation until the end of World War II, then resumed it in 1946 and later published his findings in 1958.

When the excavators entered the small burial chamber, they argued that it was originally made for queen Mutnedjmet. The chamber contained an uninscribed granite sarcophagus, some vessels including the canopic jars and the vessel once containing the water used for washing the mummy, and a heap of around 400 ushabtis; a wooden coffin covered with gold leaf was placed within the sarcophagus and contained Amenemope's mummy. On the mummy were found two gilt funerary masks, two pectorals, necklaces, bracelets, rings and a cloisonné collar. Four of these items bore the name of Psusennes I.
The funerary masks depict the king as young, although Goyon stated that at the moment of discovery the masks had an expression of suffering and pleading, later softened after restoration. The mummy and funerary goods are now in Cairo Museum.

Amenemope was buried with far less opulence than his neighbour Psusennes I: for comparison, the latter was provided with a solid silver coffin and a solid gold mask, while the former's coffin and mask were merely gilt.

See also
 List of pharaohs

References

Bibliography
 Derry, D.E., Report on Skeleton of King Amenemopet, ASAE 41 (1942), 149.

External links

Sarcophagus of Amenemope

11th-century BC Pharaohs
10th-century BC Pharaohs
Pharaohs of the Twenty-first Dynasty of Egypt
Ancient Egyptian mummies
11th-century BC births
992 BC deaths
Deaths from meningitis
Neurological disease deaths in Egypt

Amenemope (pharaoh)


Gregory H. Millen (born February 17, 1964) is a Canadian retired ice hockey goaltender and hockey  commentator analyst.

Playing career
Before playing in the NHL, Millen played 3 seasons for the Peterborough Petes and 25 games for the Sault Ste. Marie Greyhounds.

He was drafted by the Pittsburgh Penguins with the 102nd overall pick in the 1977 NHL Entry draft. He played 3 seasons with the Penguins and was signed as a free agent by the Hartford Whalers. He played 4 seasons with the Whalers and during his time with the Whalers he represented Canada at the World Championships. He was traded by the Whalers to the St. Louis Blues in February 1985 and helped them reach the Conference Finals in 1986. They were defeated by the Calgary Flames however.

He then played 18 games for the Quebec Nordiques, 13 games for the Chicago Blackhawks and 10 games for the Detroit Red Wings before leaving for the IHL to play for the San Diego Gulls and retiring after playing 5 games with them.

Broadcasting
After retiring, Millen became the colour commentator on television broadcasts for the expansion Ottawa Senators. He spent eleven seasons as the commentator for the Senators and was teamed with Don Chevrier, Rob Faulds, and Dean Brown. He was also part of the lead broadcasting team along with Dan Shulman for CTV's ice hockey coverage at the 1994 Winter Olympics.

He joined the CBC's Hockey Night in Canada before the 1994-95 NHL season. He spent a year with CTV Sportsnet and rejoined HNIC in 1999–2000 where he was the network's secondary colour commentator and mostly covered the second game of weekly doubleheader. He usually works on the game that features the Montreal Canadiens along with Bob Cole and Guy Carbonneau. He worked on regional Toronto Maple Leafs telecasts since 2006 on Rogers Sportsnet Ontario and Leafs TV along with Joe Bowen. During the 2012 NHL playoffs, he worked the Washington-Boston series with play-by-play man Dean Brown.

Other websites
Official website

1957 births
Canadian ice hockey goaltenders
Chicago Blackhawks players
Detroit Red Wings players
Hartford Whalers players
Ice hockey people from Ontario
Living people
Maine Mariners (AHL) players
National Hockey League broadcasters
Pittsburgh Penguins players
Quebec Nordiques players
St. Louis Blues players
American Hockey League players
Ontario Hockey League players

Greg Millen


The European Institute for Gender Equality (EIGE) is a European Union-initiated body dedicated exclusively to gender equality. In accordance to Regulation (EC) the institute was founded on 20 December 2006. The staff of the institute was recruited in 2007 at the European coordinating body in Vilnius. Since the beginning, the institution has difficulties to balance the democratic deficit, in the context of the issue of equality between women and men. From the very beginning equality is one of the principles of the EU. Nevertheless, there is an existing gender gap in the levels of participation, payment and benefits of women in comparison to men in the EU.

Tasks
The task of EIGE is to collect, analyze and spread data on the equality between women and men. The provision of facts ensures that gender equality is promoted. They rather help institutions and Member States of the European Union (EU) to realize the equality and to combat gender-based discrimination as sexism, disadvantage and the past-in-present-discrimination. The institution takes account of the national tasks and policy areas as well as the European ones through the principle of gender mainstreaming. The work helps and aims at equalizing men and women in all spheres of life. The collection of representative data is intended to reduce the gender gap and balance gender inequality. EIGE has become a European knowledge center for gender equality through its many resources and research results.

Organization Structures
EIGE is an institution of the European Union. The pursuit of tasks and objectives, which are delegated by the European Council and the European Parliament, are achieved through framework strategies and initiatives. The management of the institution is taken over by the board of directors. It consists of 18 representatives of the Member States as well as a representative of the European Commission. In addition to the board of directors, there is the Expert Advisory Council, which supports EIGE as an advisory body. One instrument of the institution is the involvement of candidate countries and Member States. Furthermore social partners, civil society organizations and the European Commission are involved as well as the Parliament. The provided information and the high level of expertise enable the European Union together with the European Commission and Member States to implement and manage informed policy-making.

