For computer science, in statistical learning theory, a representer theorem is any of several related results stating that a minimizer  of a regularized empirical risk functional defined over a reproducing kernel Hilbert space can be represented as a finite linear combination of kernel products evaluated on the input points in the training set data.

Formal statement
The following Representer Theorem and its proof are due to Schölkopf, Herbrich, and Smola:

Theorem: Consider a positive-definite real-valued kernel  on a non-empty set  with a corresponding reproducing kernel Hilbert space .  Let there be given
 a training sample ,
 a strictly increasing real-valued function , and
 an arbitrary error function ,
which together define the following regularized empirical risk functional on :

Then, any minimizer of the empirical risk

admits a representation of the form:

where  for all .

Proof:
Define a mapping

(so that  is itself a map ).  Since  is a reproducing kernel, then

where  is the inner product on .

Given any , one can use orthogonal projection to decompose any  into a sum of two functions, one lying in , and the other lying in the orthogonal complement:

where  for all .

The above orthogonal decomposition and the reproducing property together show that applying  to any training point  produces

which we observe is independent of .  Consequently, the value of the error function  in (*) is likewise independent of .  For the second term (the regularization term), since  is orthogonal to  and  is strictly monotonic, we have

Therefore setting  does not affect the first term of (*), while it strictly decreases the second term.  Consequently, any minimizer  in (*) must have , i.e., it must be of the form

which is the desired result.

Generalizations
The Theorem stated above is a particular example of a family of results that are collectively referred to as "representer theorems"; here we describe several such.

The first statement of a representer theorem was due to Kimeldorf and Wahba for the special case in which

for .  Schölkopf, Herbrich, and Smola generalized this result by relaxing the assumption of the squared-loss cost and allowing the regularizer to be any strictly monotonically increasing function  of the Hilbert space norm.

It is possible to generalize further by augmenting the regularized empirical risk functional through the addition of unpenalized offset terms.  For example, Schölkopf, Herbrich, and Smola also consider the minimization

i.e., we consider functions of the form , where  and  is an unpenalized function lying in the span of a finite set of real-valued functions .  Under the assumption that the  matrix  has rank , they show that the minimizer  in
admits a representation of the form

where  and the  are all uniquely determined.

The conditions under which a representer theorem exists were investigated by Argyriou, Micchelli, and Pontil, who proved the following:

Theorem: Let  be a nonempty set,  a positive-definite real-valued kernel on  with corresponding reproducing kernel Hilbert space , and let  be a differentiable regularization function.  Then given a training sample  and an arbitrary error function , a minimizer

of the regularized empirical risk admits a representation of the form

where  for all , if and only if there exists a nondecreasing function  for which

Effectively, this result provides a necessary and sufficient condition on a differentiable regularizer  under which the corresponding regularized empirical risk minimization  will have a representer theorem.  In particular, this shows that a broad class of regularized risk minimizations (much broader than those originally considered by Kimeldorf and Wahba) have representer theorems.

Applications
Representer theorems are useful from a practical standpoint because they dramatically simplify the regularized empirical risk minimization problem .  In most interesting applications, the search domain  for the minimization will be an infinite-dimensional subspace of , and therefore the search (as written) does not admit implementation on finite-memory and finite-precision computers.  In contrast, the representation of  afforded by a representer theorem reduces the original (infinite-dimensional) minimization problem to a search for the optimal -dimensional vector of coefficients ;  can then be obtained by applying any standard function minimization algorithm.  Consequently, representer theorems provide the theoretical basis for the reduction of the general machine learning problem to algorithms that can actually be implemented on computers in practice.

The following provides an example of how to solve for the minimizer whose existence is guaranteed by the representer theorem. This method works for any positive definite kernel , and allows us to transform a complicated (possibly infinite dimensional) optimization problem into a simple linear system that can be solved numerically.

Assume that we are using a least squares error function

and a regularization function
for some . By the representer theorem, the minimizer

has the form

for some . Noting that

we see that  has the form

where  and . This can be factored out and simplified to

Since  is positive definite, there is indeed a single global minimum for this expression. Let  and note that  is convex. Then , the global minimum, can be solved by setting . Recalling that all positive definite matrices are invertible, we see that

so the minimizer may be found via a linear solve.

See also
 Mercer's theorem
 Kernel methods

References

Computational learning theory
Theoretical computer science
Hilbert spaces

Representer theorem


Cardinal McCarrick High School (CMHS), later known as Cardinal McCarrick/St. Mary's High School, was a Catholic secondary school located in South Amboy, New Jersey, that operated under the supervision of the Roman Catholic Diocese of Metuchen. The school closed at the end of the 2014–15 school year, in the wake of an increasing financial deficit.

As of the 2009–10 school year, the school had an enrollment of 328 students and 25.6 classroom teachers (on an FTE basis), for a student–teacher ratio of 12.8:1.

Description
The school said its goal is to help to ensure that each CMHS student continues to reach their potential during high school. Initiatives to advance this goal included a College Advisory Program, a Formalized Academic Support Program, an Enhanced College Testing Program, Distance Learning Opportunities, and an Interdisciplinary Honors Program.

History
The school was founded in 1885 by Saint Mary's parish, and included grades one to eleven. It was expanded to include the twelfth grade in 1918, was accredited as Saint Mary's High School in 1919, and the first graduating class was in 1922. The original building was destroyed by a fire and a new school building that opened in 1968 was rebuilt in its place.

During the late 1980s, the high school went from being a parish high school to a diocesan high school, separating completely from the now-defunct St. Mary Elementary School (K-8). As a result of the change the high school went through several name changes, including St. Mary Regional High School (1988–2000), St. Mary Diocesan High School (2000–2001). On June 11, 2001, then Diocese of Metuchen Bishop Vincent Breen announced that Saint Mary's would close and reopen under a new name the following fall. In September 2001, the school was named Cardinal McCarrick High School, in honor of Theodore Edgar McCarrick, the first bishop of the Diocese of Metuchen.

Also in fall of 2001, the school opened a local branch of a credit union called the Eagle's Nest.

The High School also has a partnership with Saint Peter's College of Jersey City to serve as a satellite campus for their graduate studies.

In 2013 the school, along with Sacred Heart Elementary School, joined the umbrella organization Raritan Bay Catholic Preparatory School.

Mascot, colors and mission
Cardinal McCarrick's school mascot was the Eagle, wearing blue and gold. The Eagle was named Ollie. In 2000–2001, Cardinal McCarrick High School rewrote their mission statement - "The mission of Cardinal McCarrick High School is to facilitate, nurture, and instill a thirst for knowledge based on Catholic moral principles in preparation for life's journey to create a better world."

Athletics
The Cardinal McCarrick High School Eagles competed in the Greater Middlesex Conference, which includes public and private high schools located in the greater Middlesex County area. The league operates under the supervision of the New Jersey State Interscholastic Athletic Association (NJSIAA).

The boys basketball team won the NJSIAA Parochial South B championship in 2003, defeating Wildwood Catholic High School, 67–51. The 2005 team repeated the feat with a 75–56 win over Holy Spirit High School in the tournament final.

The girls bowling team won the Group I state championship in 2012 and 2013.

Sports included:
Fall
Varsity Soccer (Boys and Girls)
Varsity Cross Country (Boys and Girls)
Varsity Tennis (Girls)
Varsity and JV Football
Varsity Cheerleading
Winter
Varsity and JV Cheerleading
Freshman, Varsity and JV Basketball (Boys)
Varsity and JV Basketball (Girls)
Varsity Bowling (Boys and Girls)
Spring
Varsity Track and Field (Boys and Girls)
Freshman, Varsity and JV Baseball (Boys)
Varsity and JV Softball (Girls)
Varsity Golf (Boys and Girls)

Notable alumni
 Allie Clark (1923-2012), former New York Yankees and World Series Winner.
 Tom Kelly (born 1950), Minnesota Twins Manager and World Series Winner.
 Jack McKeon (born 1930), Florida Marlins Manager and World Series winner.
 Johnny O'Brien (born 1930), former professional baseball player.
 Eddie O'Brien (born 1930), former professional baseball player.
 Marques Townes (born 1995), basketball player for the Loyola Ramblers men's basketball team, who transferred out of Cardinal McCarrick after his sophomore year.

Closing
The Cardinal McCarrick school closed its doors as of June 2015.
The Cardinal himself resigned that rank in July 2018 (reverting to Archbishop) and was laicized in February, 2019.

Bishop Ahr High School (now St. Thomas Aquinas High School) accepted its former students; Ahr and the former McCarrick had the same tuition prices.

References

External links

Data for Cardinal McCarrick High School, National Center for Education Statistics

1885 establishments in New Jersey
2015 disestablishments in New Jersey
Defunct Catholic secondary schools in New Jersey
Educational institutions disestablished in 2015
Educational institutions established in 1885
Middle States Commission on Secondary Schools
Private high schools in Middlesex County, New Jersey
Roman Catholic Diocese of Metuchen
South Amboy, New Jersey

Cardinal McCarrick High School


Over My Dead Body is an American police crime drama which was aired on the CBS television network from October 26, 1990 to June 20, 1991 as part of its 1990 fall lineup on Friday night at 9:00 p.m. Eastern time.

Over My Dead Body stars Edward Woodward as Maxwell Beckett, an aging mystery novelist whose three successful early novels were starting to be overshadowed by the reputation his two most recent works had developed as being "bombs." He was approached by young, struggling reporter Nikki Page (Jessica Lundy) who wrote for the San Francisco Union, and who came to him for help after witnessing a murder through her window and because he was her favorite author. After they solved this mystery, they became fast friends and began to work together in the "amateur sleuth" tradition to solve crimes.

Over My Dead Body was produced by William Link, the man responsible for Murder, She Wrote, but while it shared the theme of an aging mystery writer as an amateur sleuth in real life, it shared none of the earlier program's success. It was cancelled after a run of less than three months, although a few leftover episodes were aired in June 1991.

Cast
 Edward Woodward as Maxwell Beckett
 Jessica Lundy as Nikki Page

Episodes

References
Brooks, Tim and Marsh, Earle, The Complete Directory to Prime Time Network and Cable TV Shows

External links

CBS original programming
1990s American crime drama television series
Television series by Universal Television
1990 American television series debuts
1991 American television series endings
Television shows set in San Francisco
English-language television shows
Television shows about writers

Over My Dead Body (TV series)


Remix: Making Art and Commerce Thrive in the Hybrid Economy is Lawrence Lessig's fifth book. The book was made available for free download and remixing under the CC BY-NC Creative Commons license via Bloomsbury Academic. It is still available via the Internet Archive. It details a hypothesis about the societal effect of the Internet, and how this will affect production and consumption of popular culture to a "remix culture".

Summary

In Remix, Lawrence Lessig, a Harvard law professor and a respected voice in what he deems the "copyright wars", describes the disjuncture between the availability and relative simplicity of remix technologies and copyright law. Lessig insists that copyright law as it stands now is antiquated for digital media since every "time you use a creative work in a digital context, the technology is making a copy". Thus, amateur use and appropriation of digital technology is under unprecedented control that previously extended only to professional use.

Lessig insists that knowledge and manipulation of multi-media technologies is the current generation's form of "literacy"- what reading and writing was to the previous. It is the vernacular of today. The children growing up in a world where these technologies permeate their daily life are unable to comprehend why "remixing" is illegal. Lessig insists that amateur appropriation in the digital age cannot be stopped but only 'criminalized'. Thus most corrosive outcome of this tension is that generations of children are growing up doing what they know is "illegal" and that notion has societal implications that extend far beyond copyright wars. The book is now available as a free download under one of the Creative Commons' licenses (CC BY-NC 3.0).

Read-only culture vs. read/write culture
Lessig outlines two cultures - the read-only culture (RO) and the read/write culture (RW). The RO culture is the culture we consume more or less passively. The information or product is provided to us by a 'professional' source, the content industry, that possesses an authority on that particular product/information. Analog technologies inherently supported RO culture's business model of production and distribution and limited the role of the consumer to just that, 'consuming'.

Digital technology, however, does not have the 'natural' constraints of the analog that preceded it. "What before was both impossible and illegal is now just illegal"(38). Steve Jobs was the first to see potential in this new market made possible by digital technology. RO culture had to be recoded in order to compete with the "free" distribution made possible by the Internet. iTunes Music store was proof of this. While it provided digital music it was protected by a Digital Rights Management (DRM) code from re-distribution. Lessig uses this key example to show that it is possible to achieve a business model which balances access and control and is equally attractive to both the consumers and the creators. In addition, digital technologies have changed the way we think about 'access'. Today, most of us would never structure our day around a particular program because we know that it is most likely available online - even if it is not necessarily free of charge. Lessig insists, using Amazon as his premiere example, that the future of entertainment and advertising lies in accumulating information about a consumer and tailoring the product to their preferences.

As opposed to RO culture, Read/Write culture has a reciprocal relationship between the producer and the consumer. Taking works, such as songs, and appropriating them in private circles is exemplary of RW culture, which was considered to be the 'popular' culture before the advent of reproduction technologies. The technologies and copyright laws that soon followed, however, changed the dynamics of popular culture. As it became professionalized people were taught to defer production to the professionals.

Lessig posits that digital technologies provide the tools for reviving RW culture and democratizing production. He uses blogs to explain the three layers of this democratization. Blogs have redefined our relationship to the content industry as they allowed access to non-professional content. The 'comments' feature that soon followed provided a space for readers to have a dialogue with the amateur contributors. 'Tagging' of the blogs by users based on the content provided the necessary layer for users to filter the sea of content according to their interest. The third layer added bots that analyzed the relationship between various websites by counting the clicks between them and, thus, organizing a database of preferences. The three layers working together established an "ecosystem of reputation"(61) that served to guide users through the blogosphere. Lessig uses the blog model to demonstrate a wider conclusion - while there is no doubt many amateur online publications cannot compete with the validity of professional sources, the democratization of digital RW culture and the 'ecosystem of reputation' provides a space for many talented voices to be heard that was not available in the pre-digital RO model.

Hybrid Economies
There are three economies that Lessig introduced in his book. The first is the commercial economy. Commercial Economies at their very center value money the most and build value around the monetary. Second to this is the sharing economy which completely ignores money as an item of value and instead focuses on valuing things that are not monetary. But settled in between the two is a third, the hybrid economy. He asserts that the hybrid economy will be the dominant force with the rise of the web, and in order for it thrive the two economies from which it borrows from must be preserved. Conceptually the monetizing nature from the commercial, and the 'lending' quality of the sharing economy are necessary to ensure that the hybrid doesn't lose sight of economic gain or doesn't lose the willingness to obtain economic resources.

The Internet and Commons

The internet is essentially the hub for this type of economy. With more people utilizing it as a platform for sharing and monetizing, the internet's primary function is split in two. In order for people to 'Remix' they need the internet for its open and free design.

Remix, according to Lessig, is not solely digital, but also relates to the act of reading and applying texts to their personal life. Culturally, critically taking in what is going on (the original content) and developing an opinion that can be shared and given transformed meaning, is also considered remixing.

Most of the debate in Remix is in regard to ownership. Due to the fact that remixing is limitless, it becomes difficult to end. Every mix becomes a resource for another new mix and expands to others even if they are never seen. When it comes to the internet, ownership has become a murky subject. Companies who originated a piece of work are owners of that product, but only if it is copyrighted and protected legally. That being said, people without access to these legalities are unprotected and liable to get their ideas and content stolen. This is where the commons becomes prevalent.