Gender Equality Index
The Gender Equality Index is an instrument developed by EIGE and used for the first time in 2013. This index simplifies the measurement of gender equality in the Member States. A concept of different theoretical approaches with important questions to gender equality  provides the framework. The questions are treated in the core domains. The country comparison is calculated by the individual values of the Member States and six core domains of the index. The gender indicators are summed up according to the framework concept, so that at the end a cumulative summary measure is created. The central "core domains are Power, Time, Knowledge, Health, Money and Work" and since the third edition of the publication of the index it has also an intersectional approach. The satellite domains are a measure of phenomena that occur only in one specific population group. They concern, in particular, the intersectional inequality and violence. The total sum range is between 1 and 100 points. The value one represents total inequality, while 100 represents total equality. This can be used to determine the individual value for each Member State as well as the European average. The index ensures that the complexity of the topic can be interpretable and simplified.

The Gender Equality Index 2017 and the Member States in comparison
The index score in the EU-average is 66.2 points out of 100 at the last publication in 2015 which represents an improvement of 1.2 points compared to the reference year 2012. Sweden is the front runner with 82.5 points, the last is Greece with 50.00 out of 100 points. Spain is just above the average with 68.3 points compared to Germany, which is just below the average with 65.5 points. The most gender-equal societies consistency are Sweden and Denmark. Whereas, Italy and Cyprus show the best improvement over the decade. The improvement of a balanced decision-making of women and men was the main driver of progress in nearly all EU-Member States. Throughout the last 10 years, the following three Member States did not record any improvement: the United Kingdom, Czech Republic and Slovakia.

In the core domains power, knowledge and money has been a positive development compared to the reference year in 2012. Of all domains, "power" is still the lowest-performing domain with only 48.5 points out of 100. The domain "time" has a negative development, the value is 65.7 points. That means that the inequality in this domain has grown between women and men. The score is lower than in 2005.

The index shows that "the EU still has a lot of room for improv[ing] [...] equality between men and women".

Activities and Highlights

EIGE publications
Reliable and comparable data are a precondition for data collection. At the same time, different methods and definitions, such as the term "violence", make reliable data collection more difficult. Country-specific recommendations launched by EIGE solve this problem allowing for improved data collection and reporting.

This will help:
 to develop and understand issues about gender equality;
 to grasp the full scope of specific issues, so that suggestions for improvement can occur.

This enables EIGE:
 to understand the consequences, to set comparisons and demonstrate evaluations as well as formulations of trend-setting recommendations and effective measures in publications;
 to monitor, control and improve the response of certain situations from the justice and police is also made possible.

The publications of EIGE can help politicians to support their policy-making. Thus will allow progress in gender equality policies to be achieved. Examples of publications are under the topic "Cyber violence: a very real threat" the report "Cyber violence against women and girls" and under the further topic "Female genital mutilation: a problem for the EU" the report "Estimation of girls at risk of female genital mutilation in the European Union".

Beijing Platform for Action
The Beijing Platform of Action is a commitment at the United Nations level entered by the EU, which was adopted at the Fourth World Conference on Women in 1995. This commitment serves the empowerment of women. Overall this affect 12 areas in which the engagement is supported. EIGE supports the Member States and the EU to observe the international commitment. The process is as follows: once in a year the present Presidency of the Council of the EU may select one of the 12 areas and initiates a closer examination. The collection of data by EIGE provides a sound base for political recommendations.

See also
Gender equality
Gender Equality Index
Gender inequality

References

External links

Regulation (EC) No 1922/2006 of the European Parliament and of the Council of 20 December 2006 on establishing a European Institute for Gender Equality
European Commission > Employment, Social Affairs & Equal Opportunities > Gender Equality > European Institute for Gender Equality
Equality Index
Beijing Platform for Action

Agencies of the European Union
Gender equality
2006 establishments in Lithuania
2006 in the European Union
Government agencies established in 2006
Organizations based in Vilnius
Gender studies organizations

European Institute for Gender Equality


Abraham Newland (c. 1730 – 21 November 1807) was the chief cashier at the Bank of England from 1782 to 1807. The expression "an Abraham Newland" came to mean a bank note, because without his signature, a Bank of England note was not negotiable.

Abraham was the son of William Newland and Anne Arnold. His father was a Southwark baker.

He slept in the Bank of England itself for 25 years, so he was largely a stranger to his own house adjoining Highbury Fields.

When he resigned in 1807, he declined an annuity but accepted a 1000-guinea service of plate.

When he died, he bequeathed many legacies to various family members, including Edmund Edwin, Yeoman Gentleman of Aldbury. He made his money mostly by speculating in shares of loans to the government, as a private investor.

He is perhaps best known among collectors of trivia for his self-written epitaph: "Beneath this stone old Abraham lies; / Nobody laughs, and nobody cries. / Where he has gone, and how he fares / Nobody knows and nobody cares."

References

 The Wordsworth Dictionary of Phrase and Fable.
 The Book of Days: A Miscellany of Popular Antiquities, Robert Chambers, 1832.

English bankers
1730 births
1807 deaths
18th-century English people
19th-century English people
Economic history of England
Former banknote issuers of the United Kingdom
Chief Cashiers of the Bank of England

Abraham Newland


Ewan Gordon McGregor  ( ; born 31 March 1971) is a Scottish actor. His accolades include a Golden Globe Award and a Primetime Emmy Award. In 2013, he was appointed Officer of the Order of the British Empire (OBE) for his services to drama and charity.