He defines the commons as resources that are available for everyone equally in a certain group. The internet was invented for flexible accessibility and thus facilitates innovation. This is Lessig's philosophy, however the issue comes with a price tag. The fight to define who owns a creative work of art if it contains other works not owned by the party is what Lessig says is "killing creativity".
Although people have become used to this, he argues that it is for this reason that he claims that it is an attempt at "counterrevolution".

Free Software

Notably Richard Stallman is vocal about his stance on the positive repercussions of utilizing free software, namely Linux. Essentially both Stallman and Lessig are on the same page. When it comes to 'hybrid' economies, Linux fits the description with its selling point being "benefits", instead of "features". This on its own has no standing for 'justice' but rather the profitability of such a software.

Remixing is this software's very nature. The appeal is to "sell" the benefits of its use. People no longer have to wait for a company to fix bugs, or other issues with the software and instead they can collaborate and ultimately do it themselves. This can be done with other software, but the downside is that legally with paid proprietary software there are repercussions to prevent, the software from being "remixed" and sold as an alternative "original"'.

The Prevalence of YouTube

With the internet comes what Lessig described as community spaces, with site YouTube up for major debate for its ability to both provide original content and exist as an open bank for content to Remix. The website provides users a domain to not only consume, but to make creative content. Creativity in this sense, relates to the combining of elements or materials with an individual's original ideas to create a unique product. Lessig has had his own fight with the platform when his Lecture got taken down in 2013 on grounds of violating Copyright laws due to a song from the band Phoenix being used in part of the presentation. However, due to the non-commercialized and transformed nature of his usage, the video should have fallen under Fair use. This issue is an example of exactly what he is fighting for.

In addition to the Digital Millennium Copyright Act of 1998, YouTube also allows the claimant to place advertisements on the video. This is done as retribution for using or allowing copyrighted media in the video, and allows the user to keep the video up without having to deal with legalities. The website is taking the emphasis off of the creation, and placing it on the monetary value that it holds. Lessig argues that these issues should be separated when it comes to amateur non commercialized content.

With growing frequency, YouTube has begun copyright striking, and taking down videos that appear to have claimed content in them in any way. Without the claim in question, to be the main feature in the video, it can merely be a song playing in the background that can take a user's work off the web. While original content featuring sole a user's own ideas and content does exist, this is not the focus of Remixing, or Lessig's point. It is not solely creating new and unique ideas with novelty resources, but instead pulling from multiple sources to give way to new products.

To that Lessig's rebuttal is that the work made on such platforms should be free of legal ownership aside from its originator. These new products leverage the references in their original work in order to build a new and different meaning; which has no implications of being 'better' or 'worse' than its origin.

The remix

Lessig argues that today digital culture permeates our lifestyle to such extent - an average teenager will spend an hour per weekend day using the computer for leisure and only 7 minutes reading - that "it is no surprise that these other forms of 'creating' are becoming an increasingly dominant form of 'writing'"(69). Previous generations used textual quotes to build on writings before them. Today, this process of quoting or collage is manifest through digital media. The remix utilizes the (multi-media) language through which the current generations communicate. They quote content from various sources to create something "new". Thus, the remix provides a commentary on the sounds and images it utilizes the same way a critical essay provides commentary on the texts it quotes. One of Lessig's favorite remix examples is the "Bush and Blair Love Song" which remixes images of President Bush and Tony Blair to make it appear as if they are lip-synching Lionel Richie's "Endless Love". "The message couldn't be more powerful: an emasculated Britain, as captured in the puppy love of its leader for Bush" (74). This remix in Lessig's eyes is exemplary of the power this type of expression holds - to not tell but show. Using preexisting images is vital to the art form because the production of meaning draws heavily on cultural reference an image or sound brings with it.
Their meaning comes not from the content of what they say; it comes from the reference, which is expressible only if it is the original that gets used.
Lessig describes the remix phenomenon instrumental in creating cultural literacy and a critical view of media and advertising that permeates our daily lives. But, as it stands today, copyright law will inhibit education employing these digital forms of literacy for institutions will shy away from use that might be deemed 'illegal'. Yet, Lessig reiterates, the remix form of expression cannot be killed, only criminalized.

Commercial economies vs. sharing economies

In addition to describing two cultures Lessig also proposes two economies: the commercial and the sharing. The commercial economy is governed by the simple logic of the market, where products and services have a tangible economic value, be it money or labor. The Internet has been extremely successful as a portal for commercial economies to flourish - improving existing businesses and serving as a platform for thousands of new ones. It has been exceptionally fruitful of businesses that cater to a niche market - exemplified by such companies as Amazon and Netflix which provide a range of items that could not be accommodated by one physical space. This dynamic has been outlined by Wired's editor in chief, Chris Anderson, in his book The Long Tail. Another obvious success story of a digital commercial economy is Google, which has managed to create value from value others have already created.

The sharing economy functions outside monetary exchange. We all belong to sharing economies - most obvious examples are our friendships and relationships. This economy is regulated not by a metric of price but by a set of social relations. Like the commercial economy, the sharing economy extends into the digital realm. Lessig's favorite example is Wikipedia itself. The top ten most visited website relies on user contribution - from creation to editing - for its content and gives no monetary incentive for this contribution. While providing the option of anonymity, the users of Wikipedia have been remarkably consistent with the site's suggestions - be it regarding consistent aesthetic or neutral point of view. A vital characteristic of a successful sharing economy is people are in it because they want to be.

 Hybrids
Lessig does a number of case studies of three types of successful hybrids.

Community spaces
Lessig cites sites such as Dogster, Craigslist, Flickr, and YouTube as successful internet community spaces that answer demand of the users who, in turn, reciprocate through sharing content and self-regulating by flagging inappropriate content. At the same time the sites make revenue through advertisements but are extremely careful to not overwhelm the users and disrupt the sense of community.

Collaboration spaces
Collaboration hybrids center on the belief of the users that they are working towards a common goal or building something together. Lessig's notable examples are volunteers of Usenet that help those technologically in need solve computer problems – from minor to complex. They are not paid or recognized by Microsoft yet they are instrumental in building value for the company. Similarly, Yahoo! Answers launched in December 2005 has gathered an enormous following of people answering other people's questions for free. They do not participate for any incentive other than to share their expertise and help others. In this category Lessig also cites the now infamous Heather Lawver 2000 case after the teenager started a fan site for J.K. Rowling's Harry Potter series, only to be constantly 'threatened' by Warner for illegal use of copyrighted content. Eight years later many large corporations have, at least in part, learned from Warner's mistake and Lawver's persuasive argument of the Potter Wars: fans are "a part of your marketing budget that you don't have to pay for". Thus lighter control of content use allows fans to share their appropriation of content while promoting it free. Everyone wins.

Communities
Lessig's third category lacks the 'spaces' qualification of the previous two because they create a community on a much grander, or more comprehensive scale. One such community is Second Life through which users can immerse themselves in a virtual environment and build a multi-faceted life not unlike real life but without the same limitations, while creating value by producing and sharing new codes for the program.

Lessig concludes that a feeling of ownership and contribution is vital to making hybrid communities function. These communities are not built on sacrifice but on mutual satisfaction in which both the consumer and producer benefit.

Parallel economies can coexist, the author insists, and are not mutually exclusive. In fact, crossover is not uncommon, particularly in the world of the Creative Commons which Lessig helped found. Many artists that have initially licensed their work under a CC license, that allowed others to share and remix their work as long as they were credited, have used the momentum from this visibility to crossover to the commercial economy.

Lessig warns that hybrid economies will do well to avoid what he calls sharecropping, that is corporations forcing the remixer to give up the right to his/her creation (providing they don't own the rights to all/some of its components) even if they plan to use their work for commercial purposes.
The hybrid that respects the rights of the creator - both the original creator and the remixer - is more likely to survive than the one that doesn't.

 Reforming copyright law

Lessig outlines five steps toward copyright reform.

 Deregulating Amateur Activity. Primarily this means exempting noncommercial and, particularly amateur, use from the rights granted by copyright. In addition, this loosening of control will, in turn, remove some of the burden from the corporations' monitoring for misuse of their content.
 Clear Title. As of now, there is no comprehensive and accessible registry that lists who owns rights to what. In addition to making the above clear, Lessig insists that author/owner should have to register their work in order to extend the copyright after a shorter period of time and for the work, otherwise, to enter public domain. He insists that this change would be instrumental to digital archiving and access for educational purposes.
 Simplify. Building on his previous suggestions, Lessig insists that the system should be simplified. If a child is expected to comply with copyright law, they should be able to understand it.
 Decriminalizing the Copy. As mentioned before the production of the 'copy' is a commonplace in daily transaction within the digital realm. If our daily activity triggers federal regulation on copyright law, it means that this regulation reaches too far. Thus the law must be rearticulated as to not include uses that are irrelevant to copyright owner's control.
 Decriminalizing File Sharing.''' Lessig suggests this should be done either by "authorizing at least noncommercial file sharing with taxes to cover a reasonable royalty to the artists whose work is shared, or by authorizing a simple blanket licensing procedure, whereby users could, for a low fee, buy the right to freely file-share"

 Conclusion

In his final chapter "Reforming Us", Lessig insists that in order to move towards ending the senseless copyright wars, which are mostly harming our children, we must understand that governmental control has its limits.

The children growing up in a digital age are seeing these laws as senseless and corrupt and, more importantly, trivial as they continue to remix and download despite it. Lessig warns that this phenomenon can have a larger trickle-down effect towards a child's view of law in general. When put in this light, copyright reform carries much larger implications for the morality of the digital age generations.

Aside from morality of the generation, Lessig asserts that due to legislation being either too passive or too stern it creates the lack of understanding from policy makers. This assertion leads to the true meaning of fair use.

 In popular culture

On an episode of The Colbert Report with Lessig as a guest, Stephen Colbert made fun of the book's status under Creative Commons by taking a copy, signing it, and then proclaiming it the 'Colbert' edition for sale. Lessig laughed.

 See also

Remix CultureAn Army of DavidsFree Culture

 References

External links
Official site
Creative Commons
Book sources:
Remix downloads on Archive.org
Lessig's article "Copyright and Politics Don't Mix", October 21, 2008 in The New York Times''
Book discussion with Lessig on Remix, November 18, 2008 on c-span.org

2008 non-fiction books
Books by Lawrence Lessig
Free content
Creative Commons-licensed books

Remix (book)


Cydia latiferreana, the filbertworm moth, is a moth of the family Tortricidae. It was formerly (and sometimes is still) separated in a monotypic genus Melissopus.

It is found in most of North America. The wingspan is about 18 mm. Adults are on wing from July to October depending on the location.

The larvae (filbertworms) feed on the acorns of Quercus alba, Quercus macrocarpa, Quercus rubra and Quercus velutina but are most noted for feeding on hazelnuts, seeds of the genus Corylus, and are a major pest of hazelnut orchards in the Pacific northwest.

References

External links
 Bug Guide

Grapholitini
Moths of North America

Cydia latiferreana


Kipper und Wipper (, literally "Tipper and See-saw time") was a financial crisis during the start of the Thirty Years' War (1618–1648). Starting around 1621, city-states in the Holy Roman Empire began to heavily debase currency in order to raise revenue for the Thirty Years' War, as effective taxation did not exist. More and more mints were established until the debased metal coins were so worthless that children allegedly played with them in the street, which became the basis for Leo Tolstoy's short story "Ivan the Fool".

The name refers to the use of tipping scales to identify not-yet-debased coins, which were then taken out of circulation, melted, mixed with baser metals such as lead, copper or tin, and re-issued. Often the states did not debase their own currency, but instead manufactured low-value imitations of coins from other territories and then spent them in yet other territories as far as possible from their own lands, hoping that the resulting damage would then occur to the economy of those other regions rather than their own. This worked for a while; but after a time, the general public caught on to the manipulation, resulting in pamphlets denouncing the practice, local riots and the refusal of soldiers and mercenaries to fight unless paid in real, non-debased money. Also the states began to get back their own debased coins in taxes and customs fees. Due to these problems the practice largely stopped around 1623; however, the damage done was so large that it created financial disarray in almost all the city-states in the area. The same thing re-occurred on a smaller scale near the end of the century and again during the middle of the 18th century; however, the debasement spread from Germany to Austria, Hungary, Bohemia, and Poland.

Meaning of Kipper und Wipper
Based on a 17th-century slang, Kipper und Wipper summarizes the financial crisis. Kipper means "the clipping of coins" and Wipper means "seesaw". During the financial crisis of Kipper und Wipper, people clipped or shaved the sides of coins. They were able to shave off the sides of coins that contained precious metals because the sides of the coins were not milled. Milled coins are coins with grooves on the sides that prevent clipping. Wipper correlates to the financial crisis because it means to wag or seesaw. While merchants or money exchangers weighted money, they would continuously keep the scale in motion so that they could switch the good money with bad, debased coins. Frequently, coins would be melted and mixed with less rare and less precious metals such as copper.

Origin of debased coins
In Europe, there were many sources of debased money. Though there is not one specific place where the debasement of coins can be traced back to, there were early traces in Italy and Switzerland. It was said that debased coins were put into circulation and were created as early as 1580.

Debasement
During Kipper und Wipper, there were two forms of debasement. To finance the Thirty Years' War, which was occurring simultaneously, coins were either shaved down or melted. By clipping or shaving coins, the amount of silver or precious metal in the coin decreased. Additionally, by melting coins, mixing them with lesser metals, making new coins, and circulating them, the nominal value, face value, greater deferred from the melt value or value of the metal in the coin.

Cause
A major decision made between cities  that resulted in the creation of more mints and eventually more debased coin was when six cities decided to allow the establishment of more mints, a place to manufacture coins and money. By doing so, mints were able to mint more debased coins.

Effect
Many states in Europe tried to finance their war efforts through debased coins. Charles P. Kindleberger wrote, "Bad money was taken by debasing states to their neighbors and exchanged for good." Referring to good money, he said that states would mint debased coins, exchange it in a neighboring state, and bring good coins back. This brought in coins that had a higher content of silver. However, the neighboring states also debased their coins to prevent a loss of money. This resulted in hyperinflation, the rapid increase of prices in a short period of time, which eventually became a crisis throughout many states in Europe as debased coins spread rapidly from state to state.

Attempt at prevention
During the period of crisis, many methods were thought of to prevent the debasement of coins and to prevent Gresham's Law, which states that coins with a lower melt value or intrinsic value circulate faster and better than coins that have a higher melt value.

In Europe, the import of bad coins and the export of good coins were enforced by punishments such as banishment, burning, or the confiscation of goods. The penalties were difficult to enforce, and debased coins and good coins flowed in and out of states.

References

External links
Kindleberger, Charles P. The Economic Crisis of 1619 to 1623. The Journal of Economic History, vol. 51, no. 1, 1991, pp. 149–175. JSTOR, www.jstor.org/stable/2123055.
""Kipper und Wipper": Rogue Traders, Rogue Princes, Rogue Bishops and the German Financial Meltdown of 1621–23" , Mike Dash, Smithsonian, March 29, 2012
MoneyMuseum.com

1621 in the Holy Roman Empire
1622 in the Holy Roman Empire
1623 in the Holy Roman Empire
1621 in economics
1622 in economics
1623 in economics
Thirty Years' War
Economic crises in Europe
Economy of the Holy Roman Empire
Financial crises
Debased coins of Germany

Kipper und Wipper


General John Munro (June 1778 – 25 January 1858) of the H.E.I.C.S was a Scottish soldier and administrator who served as Resident and Diwan of the States of Travancore and Cochin between 1810 and 1819.