While studying drama at the Guildhall School of Music and Drama, McGregor began his career with a leading role in the British series Lipstick on Your Collar (1993). He gained stardom for starring as drug addict Mark Renton in Trainspotting (1996) and as Obi-Wan Kenobi in the Star Wars prequel trilogy (1999–2005). His career progressed with starring roles in the musical Moulin Rouge! (2001), action film Black Hawk Down (2001), fantasy film Big Fish (2003), and thriller Angels and Demons (2009). He gained praise for his performances in the thriller The Ghost Writer (2010) and romantic comedy Salmon Fishing in the Yemen (2011).

McGregor made his directorial debut with the crime film American Pastoral (2016), in which he also starred. For his dual role as brothers Ray and Emmit Stussy in the third season of the anthology series Fargo (2017), he won the Golden Globe Award for Best Actor – Miniseries or Television Film. He voiced Lumière in Beauty and the Beast (2017), and played the title role in Christopher Robin (2018), Dan Torrance in Doctor Sleep (2019), and Black Mask in Birds of Prey (2020). He reprised his role as Kenobi in the 2022 miniseries Obi-Wan Kenobi, and won the Primetime Emmy Award for Outstanding Lead Actor in a Limited or Anthology Series or Movie for his portrayal of fashion designer Halston in the miniseries Halston (2021).

McGregor has also starred in theatre productions of Guys and Dolls (2005–2007) and Othello (2007–2008). He has been involved in charity work and has served as an ambassador for UNICEF UK since 2004.

Early life
McGregor was born on 31 March 1971 in Perth, Scotland, and was raised in nearby Crieff. His mother, Carol Diane (née Lawson), is a retired teacher at Crieff High School and latterly deputy head teacher at Kingspark School in Dundee. His father, James Charles Stewart "Jim" McGregor, is a retired physical education teacher and careers master at the independent Morrison's Academy in Crieff. He has an older brother, Colin (born 1969), a former Tornado GR4 pilot in the Royal Air Force. His uncle is actor Denis Lawson and his aunt by marriage was actress Sheila Gish, which makes him a step-cousin of Gish's actress daughters, Kay Curram and Lou Gish.

McGregor attended Morrison's Academy. After leaving school at the age of 16, he worked as a stagehand at Perth Theatre and studied a foundation course in drama at Kirkcaldy College of Technology, before moving to London to study drama at the Guildhall School of Music and Drama when he was 18 years old.

Career

Film and television

Six months prior to his graduation from Guildhall, McGregor began a leading role in Dennis Potter's six-part Channel 4 series Lipstick on Your Collar (1993). Not long afterwards, he starred in the BBC adaptation of Scarlet and Black (also 1993) with a young Rachel Weisz and made his film debut in Bill Forsyth's Being Human (1994). For his role in the thriller Shallow Grave (also 1994), he won an Empire Award. The film was his first collaboration with director Danny Boyle. He had a major role in the 1996 Channel 4 comedy-drama film Brassed Off, written and directed by Mark Herman. His international breakthrough followed with the role of heroin addict Mark Renton in Boyle's Trainspotting (1996), an adaptation of Irvine Welsh's novel of the same name.

McGregor played the male romantic lead role in the British film Little Voice (1998). He was cast as the young Obi-Wan Kenobi in the Star Wars prequel trilogy, released between 1999 and 2005. Kenobi was originally played by Alec Guinness in the first Star Wars trilogy. McGregor's uncle, Denis Lawson, had played Wedge Antilles in the original trilogy. While the prequels received mixed reviews, McGregor's performance was well received. McGregor said making the prequels was difficult, as he had to act mostly against green screens and the dialogue was "not exactly Shakespeare". He also stated that the negative reaction to the films had been difficult.

McGregor starred in Moulin Rouge! (2001) as the young poet Christian, who falls in love with the terminally-ill courtesan Satine (Nicole Kidman), for which his performance was widely praised and nabbed McGregor his first Golden Globe Award for Best Actor – Motion Picture Musical or Comedy nomination. He also appeared in Ridley Scott's war film Black Hawk Down (2001) as John Grimes. He starred alongside Renée Zellweger in Down with Love (2003). He also portrayed the younger Edward Bloom in Tim Burton's critically acclaimed film Big Fish (2003) alongside Albert Finney, Jessica Lange, Alison Lohman and Billy Crudup. In the same period, he also received critical acclaim for his portrayal of an amoral drifter mixed up with murder in the drama Young Adam (also 2003), which co-starred Tilda Swinton.

McGregor voiced two successful animated features; he played the robot Rodney Copperbottom in Robots, which also featured the voices of Halle Berry and Robin Williams, and he voiced the lead character in Gary Chapman's Valiant (both 2005), alongside Jim Broadbent, John Cleese and Ricky Gervais. Also around this time, McGregor played two roles – one a clone of the other – opposite Scarlett Johansson in Michael Bay's science fiction action thriller film The Island (2005). He also headlined Marc Forster's 2005 film Stay, a psychological thriller co-starring Naomi Watts and Ryan Gosling.