Early life

John Munro, fourth son of Captain James Munro, 7th of Teaninich (Royal Navy), was baptised in Alness on 11 February 1775. The Munros of Teaninich were a cadet branch of the Scottish Highland Clan Munro and their family home was at Teaninich Castle in Ross-shire.

Military career

John Munro enlisted as a cadet in the East India Company's Madras Army in April 1791, aged 16, and was appointed Lieutenant in August 1794. He took part in the Battle of Seringapatam in 1799, and was shortly afterwards promoted to Captain and appointed Adjutant of his regiment, in which office he displayed a thorough acquaintance with military duties. John Munro was an accomplished linguist, being able to speak and write in French, German, Italian, Arabic, Persian and several Indian language.

Munro held various appointments on the Staff, and was private secretary and interpreter to successive Commanders in Chief in India. He was personally acquainted and in regular correspondence with Colonel Arthur Wellesley, later Duke of Wellington, during the Mahratta War. He also served alongside his distinguished namesake Sir Thomas Munro, 1st Baronet (of Lindertis). John Munro assisted in quelling the Vellore Mutiny and was soon afterwards appointed Quartermaster-General of the Madras army, directly from the rank of captain, at the early age of 27 years.

As Quartermaster-General, Munro was asked in 1807 by the then commander-in-chief Sir John Craddock to compile a confidential report on the Tent Contract, an allowance to Madras Army officers to be paid equally in peace and war and regarded by them as part of their emoluments.  Munro's report pointed out that the contract gave officers "strong inducements to neglect their most important duties". Craddock agreed with Munro's recommendation that it be discontinued and replaced by enhanced batta. The implementation of these changes added to the discontent simmering amongst officers of the Madras Army, already resentful at being less well rewarded than those of the Bengal Army. Moreover, the report was leaked; fellow officers who read it inferred that their honour had been impugned, and charged Munro with conduct unbecoming an officer and a gentleman. The episode occurred during a period of dispute between the Madras civil government and the new commander-in-chief, Lieut-General Hay Macdowall, who, no longer ex-officio a member of the governing council, had given notice of his resignation. On 20 January 1809, some months after the appeal from his officers, and despite his impending departure, Macdowall had Munro arrested, leaving the supposed court martial to be heard by his successor. A week later, on the eve of departure Macdowall was reluctantly compelled to release Munro from arrest on the orders of the Governor Sir George Barlow. Together with his Adjutant-General, Col. Francis Capper (who was probably responsible for leaking Munro's report), Macdowall boarded the East Indiaman Lady Jane Dundas for England, issuing as he did so a General Order which reprimanded Munro for making a direct appeal to the Governor. Capper's deputy Major Thomas Boles, who had signed the order on behalf of the departing commander-in-chief, was suspended for doing so. The perceived unfair treatment of Boles, who was only acting on a superior's order, was the subject of a memorial by officers led by Arthur St Leger (soldier), who was then also dismissed; the continuing repercussions of these events led to the 1809 "White Mutiny" by officers of the Madras Army. The Lady Jane Dundas, with Macdowall and Capper aboard, was lost off the Cape of Good Hope in March 1809.

Shortly after these events, Munro was appointed Resident in Travancore; his successor as Quarter-Master General was his deputy, Valentine Blacker, who had recently become his brother-in-law.

Administrative career

John Munro was a major figure in the development of the states of Travancore and Cochin. In the aftermath of the attack by Velu Thampi Dalawa on the East India Company, he was appointed Resident of the Company for these kingdoms in 1810. Col. Munro also served as Diwan (Prime Minister) to the queens Rani Gowri Lakshmi Bayi and Rani Gowri Parvati Bayi of Travancore and Raja Kerala Varma of Cochin from 1812 to 1814.  With his freedom of action, he won such confidence of the rulers and the people as to be able to introduce the practice, in the administration of justice, of having a Christian sitting on the bench as judge beside a Brahmin.

He influenced these rulers to introduce many progressive reforms. During his tenure as Diwan, he reformed the judicial system, improved the revenue of the states, prevented corruption and mismanagement and started the process of abolishing slavery.  Slavery was abolished in Munroe Island on 8 March 1835 and finally by Royal proclamation of the maharajah of Travancore in 1853 and 1855. Munro removed many taxes levied on the poorer sections of the community. With deep Christian convictions, he persuaded the Rani of Travancore to donate land in Kottayam as well as the money and timber, in-order to build the Orthodox Pazhaya Seminary and also petitioned the Church Missionary Society to send missionaries on a Help Mission, to educate and train the clergy of the Malankara Church. In 1816, the Church Missionary Society sent Benjamin Bailey, Henry Baker senior, and Joseph Fenn, who established what became CMS College Kottayam. Bailey was the first principal. With Munro's support, Bailey had the bible translated into Malayalam. About the same time, Thomas Norton established a CMS School at Alleppy. The network of schools established by missionaries, and also their wives, meant Travancore led the world in primary education for girls as well as boys, and laid the foundations for the high levels of literacy in Kerala.

Later life

John Munro came home on leave in 1819, when he bought Teaninich Castle from his brother Hugh. He returned briefly to India in 1823-4, before ill-health compelled his retirement. As an evangelical Christian, he supported the Great Disruption of 1843. His calotype portrait by David Octavius Hill was the model for his inclusion in the Hill's famous painting of the signing of the Deed of Separation at the First Assembly of the Free Church of Scotland. He provided land for the Free Church in Alness, of which he became an elder. On Hugh's death in 1846, he inherited the Teaninich distillery which the latter had founded in 1817.

Major-General John Munro, 9th of Teaninich, died on 25 January 1858, and was buried in the Teaninich family vault in Alness Old Parish Church.

Legacy

Munro is remembered as one of the most brilliant and popular administrators of the kingdoms of Cochin and Travancore. The Travancore State Manual of 1906 said of him "He has left an imperishable name in the hearts of the Travancore population for justice and probity. The most ignorant peasant or cooly in Travancore knows the name of Munrole Sahib... He worked with a single-handed devotion to the interests of the state." Canon Horace Monroe claimed "He lived to see Muslims and high caste Hindus appreciate the integrity and fairness of Christian judges, and he paved the way for those who since his day have tried to interpret Western Christianity to the Eastern people."

An archipelago of eight islands located in the Ashtamudi Lake of Kollam (Quilon), called Munroe Island, was named in his honour. On his death, a series of lights to guide travellers in the lakes and backwaters of the State were called 'Munro Lights' in his honor by the Travancore Government.

Family

John Munro had four children while serving in Madras, probably by native mother(s).
Urban Vigors Munro (baptised 1801 Madras d. Travancore 1844) was in 1827 appointed first Conservator of Forests of Travancore, to manage the state monopoly of teak, and later also cardamom, ebony and sandalwood. His son John Daniel Munro was first a coffee planter, but headed the newly separate Cardamom Department from 1869. He built paths to open up the area round Peermade and Munnar, enabling the founding of tea industry in the Kan(n)an Devan Hills. His short book The High Ranges of Travancore describes these hills.
James Munro (baptised 1805 died 1805).
Margaret Munro (died 1807).
Theodosia (born 1805, baptised 1807, probably also died young). Her mother's name is given as Chauby.

John Munro was married in Madras in 1808 to Charlotte, sister of Valentine Blacker. Their children were:
Charlotte Munro (1810 - 1875, who married George Augustus Spencer)
James St. John Munro (baptised December 1811 in Padanilam, Travancore). He disposed of his succession to Teaninich to his brother Stuart Caradoc Munro, and became British Consul in Montevideo, Uruguay, where he died in 1878.
John Munro (1820 - 1845, served as captain in the 10th Light Cavalry of the Bengal army and as Aide de Camp to Lord Hardinge. After being promoted to major, he was wounded at the Battle of Moodkee in Dec 1845 and died two days later)
Stuart Caradoc Munro (1826 - 1911), a tea-planter in Ceylon, who left no issue.
Maxwell William Munro (1827 - 1854, died at sea).

References

1778 births
1858 deaths
Scottish soldiers
John Munro
British East India Company Army generals
British military personnel of the Fourth Anglo-Mysore War
Diwans of Cochin
Diwans of Travancore

John Munro, 9th of Teaninich


Peter Laurence Gordon (born June 20, 1951) is an American saxophonist, clarinetist, pianist and experimental composer, whose influences include jazz, disco, funk, rock, opera, classical and world music. He has released several albums and composed scores for film and theater, and he has also toured and re-interpreted the music of Arthur Russell, on whose compositions he played, as well as that of Robert Ashley.

Early life and education
Gordon was born in New York City, and grew up in Virginia, Munich, and Los Angeles. He began piano lessons at age 7 and learned the clarinet in early childhood. He started to play the saxophone, which would become his main instrument, at age 14. His earliest musical influences were jazz artists from New Orleans, as well as The Shadows, The Ventures, Albert Ayler, Igor Stravinsky, Sun Ra, The Animals and The Yardbirds.

When he was a senior in high school, Gordon made friends with Captain Beefheart and spent time at Beefheart's home studio while he was recording Trout Mask Replica. He told the critic Geeta Dayal, "...it was really through Beefheart that introduced me to the idea that rock music and pop music could be art simultaneously, and you didn't have to buy into the whole commercial record business. You could make really raw, funky music and have it be really smart at the same time."

He has said of the development of his style, "....once I started playing sax, I was trained more as a jazz musician than as a classical player. I did study classical music and composition in college, though from more of an experimental music perspective than a conservatory approach."  About jazz, though, he told the composer Nick Hallett, "I never really got into that play-the-head-take-turns-soloing-play-the-head-again type of jazz, that dependency on standard repertoire. Also there was something about the jazz players—it was almost athletic in a certain sense. It was always like, who plays the fastest solo? Who's the hottest player? There was this sort of hierarchy, guys who knew all those be-bop solos and played really fast, and a lot of it seemed more about chops than about music. And I began being more interested in exploring a limited set of either musical skills or gestures, and really trying to look at things singularly from different points of view. Also, whatever you do in the jazz hierarchy, you're always competing against Charlie Parker and John Coltrane."

Gordon earned a BA in composition at University of California, San Diego, where he studied with Kenneth Gaburo and Roger Reynolds; he earned an MFA at the Mills College Center for Contemporary Music, where he studied with Robert Ashley and Terry Riley. Discussing his time in California, Gordon told The Irish Times, "Initially, I had a very austere, modern, avant-garde classical schooling in San Diego and I rebelled against that….I always had a mission to create music which integrated the head and the body."

Career
Gordon has led a varied career: He has helmed his ensemble The Love Of Life Orchestra, collaborated with other composers, and composed works for stage shows, particularly at Brooklyn Academy of Music. About his saxophone playing, Gordon has said, "I always liked the deep-throated R&B sound. Gene Ammons, Plas Johnson, King Curtis, Though if I had to name a sax hero, that would be John Coltrane." As a composer, he was heavily influenced by his teacher Terry Riley.

Gordon co-founded The Love of Life Orchestra with David Van Tieghem in the late 1970s. At various points Arthur Russell, Rhys Chatham, Kathy Acker, Ernie Brooks, Jill Kroesen and Peter Zummo were collaborators in Love of Life Orchestra.

Gordon was an early proponent of Tape Music, which according to musicologist and composer Ned Sublette, "created an original kind of continuum between the composed and improvised, and between the acoustic and the virtual, one that gave performers a broad scope to create their own sound and their own parts while hewing to a carefully thought-out composition…"

He collaborated with "Blue" Gene Tyranny a number of times, including for the Trust In Rock recordings, performed live at the University Art Museum in Berkeley in 1976, and released as a recording on Unseen Worlds in 2019. He collaborated with writer Kathy Acker, artist David Salle and director Richard Foreman on the opera The Birth Of The Poet, which opened in Rotterdam in 1984, and had its U.S. premiere at Brooklyn Academy of Music in 1985. His score for Otello, a collaboration with the Neapolitan theater company Falso Movimiento, won the Village Voice's Obie Award in 1985.  That same year, Gordon composed the score for Secret Pastures, a collaboration with choreographers Bill T. Jones and Arnie Zane, artist Keith Haring, and designer Willi Smith, which premiered at BAM in 1984.  His work on that production, as well as Otello, earned him a 1985 Bessie award in the category of Composer.

His composition Return of the Native, a collaboration with video artist Kit Fitzgerald, his wife and frequent creative partner, premiered at BAM in 1988. According to Sublette, it was "the first fusion of live orchestra and live video projection." In fact, Gordon and Fitzgerald had merged projection and orchestration on earlier productions outside of New York City, including Return of the Animals, a 1984 performance at Rivoli Castle in Turin.

In 2015, Gordon directed a touring revival of Arthur Russell's Instrumentals, whose first showing he scored in 1975.

In addition to his own work, and that with his Love of Life Orchestra, he has appeared on or composed music for albums by Laurie Anderson, Suzanne Vega, David Johansen, Elliott Murphy, Loose Joints, Dinosaur L, Gabe Gurnsey, Museum of Love, "Blue" Gene Tyranny, The Flying Lizards, David Van Tieghem, Lawrence Weiner, and Arthur Russell.

Gordon has  collaborated on a number of occasions with Willi Smith's company Williwear, including the film Expedition, used to introduce the designer's 1986 collection, which was directed by Max Vadukul and shot on location in Dakar.

In 2007, James Murphy and Pat Mahoney of LCD Soundsystem used Gordon's classic Downtown tracks "Beginning of the Heartbreak" and "Don't Don't" to open and close their highly acclaimed dance mix FabricLive.36.

In 2008 an excerpt of his opera (with artist Lawrence Weiner) The Society Architect Ponders the Golden Gate Bridge was issued on the compilation album Crosstalk: American Speech Music (Bridge Records) produced by Mendi + Keith Obadike. Gordon wrote the scores for the serial mystery drama The Necklace, presented by The Talking Band. He worked on the soundtrack to Desperate Housewives.

In 2010, DFA Records released remixes by Gordon of "Beginning of the Heartbreak/Don't Don't" and "That Hat," cowritten with Arthur Russell. They released a compilation, Peter Gordon & Love Of Life Orchestra, consisting of music Gordon and his ensemble recorded in the '70s and '80s, that same year.

Personal life
Gordon was involved romantically with Kathy Acker, whom he lived with for six years.  He resides in New York City with his wife and collaborator, the video artist Kit Fitzgerald, and is a professor emeritus of Music Technology at Bloomfield College.

Discography

Solo albums
 Star Jaws LP (Lovely Music, 1978)
 Deutsche Angst, with Lawrence Weiner (Les Disques du Crépuscule, 1982)
 Secret Pastures (Artservices, 1984)
 Innocent LP (CBS Masterworks, 1986)
 Otello (ROIR, cassette 1987)
 Brooklyn CD/LP (CBS Masterworks, 1987)
 Leningrad Xpress CD/LP (Newtone, 1990)
 Still Life and the Deadman (with the Balanescu String Quartet, Newtone, 1994)
 Symphony 5 (Foom, 2015)
 Condo (Foom Music EP 2017)
 Eighteen (Foom, 2018)

W/ Love of Life Orchestra
 Extended Niceties  EP (Lust/Unlust 1979)
 Geneva LP (Lust/Unlust 1980)
 Casino EP (Italian Records 1982)
 Geneva and Extended Niceties CD (Newtone reissue, 1992)
 Love of Life Orchestra: Quartet  CD (New Tone Records, 1995)

Justine & Victorian Punks (aka Colette)
 "Beautiful Dreamer" b/w "Still You" 12" (Colette is Dead Records 1979/DFA 2010)

With "Blue" Gene Tyranny
 Trust In Rock CD/LP (Unseen Worlds, 2019)