He narrated the Fulldome production Astronaut (2006), created for the National Space Centre. Around the same time, he also narrated the STV show JetSet (also 2006), a six-part series following the lives of trainee pilots and navigators at RAF Lossiemouth as they undergo a gruelling six-month course learning to fly the Tornado GR4, the RAF's primary attack aircraft. McGregor starred opposite Colin Farrell in the Woody Allen film Cassandra's Dream (2007), and he co-starred with Jim Carrey in I Love You Phillip Morris and appeared in Amelia (both 2009) alongside Hilary Swank. He played "the ghost" – the unnamed main character – in Roman Polanski's political thriller The Ghost Writer (2010). He portrayed Camerlengo Patrick McKenna in Ron Howard's mystery thriller Angels & Demons (also 2009), the film adaptation of Dan Brown's novel of the same name and a sequel to Howard's The Da Vinci Code, co-starring Tom Hanks as Robert Landon. In 2011, McGregor starred in the British comedy Salmon Fishing in the Yemen directed by Lasse Hallström and co-starring Emily Blunt and Kristin Scott Thomas, for which he received his second Golden Globe Award for Best Actor – Motion Picture Musical or Comedy nomination. At the same year, he was awarded with the SIFF Golden Space Needle Award for Outstanding Achievement in Acting at the 2011 Seattle International Film Festival.

In 2012, he was a member of the Jury for the Main Competition at the 2012 Cannes Film Festival. At the San Sebastián International Film Festival, he was awarded the Donostia Lifetime Achievement Award and became the youngest recipient of the award. The same year, he also starred in the disaster drama film The Impossible opposite Naomi Watts and Tom Holland. In 2013, McGregor starred alongside Meryl Streep and Julia Roberts in August: Osage County, which was based on Tracy Letts's Pulitzer Prize-winning play of the same name.

McGregor starred in the action comedy film Mortdecai (2015), alongside Johnny Depp and Paul Bettany. Robbie Collin of The Daily Telegraph felt the film was "psychotically unfunny". He made his directorial debut with American Pastoral (2016), in which he also starred.

In 2017, he reprised his role as Mark Renton in T2 Trainspotting. McGregor played Lumière (originally voiced by Jerry Orbach in the 1991 animated film) in the live-action adaptation of Disney's Beauty and the Beast, directed by Bill Condon, with an ensemble cast featuring Emma Watson and Dan Stevens in leading roles, alongside Luke Evans, Kevin Kline, Josh Gad, Stanley Tucci, Ian McKellen, and Emma Thompson. Filming began in May 2015 at Shepperton Studios in London, and the movie was released in March 2017. He then starred in FX anthology series in the third season of Fargo (both 2017), which garnered him a Golden Globe Award for Best Actor – Miniseries or Television Film for his dual performance of Emmit Stussy and Ray Stussy at the 75th Golden Globe Awards. In 2018, McGregor starred as the adult version of the titular character in Christopher Robin, a live-action adaptation of Disney's Winnie the Pooh franchise directed by Marc Forster and starred alongside Hayley Atwell.

In 2019, McGregor starred as the older Danny Torrance in Doctor Sleep, the film adaptation of Stephen King's novel of the same name. In 2020, he appeared opposite Margot Robbie in Warner Bros.' DC Comics film Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn), directed by Cathy Yan, as the main villain Roman Sionis / Black Mask.

On 23 August 2019, Lucasfilm announced that McGregor would reprise his role as Obi-Wan Kenobi in a new Star Wars television series, due for release on Disney+ in 2022.

In 2021, McGregor created a charismatic portrait of the American fashion designer Halston in the eponymously titled miniseries for Netflix, based on the candid biography Simply Halston by journalist Steven Gaines. McGregor was also billed as executive producer, jointly with Ryan Murphy.

Theatre
From November 1998 to March 1999, McGregor starred as Malcolm Scrawdyke in a revival of David Halliwell's Little Malcolm and His Struggles Against the Eunuchs, directed by his uncle, Denis Lawson. The production was first staged at the Hampstead Theatre before transferring to the Comedy Theatre in London's West End. In November 2001, McGregor made a cameo appearance in The Play What I Wrote.

From June 2005 to April 2007, McGregor starred alongside Jane Krakowski, Douglas Hodge and Jenna Russell in the Donmar Warehouse revival of Guys and Dolls after it transferred to the Piccadilly Theatre in London. He played the leading role of Sky Masterson. McGregor received the LastMinute.com award for Best Actor for his performance in 2005, and he was nominated for a Laurence Olivier Award for Best Actor in a Musical in 2007.

From December 2007 to February 2008, McGregor starred as Iago in Othello at the Donmar Warehouse alongside Chiwetel Ejiofor as Othello and Kelly Reilly as Desdemona. He reprised the role on BBC Radio 3 in May 2008.

Motorcycling

A motorcyclist since his youth, McGregor undertook a marathon international motorbike trip with his best friend Charley Boorman and cameraman Claudio von Planta in 2004. From mid-April to the end of July, they travelled from London to New York via central Europe, Ukraine, Kazakhstan, Mongolia, Russia, Canada and the United States on BMW R1150GS Adventure motorbikes, for a cumulative distance of 22,345 miles (35,960 km). The trip included visits to several UNICEF programs along the route, and formed the basis of a television series and a best-selling book, both called Long Way Round.

The Long Way Round team reunited in 2007 for another motorcycle trip from John o' Groats in Scotland to Cape Town in South Africa. The journey, entitled Long Way Down, lasted from 12 May until 5 August 2007. McGregor's brother Colin joined the motorcycle team during the early stages of the Long Way Down journey, and his father Jim also rode on sections of both Long Way Round and Long Way Down.

McGregor appeared in a two-part BBC documentary in April 2012 entitled Ewan McGregor: Cold Chain Mission in which he travels by motorbike, boat, plane and foot to deliver vaccines to children in remote parts of India, Nepal and the Republic of Congo. The trip was part of his work as a UNICEF Ambassador.

In a June 2015 interview, McGregor indicated that a long discussed South American trip with Boorman was still in the planning stages, but he expected that an excursion through the Baja California Peninsula would take place first.

On 14 December 2019, McGregor and Boorman finished a three-month journey on electric Harley-Davidson LiveWire motorcycles from Patagonia, Argentina, to California, United States, for a docuseries.  The 11-episode series, Long Way Up, debuted on Apple TV+ on 18 September 2020.

Personal life
McGregor married Eve Mavrakis, a French-Greek Jewish production designer whom he met on the set of Kavanagh QC, in 1995. Together they have four daughters, two of them adopted, one a street child from Mongolia he met while travelling in Long Way Round. With his children raised in Mavrakis's Jewish faith, McGregor said in 2016, "My involvement in religion has more to do with the Jewish faith now and not the Christian faith, which I was very vaguely brought up in." McGregor has a heart and dagger tattoo of the names of Mavrakis and their daughters on his right arm. On 19 January 2018, having been separated since May 2017, McGregor filed for divorce from Mavrakis, citing irreconcilable differences; the divorce was finalised on 13 August 2020.

In May 2017, McGregor began a relationship with American actress Mary Elizabeth Winstead, whom he met on the set of Fargo. Their son, Laurie, was born in June 2021. McGregor and Winstead married in April 2022.

McGregor divides his time between Los Angeles, California, and St John's Wood, London. He is also a fan of English football team Manchester City.

McGregor is involved in charity work, including UNICEF UK since 2004 and GO Campaign. During the Long Way Round journey in 2004, McGregor and his travelling companions saw some of UNICEF's work in Ukraine, Kazakhstan, and Mongolia, and during the Long Way Down trip in 2007, he and Charley Boorman did some work for UNICEF in Africa. McGregor hosted the annual Hollywood gala for the GO Campaign in 2009 and 2010. He has worked with the Children's Hospice Association Scotland, as featured in Long Way Down. In 2012, he travelled with UNICEF immunization workers to remote parts of India, Nepal and the Republic of Congo for a BBC2 documentary entitled Ewan McGregor: Cold Chain Mission. In June 2015, McGregor read Hans Christian Andersen's "The Little Match Girl" for the children's fairy tales app GivingTales in aid of UNICEF, together with other prominent figures such as Sir Roger Moore, Stephen Fry, Dame Joan Collins, Joanna Lumley, and Sir Michael Caine.

In 2007, on an episode of Parkinson, McGregor said he had been a teetotaller for the last seven years. He also mentioned this in an interview with the Irish Independent in 2008, stating that he would often turn up to sets drunk or hungover in the late 1990s, and that he decided to stop altogether to avoid spiralling down further.

In 2008, McGregor had a cancerous mole removed from below his right eye.

In September 2020, after travelling through Chile for the documentary Long Way Up, he revealed that his great-grandfather, John "Juan" Charles McIndoe, was born in Chile to Scottish parents while his father worked with the American engineers in the construction of the railways at the end of the 19th century. Later, John went to Glasgow and worked as a wine importer and diplomat.

Political views
McGregor was an outspoken critic of Brexit. Although opposed to Scottish independence from the United Kingdom in the 2014 Scottish referendum, McGregor later declared during an interview that he would have voted for independence if he had been able to cast his vote the day after the United Kingdom left the European Union. In 2020 he voiced his support for Scottish independence, saying that "it's time". McGregor became a naturalised US citizen after 2016 so he would be able to vote in the 2020 US presidential election. During his journey on Long Way Up, he travelled entirely on his US passport.

In the media
McGregor was ranked number 36 on Empire magazine's "The Top 100 Movie Stars of All Time" list in 1997. In a 2004 poll for the BBC, he was named the fourth most influential person in British culture. IndieWire named McGregor one of the best actors never to have received an Academy Award nomination.

Filmography

Awards and nominations

In 2010, McGregor was appointed by the French government as a Chevalier de l'Ordre des Arts et Lettres (Knight of the Order of the Arts and Letters). McGregor was appointed an Officer of the Order of the British Empire (OBE) in the 2013 New Year Honours for services to drama and charity.

Bibliography
 Long Way Round, 2004 (with Charley Boorman),
 Long Way Down, 2008 (with Charley Boorman),

Discography

Singles

Other appearances
 "TV Eye" with Wylde Ratttz, Velvet Goldmine: Music from the Original Motion Picture, 1999.
 "Elephant Love Medley" with Nicole Kidman, Moulin Rouge! Music from Baz Luhrmann's Film, 2001.
 "El Tango de Roxanne" with Jose Feliciano, Moulin Rouge! Music from Baz Luhrmann's Film, 2001.
 "Your Song" with Alessandro Safina, Moulin Rouge! Music from Baz Luhrmann's Film, 2001.
 "Here's To Love" with Renée Zellweger, Down With Love: Music from and Included in the Motion Picture, 2003.
 "The Sweetest Gift", Unexpected Dreams – Songs From the Stars, 2006.
 "Be Our Guest" with Emma Thompson, Ian McKellen, and Gugu Mbatha-Raw, Beauty and the Beast, 2017.
 "Days in the Sun" with Adam Mitchell, Stanley Tucci, Ian McKellen, Emma Thompson, Emma Watson, Audra McDonald, Clive Rowe, Beauty and the Beast, 2017.
 "Something There" with Emma Watson, Dan Stevens, Ian McKellen, Emma Thompson, Nathan Mack, Gugu Mbatha-Raw, Beauty and the Beast, 2017.
 "The Mob Song", with Luke Evans, Josh Gad, Emma Thompson, Ian McKellen, Stanley Tucci, Nathan Mack, & Gugu Mbatha-Raw, Beauty and the Beast, 2017.
 "Better Tomorrows", Pinocchio, 2022.