With Tim Burgess
 "Oh Men" b/w "I Couldn't Say it To Your Face" (O Genesis 2014)
 "Tracks of My Past" b/w "Like I Already Do" (O Genesis 2015)
 Same Language, Different Worlds CD/LP (O Genesis, 2016)

With David Cunningham
 The Yellow Box (Piano Records, 1996)

With Thomas Fehlman
 "Westmusik" 12" (Zickzack Records, 1983)

With Robert Ashley
 The Bar LP (Lovely Music 1980)
 Music, Word, Fire EP (Lovely Music 1981)
 Perfect Lives (with Robert Ashley et al., Lovely Music, 1991)

With Lawrence Weiner
 Deutsche Angst (Les Disques du Crépuscule, 1982)
 The Society Architect Ponders the Golden Gate Bridge (excerpt on Bridge Records 2008)

With Arthur Russell
 "Clean On Your Bean" b/w "Go Bang"
 "Kiss Me Again" 12" (Sire, 1978)
 "Love is Overtaking Me"
 "That Hat" (included on Gordon's record Innocent, 1986)
 Instrumentals (reissued on Audika, 2017)

Compilations
 Sugar, Alcohol & Meat  (Giorno Poetry Systems, 1980)
 Just Another Asshole LP (1981)
 Fruit of the Original Sin (Disques Crepescule, 1982)
 FabricLive.36, curated by James Murphy & Pat Mahoney (Fabric Records 2007)
 Peter Gordon & Love of Life Orchestra (DFA, 2010)
 Late Night Tales LP/CD  (Late Night Tales, 2020)

References

External links

 Gordon biography at Lovely Music

1951 births
Living people
Composers from New York City
American jazz composers
American male jazz composers
American film score composers
American male film score composers
American keyboardists
American male saxophonists
American clarinetists
American experimental musicians
Bessie Award winners
Jazz musicians from New York (state)
21st-century American saxophonists
21st-century clarinetists
21st-century American male musicians
Love of Life Orchestra members

Peter Gordon (composer)


La Bayou was a  casino located on the Fremont Street Experience in Downtown Las Vegas, Nevada.

The casino had  of gaming space with 125 slot machines. By the time of its closing, La Bayou was one of the few casinos in Las Vegas where slot machines paid out in coins, rather than vouchers.

History

Northern Club: 1920-43
The business opened in 1913 as the Las Vegas Coffee House.

In 1920 Mayme Stocker renamed it the Northern Club, offering liquor and gambling when both were illegal, during the Prohibition era. "Northern" was a well-known code word among railroad workers for an establishment serving alcohol.

On March 20, 1931, the Northern Club received the first Nevada gaming license. This was also the first gaming license issued to a woman, Mayme Stocker.

By 1941, Bugsy Siegel and Dave Stearns were operating the club.

Turf Club, Monte Carlo Club, 1940s-1960s
In 1943, Turf Club replaced Northern Club. It ran only until 1945 when Wilbur Clark leased the club, renaming it the Monte Carlo Club.  The Stockers continued to run the Northern Hotel on the second floor until 1949. Monte Carlo Club would close in 1956, but remain in business as a bar until the 1960s. The original building was razed after 1965. A new building was erected, where a Denny's diner opened c. 1967–1968, followed by Sam's Roast Beef c. 1968–1969.

Coin Castle: 1970-99
By 1970, the site was operating as the Coin Castle. Herb Pastor was approved to take over the Coin Castle and the nearby Golden Goose casino in 1977. Pastor would later also own the nearby Sassy Sally's casino and the Girls of Glitter Gulch strip club.

La Bayou: 1999-2016
Pastor decided in 1999 to move ahead with a renovation plan to transform the Coin Castle and Sassy Sally's into La Bayou and Mermaids, respectively, for a total of $6 million.

In 2006, Pastor's son, Steve Burnstine, purchased the two casinos and the strip club.

Closing: 2016
In April 2016, Derek and Greg Stevens, owners of the neighboring Golden Gate and Las Vegas Club casinos, purchased the three properties, and announced that the businesses would close on June 27.  It was razed soon after. The Golden Gate's expansion into the former space opened at noon on August 25, 2017.

References

Defunct casinos in the Las Vegas Valley
Downtown Las Vegas
Buildings and structures in Las Vegas
1931 establishments in Nevada
2016 disestablishments in Nevada
Buildings and structures demolished in 2017
Demolished buildings and structures in Nevada

La Bayou


525 William Penn Place (also known as the Citizens Bank Tower) is a skyscraper located in downtown Pittsburgh, Pennsylvania. It was completed in 1951 for the Mellon National Bank and the U.S. Steel Corporation. At  tall, it was the second-tallest building in Pittsburgh until 1970, and the third-tallest until 1984. The building has 41 floors and approximately  of office space. Presently it is the third-largest office building by square feet in downtown Pittsburgh. In 2016, BNY Mellon sold the building for $67.65 million.

History
525 William Penn Place was one of the first skyscrapers built in Pittsburgh as part of longtime Mayor David Lawrence's Renaissance I building initiative to rebuild downtown Pittsburgh.  The building was built by the then Pittsburgh Pirates owner John W. Galbreath with loans from the Mellon National Bank and additional financing from insurance companies.  At the time of construction, Mellon purchased floors 2-8 by deed in 1951 from John W. Galbreath.  The building was designed by Harrison & Abramovitz with construction by the Turner Construction Company.  It was built on the site of the Henry Hotel which was demolished to prepare the site for the tower in 1949.

The original plan for the building was to construct the ground floors in the same architectural design as the Mellon National Bank on Smithfield Street adjacent to the skyscraper and to allow open flow of Mellon employees between the two buildings with Mellon occupying the first eight floors.  This plan was later modified during construction to give the entire building its own modernist style and an open shared lobby with three elevator banks and multiple passages between the skyscraper and the Mellon National Bank on Smithfield Street.  U.S. Steel leased the floors 9 through 37 for their corporation and various subsidiaries.  The top floors were reserved for the T. Mellon & Sons Company, various Mellon family charities offices, and a penthouse for philanthropist Richard King Mellon.
U.S. Steel was the primary tenant until completing their own skyscraper, U.S. Steel Tower, on Grant Street in 1970.  At that time, Mellon Bank owned floors 2-8 and leased the remainder of the building from the John W. Galbraith Co.  In April 1982, Mellon Bank finally purchased the remainder of the building for $10 million.

Mellon Bank (The Bank of New York Mellon since 2007) remained the owner of 525 William Penn Place and the largest occupier of space at approximately half the building (approximately 500,000 square feet).  The remainder of the space is leased to various businesses and law firms with Citizens Bank as the largest tenant occupying approximately 250,000 square feet (1/4 of the building).  Citizens Bank also leases from Mellon signage rights to the building which include the right to erect signage at the top of the tower and above the entry closest to Fifth Avenue.

In January 2015, BNY Mellon announced it would begin slowly moving employees to other space in downtown Pittsburgh and seek a buyer for the building.

In September 2016 BNY Mellon, National Association sold it to FAC 525, LLC (a single purpose entity) for $67.65 million.

Renovations
The first major building renovation of 525 William Penn Place occurred from 1986 to 1987 with a complete building renewal.  New windows (approximately 3,344), heating, air, plumbing, and new mechanical systems were installed.  In 2001, a new renovation commenced with the complete rebuilding of the lobby, building entrances, elevator cabs, and restrooms.  The building was awarded an Energy Star label in 2008 for its operating efficiency.  In 2010, the building was further awarded a Gold Level LEED certification by the US Green Building Council.

Building name

Being primarily a bank office building and due to the ever changing banking industry, the name of the building has often been in confusion.  Originally known as 525 William Penn Place from construction until 1970, it was then named the Mellon Bank Center.  It was renamed again in 1984 with the completion of One Mellon Bank Center two blocks away with the designation of Three Mellon Bank Center (later Three Mellon Center).  In 2002 it reverted to the original name of 525 William Penn Place with Mellon's sale of its retail banking business to Citizens Bank.