Audiobooks
 2006: Beatrix Potter: Favourite Beatrix Potter Tales (among others with Emily Watson and Renée Zellweger), Warne publishing (Read by Stars of the Movie Miss Potter)

References

Further reading
 Adams, Billy. Ewan McGregor: The Unauthorized Biography. Overlooks Press, 1999.
 Bassom, David. Ewan McGregor: An Illustrated Story. Hamlyn, 1999.
 Jones, Veda Boyd. Ewan McGregor. Facts on File Inc., 1999.
 Nickson, Chris. Ewan McGregor: An Unauthorized Biography. Macmillan, 1999.
 Pendreigh, Brian. Ewan McGregor. Thunder's Mouth Press, 1999.
 Robb, Brian J. Ewan McGregor: From Junkie to Jedi. Plexus, 1999.

External links

 Ewan McGregor at the British Film Institute

1971 births
Living people
20th-century Scottish male actors
21st-century Scottish male actors
21st-century American male actors
Alumni of the Guildhall School of Music and Drama
American male film actors
American male television actors
Audiobook narrators
Best Miniseries or Television Movie Actor Golden Globe winners
British expatriate male actors in the United States
European Film Award for Best Actor winners
Long-distance motorcycle riders
Naturalized citizens of the United States
Officers of the Order of the British Empire
Outstanding Performance by a Lead Actor in a Miniseries or Movie Primetime Emmy Award winners
People educated at Morrison's Academy
People from Crieff
Scottish expatriates in the United States
Scottish male film actors
Scottish male musical theatre actors
Scottish male Shakespearean actors
Scottish male stage actors
Scottish male television actors
Scottish male voice actors

Ewan McGregor


The Russian Volunteer Fleet (), also simply known as Dobroflot (, ) was a state-controlled ship transport association established in the Russian Empire in 1878 funded from voluntary contributions collected by subscription (hence the name).

History

Dobroflot was founded in wake of the Russo-Turkish War (1877–78), with the intent of providing Russia with a fleet of fast armed merchantmen. By the time its first three ships were purchased from Hamburg American Line in June 1878, the war was already over, and the ships were instead used first as troopships to repatriate Russian soldiers from Turkey, then as peacetime merchant ships. The establishment of Dobroflot started an arms race among the world's major maritime powers, in which governments would subsidize the constructions of privately owned merchant ships, on the stipulations that these would be available for conversions to auxiliary cruisers during wartime.

Throughout its existence Dobroflot provided invaluable services for both the government and the economic development of Russia - particularly the Russian Far East, with Dobroflot established the first regular maritime link between Vladivostok and European Russia. Moreover, Dobroflot ships were requisitioned for naval services during both the Russo-Japanese War and World War I, thereby fulfilling the original raison d'etre of Dobroflot.

After the Russian Revolution and the Russian Civil War the ships of the fleet became dispersed over various countries, and Soviet Russia made efforts via international courts to have them returned. Dobroflot was restored in the Soviet Union in 1922 and included into the Sovtorgflot ("Soviet Commercial Fleet") in 1925.

See also
Dobrolyot

References

Bibliography
Dobroflot at "Departmental Flags of the Russian Empire" page
People's Voluntary Fleet, В. Дукельский, Московский журнал № 8 — 2006 г.

Transport companies established in 1878
Defunct shipping companies of Russia
Shipping companies of Russia
Defunct transport companies of Russia
Shipping companies of the Soviet Union
1878 establishments in the Russian Empire
Transport companies disestablished in 1925
1925 disestablishments in the Soviet Union

Dobroflot


Rossford is a city in Wood County, Ohio, United States, located along the Maumee River in the Toledo metropolitan area. 6,293 people lived there at the 2010 census. It is in western Ohio.

Rossford is a major transport hub as 80/90 intersect 75 here. I-80 goes from San Francisco to almost New York City. I-90 goes from Seattle to Boston. I-75 goes from Miami to the Canadian border. 80/90 are concurrent from Lake Station, Indiana to Elyria, Ohio.

Cities in Ohio

Rossford, Ohio


"The Cop-Killer" is a Nero Wolfe mystery novella by Rex Stout, first published as "The Cop Killer" in the February 1951 issue of The American Magazine. It first appeared in book form in the short-story collection Triple Jeopardy, published by the Viking Press in 1952.

Plot
Returning to the brownstone from his morning errands, Archie finds two surprise visitors waiting for him on the stoop: Carl and Tina Vardas, both of whom work at the barbershop that Wolfe and Archie frequent. Jacob Wallen, a police detective, had visited the shop earlier in the day in order to question the employees as to their whereabouts on the previous night. After he had questioned Carl and Tina separately, they fled the shop for fear of being deported back to their native Russia, from which they had illegally made their way to New York City three years earlier. Archie puts them in the front room, tells Wolfe of their arrival, and goes to the shop.

Several police officers, including Sergeant Purley Stebbins, are already there when he arrives, and Inspector Cramer arrives soon afterward. Wallen has been found dead in a manicurist's cubicle, stabbed in the back with a pair of scissors. While waiting for a shave, Archie learns that Wallen had been investigating a hit-and-run accident the previous night in which two women were struck and killed by a stolen car, and he had carried that evening's newspaper with him. He had used the cubicle for his questioning, and his body was found there some minutes after talking to the last of the employees. Since Carl and Tina fled the shop, suspicion falls on them first. Janet Stahl, a manicurist, claims in overly dramatic fashion that she killed Wallen, but Archie does not believe her.

Once his shave is finished, Archie returns to the brownstone and finds Wolfe eating lunch with Carl and Tina. Further questioning of the couple reveals that neither of them knows how to drive a car, which is enough in Archie's mind to clear them of any guilt in the hit-and-run. They remember that Wallen had carried his newspaper flat as if it had just come off the newsstand, rather than rolled or folded up in his coat pocket, and had set it down that way on the table in the cubicle. Surprised by the arrival of Cramer, Archie moves them into the front room in order to keep him from finding them. Cramer is unconvinced that Archie's visit for a shave was only a coincidence, especially since has never gone to the shop for only a shave, but cannot see how any of the employees could afford Wolfe's fees. During the visit, Cramer learns from a phone call that Janet has been injured.

Returning to the shop, Archie finds Janet recovering from a blow to the head and willing to talk only to him. She again over-dramatizes the incident, claiming that Stebbins assaulted her, but Archie uses her theatrics to question her further about the timeline of the morning's events. He calls in with an update for Wolfe, who soon surprises everyone by showing up for a haircut and asking for his usual barber, Jimmie Kirk. As Jimmie begins to work, Wolfe addresses the group with a list of assumptions he has made concerning the hit-and-run and Wallen's death:

 That Wallen found some object in the car to lead him to the shop
 That he carried it with him when he entered the shop
 That it was inside his newspaper
 That the murderer found and either moved or hid it
 That neither Carl nor Tina was the murderer
 That the object is still inside the shop
 That no proper search for it has yet been made

With prompting from Wolfe, including a suggestion to check the shop for Wallen's fingerprints, Cramer realizes that the object in question must have been one of the magazines in the waiting area, which are labeled with the shop's name and address. Janet remembers seeing Jimmie carrying one wrapped in a hot towel, as if he had been steaming it, and Jimmie dives for the magazines only to be tackled and arrested. He had jumped bail in West Virginia on an assortment of charges, including auto theft; while working at the shop, he had developed a habit of stealing its magazines, one of which he left in the car after abandoning it. Wolfe grumbles over the inconvenience of losing his barber to a murder charge.

In the final chapter, Archie suggests that Wolfe call in a few favors with Washington officials so that Carl and Tina can legally remain in the United States. Wolfe comments that he has been a naturalized citizen for 24 years.

Publication history

"The Cop-Killer"
1951, The American Magazine, February 1951 (as "The Cop Killer")
1952, Ellery Queen's Mystery Magazine #100, March 1952 (as "The Cop Killer")
1954, Ellery Queen's Mystery Magazine, British edition #23, December 1954 (as "The Cop Killer")
1960, Ellery Queen's Anthology #1, 1960 (as "The Cop Killer")
1964, Best Detective Stories 2, edited by Edmund Crispin; London: Faber and Faber, 1964
1994, Burlington, Ontario: Durkin Hayes Publishing, DH Audio  July 1994, audio cassette (unabridged, read by Saul Rubinek)

Triple Jeopardy
1952, New York: The Viking Press, March 21, 1952, hardcover
Contents include "Home to Roost", "The Cop-Killer" and "The Squirt and the Monkey".
In his limited-edition pamphlet, Collecting Mystery Fiction #9, Rex Stout's Nero Wolfe Part I, Otto Penzler describes the first edition of Triple Jeopardy: "Yellow cloth, front cover and spine printed with black; rear cover blank. Issued in a black, white, and purple dust wrapper."
In April 2006, Firsts: The Book Collector's Magazine estimated that the first edition of Triple Jeopardy had a value of between $300 and $500.
1952, New York: The Viking Press (Mystery Guild), July 1952, hardcover
The far less valuable Viking book club edition may be distinguished from the first edition in three ways:
 The dust jacket has "Book Club Edition" printed on the inside front flap, and the price is absent (first editions may be price clipped if they were given as gifts).
 Book club editions are sometimes thinner and always taller (usually a quarter of an inch) than first editions.
 Book club editions are bound in cardboard, and first editions are bound in cloth (or have at least a cloth spine).
1952, London: Collins Crime Club, October 13, 1952, hardcover
1957, New York: Bantam #A-1631, July 1957, paperback
1969, New York: The Viking Press, Kings Full of Aces: A Nero Wolfe Omnibus (with Too Many Cooks and Plot It Yourself), January 28, 1969, hardcover
1993, New York: Bantam Books (Rex Stout Library) , April 1993, introduction by Aaron Elkins, paperback
1997, Newport Beach, California: Books on Tape, Inc.  July 21, 1997, audio cassette (unabridged, read by Michael Prichard)
2010, New York: Bantam  April 28, 2010, e-book

Adaptations

A Nero Wolfe Mystery (A&E Network)
"The Cop-Killer" was adapted for the second season of the A&E TV series A Nero Wolfe Mystery (2001–2002). Written by Jennifer Salt and directed by John R. Pepper, "Cop Killer" made its debut August 11, 2002, on A&E.

Timothy Hutton is Archie Goodwin; Maury Chaykin is Nero Wolfe. Other members of the cast (in credits order) include Kari Matchett (Janet Stahl), Nicky Guadagni (Tina Vardas), Hrant Alianak (Carl Vardas), Bill Smitrovich (Inspector Cramer), James Tolkan (Ed Graboff), Colin Fox (Fritz Brenner), R.D. Reid (Sergeant Purley Stebbins), Boyd Banks (Jimmie Kirk), Ken Kramer (Joel Fickler), Robbie Rox (Philip), Angelo Tsarouchas (Flatfoot Cop) and Doug Lennox (Detective Jacob Wallen).

In addition to original music by Nero Wolfe composer Michael Small, the soundtrack includes music by Robert Cornford (titles), Gioachino Rossini (opening sequence), Franz Schubert, David Steinberg and Dick Walter.

A Nero Wolfe Mystery is available on DVD from A&E Home Video ().

Nero Wolfe (CBC Radio)
"The Cop-Killer" was adapted as the fourth episode of the Canadian Broadcasting Corporation's 13-part radio series Nero Wolfe (1982), starring Mavor Moore as Nero Wolfe, Don Francks as Archie Goodwin, and Cec Linder as Inspector Cramer. Written and directed by Toronto actor and producer Ron Hartmann, the hour-long adaptation aired on CBC Stereo February 6, 1982.

References

External links

1951 short stories
Nero Wolfe short stories
Works originally published in The American Magazine

The Cop-Killer (short story)


The kernel of a group homomorphism from G to H is the subset of the elements from G that arrive to the Identity element of H.

Mathematically: . Since a group homomorphism preserves identity elements, the identity element of G must belong to the kernel subset.

Property
The homomorphism is injective if and only if its kernel is only the identity elements of G.

Proof: If f were not injective, then the non-injective elements can form a distinct element of its kernel: there would exist  such that  and . Thus . f is a group homomorphism, so inverses and group operations are preserved, giving ; in other words, , and ker f would not be the singleton. Conversely, distinct elements of the kernel violate injectivity directly: if there would exist an element , then , thus f would not be injective.

References

Group theory

Kernel (algebra)


Dakoda Flowie Dowd (born April 3, 1993), also known as "Koda", is an American amateur golfer.  On April 27, 2006, 24 days after her 13th birthday, she became the youngest player to compete in an LPGA tournament. This record was broken a year later when 12-year-old Alexis Thompson qualified for and played in the 2007 U.S. Women's Open.

Career
Dowd, who lives in Palm Harbor, Florida, has won more than 185 junior trophies. In 2006, she was ranked number one among United States sixth graders. As of June 2008, Golfweek ranked her 231st among all junior U.S. girls golfers.

In March 2006, Dowd received a sponsor's exemption to play in the inaugural LPGA Ginn Open after Bobby Ginn was made aware of a story in The Tampa Tribune about Kelly Jo Dowd, Dakoda's mother.  Kelly Jo was fighting cancer and her dream was to see her daughter play in an LPGA event. Once the exemption was granted, Dakoda and Kelly Jo's story attracted considerable media attention and she was followed by a large gallery during the tournament. After a birdie at the first hole she went on to finish the first round with a 2-over par score of 74. She completed her first two rounds 12 strokes over par, missed the cut, and finished near the bottom, tied for 156th place out of 162 competitors.

In 2007, she attempted to qualify for the U.S. Women's Open but did not make it to the second round of qualifying.

Family
Dowd's mother, Kelly Jo, was diagnosed with breast cancer in the fall of 2002. Kelly Jo underwent a double mastectomy and chemotherapy treatments. Doctors believed the cancer had gone into remission, but several years later, Kelly Jo was discovered to have metastatic cancer which had spread to her bones and liver. Dakoda scaled back her golf activities in order to spend more time with her mother, who doctors said could have only months to live. The Dowds were moved into a studio apartment due to medical costs and the loss of Kelly Jo's income, despite fundraising efforts by Kelly Jo's former employer, Hooters. Hooters also became active in the Susan G. Komen Foundation.

Kelly Jo died of cancer on May 24, 2007. She was named among the Top HOOTERS girls of all time in 2008 as part of the restaurant's chain 25th anniversary.  Lorena Ochoa, the winner of the Ginn Open in 2008 was awarded the Kelly Jo Dowd trophy in her honor.

References

External links
"Koda" Dowd's official website
Ginn Open website

American female golfers
Amateur golfers
Golfers from Florida
People from Palm Harbor, Florida
Sportspeople from Pinellas County, Florida
Sportspeople from the Tampa Bay area
1993 births
Living people
21st-century American women

Dakoda Dowd


Mushroom sauce is a white or brown sauce prepared using mushrooms as its primary ingredient. It can be prepared in different styles using various ingredients, and is used to top a variety of foods.

Overview

In cooking, mushroom sauce is sauce with mushrooms as the primary ingredient. Often cream-based, it can be served with veal, chicken and poultry, pasta, and other foods such as vegetables. Some sources also suggest pairing mushroom sauce with fish.

It is made with mushrooms, butter, cream or olive oil, white wine (some variations may use a mellow red wine) and pepper with a wide variety of variations possible with additional ingredients such as shallot, garlic, lemon juice, flour (to thicken the sauce), chicken stock, saffron, basil, parsley, or other herbs. It is a variety of allemande sauce.

Mushroom sauce can also be prepared as a brown sauce. Canned mushrooms can be used to prepare the sauce.

For vegan dishes, cream can be replaced with ground almonds, mixed with water and evaporated until needed consistency.

History
Mushroom sauces have been cooked for hundreds of years.  An 1864 cookbook includes two recipes, one sauce tournee and one a brown gravy.

United States  President Dwight D. Eisenhower, a well-known steak lover, was reportedly quite fond of mushroom sauce.

Gallery

See also

 List of mushroom dishes
 List of sauces
 Mushroom gravy
 Mushroom ketchup

References

External links

 Wolfgang Puck's Pasta with Wild Mushroom Sauce at the Food Network

Sauces
Mushroom dishes

Mushroom sauce