Interesting facts
There are many short distance elevators located throughout the building.  For example, four small capacity elevators exist that provide service only between floors two through eight.  Two more elevators exist for service only between floors 38 - 41.

In the basement garage, accessible by vehicles from Oliver Avenue for deliveries, exists a working vehicle turntable.  Trucks can enter, unload, and then be "turned around" by operating the turntable to exit the building.

There is a tunnel that runs between 525 William Penn Place and One BNY Mellon Center on Grant Street, running under the Union Trust building.  This tunnel connects all three buildings and while not open to the public, remains in use by building staff and tenants.

Popular culture
The skyscraper makes a cameo in the 2010 rap video Black and Yellow, the camera panning skyward from a street view.

See also
List of tallest buildings in Pittsburgh

References

External links

Emporis
Skyscraperpage
Pittsburgh Business Journal
Pittsburgh Business Journal

Skyscraper office buildings in Pittsburgh
Office buildings completed in 1951
Headquarters in the United States
Harrison & Abramovitz buildings

525 William Penn Place


Sally Clare Kellerman (June 2, 1937 – February 24, 2022) was an American actress whose acting career spanned 60 years. Her role as Major Margaret "Hot Lips" Houlihan in Robert Altman's film M*A*S*H (1970) earned her an Academy Award nomination for Best Actress in a Supporting Role. After M*A*S*H, she appeared in a number of the director's projects, namely the films Brewster McCloud (1970), Welcome to L.A. (1976) (produced by Altman, directed by his protégé, Alan Rudolph), The Player (1992), and Prêt-à-Porter (1994), and the short-lived anthology TV series Gun (1997). In addition to her work with Altman, Kellerman appeared in films such as Last of the Red Hot Lovers (1972), Back to School (1986), plus many television series such as The Twilight Zone (1963), The Outer Limits (1963 & 1965), Star Trek (1966), Bonanza (1966, 1970), The Minor Accomplishments of Jackie Woodman (2006), 90210 (2008), Chemistry (2011), and Maron (2013). She also voiced Miss Finch in Sesame Street Presents: Follow That Bird (1985), which went on to become one of her most significant voice roles.

At age 18, Kellerman signed a recording contract with Verve Records, but her first album (Roll with the Feelin on the Decca label) was not recorded until 1972. A second album Sally was released in 2009. Kellerman also contributed songs to the soundtracks for Brewster McCloud (1970), Lost Horizon (1973), Rafferty and the Gold Dust Twins (1975), and Boris and Natasha: The Movie (1992).

Kellerman did commercial voiceover work for Hidden Valley Ranch salad dressing, Mercedes-Benz, and Revlon. Kellerman's animation work included The Mouse and His Child (1977), Happily Ever After (1990), Dinosaurs (1992), Unsupervised (2012), and The High Fructose Adventures of Annoying Orange (2013). In 2013, she released her memoir Read My Lips: Stories of a Hollywood Life, describing her trials and tribulations in the entertainment business.

Early life
Kellerman was born in Long Beach, California, on June 2, 1937 to Edith Baine (née Vaughn), a piano teacher from Portland, Arkansas, and John Helm "Jack" Kellerman, a Shell Oil executive from St. Louis, Missouri. She had an older sister, Diana Dean Kellerman. Her younger sister, Victoria Vaughn Kellerman, died in infancy. Edith was a Christian Scientist and raised her daughters in this faith.

When Kellerman was in fifth grade, the family moved from Long Beach to the San Fernando Valley. She spent her early life in then-rural Granada Hills in a largely unpopulated area surrounded by orange and eucalyptus groves. During her sophomore year of high school, the Kellermans moved from San Fernando to Park La Brea, Los Angeles, where she attended Hollywood High School. She grew to stand 5'10 1/2" (179.07 cms). Due to her shyness, she made few friends and received poor grades (except in choir and physical education) but appeared in a school production of Meet Me in St. Louis.

With the help of a high-school friend, Kellerman submitted a recording demo to Verve Records founder and head Norman Granz. After signing a contract with Verve, however, she was daunted by the task of becoming a recording artist and walked away.

Kellerman attended Los Angeles City College, and also enrolled in Jeff Corey's acting class. Within a year, she appeared in a production of John Osborne's Look Back in Anger staged by Corey and featuring classmates Shirley Knight, Jack Nicholson, Dean Stockwell, and Robert Blake. Towards the end of the 1950s, Kellerman joined the newly opened Actors Studio West and debuted before the camera in the film, Reform School Girl (1957). To pay her tuition, Kellerman worked as a waitress at Chez Paulette.

Career

1960s
Kellerman made a number of television-series appearances. She was in an episode of the western Cheyenne, as well as a role as a waitress in the John Forsythe sitcom Bachelor Father. Struggling for parts in television and films, Kellerman acted on stage. She debuted in Henrik Ibsen's An Enemy of the People, followed by parts in a Pasadena Playhouse production of Leslie Stevens's The Marriage-Go-Round and Michael Shurtleff's Call Me by My Rightful Name (1962).

Kellerman appeared in two episodes of The Outer Limits, first in 1963 in the episode "The Human Factor", and then in 1964 in the episode "The Bellero Shield" in which she played Judith Bellero, the manipulative and ruthless wife of Richard Bellero (played by Martin Landau). In between her two Outer Limits appearances, she was a guest in an episode of My Three Sons. A role as Holly Mitchell, perverted mistress of George Peppard's character in The Third Day (1965), followed. She played leading lady to David Niven in his television series The Rogues in 1965 for an episode titled "God Bless You, G. Carter Huntington" which revolved around her striking beauty to a large degree, and appeared in a 1965 Alfred Hitchcock Hour episode titled "Thou Still Unravished Bride".

A year later, she played psychiatrist Elizabeth Dehner (who studied the long-term effects of space on a crew) in "Where No Man Has Gone Before", the second pilot for Star Trek. Three months after that, Kellerman played Mag Wildwood in the original Broadway production of Breakfast at Tiffany's, directed by Joseph Anthony and produced by David Merrick, which closed after four preview performances. Before the closing the musical numbers were recorded live, and she recorded three songs which appeared on the original cast recording.

Near the end of the decade, Kellerman guest-starred in The Invaders in the episode "Labyrinth" (1968). She also had turns as the severely beaten (and only surviving) victim of Albert DeSalvo in , and Phyllis Brubaker (Jack Lemmon's materialistic wife) in the romantic comedy The April Fools (1969). She turned down a role in Paul Mazursky's Bob & Carol & Ted & Alice (1969). She played Eleanor in the Hawaii Five-O episode "The Big Kahuna" (1969).

In a 1971 Life magazine interview, Kellerman remembered her television years: "It took me eight years to get into TV — and six years to get out. Frigid women, alcoholics they gave me. I got beat up, raped, and never played comedy."

1970s
Kellerman received her breakthrough role (Major Margaret "Hot Lips" Houlihan in Robert Altman's M*A*S*H) in 1970. Her performance received Academy Award and Golden Globe nominations, winning the Kansas City Film Critics Circle (KCFCC) Award for Best Supporting Actress, the Golden Laurel for Best Comedy Performance (Female), and a second-place National Society of Film Critics (NSFC) Award for Best Supporting Actress. Kellerman was featured in Life magazine. She again collaborated with Altman in Brewster McCloud as Louise, guardian angel to Bud Cort, and recorded "Rock-a-Bye Baby" for the film's soundtrack.

Her next role was as a hostile, chain-smoking, sex-addicted woman who was trying to have an afternoon affair with Alan Arkin's character in Gene Saks' film adaptation of Neil Simon's comedy Last of the Red Hot Lovers (1972). In Manhattan after the film, Kellerman declined an offer for a ten-page spread in Vogue from the then editor-in-chief Grace Mirabella. When she refused the part of Linda Rogo in The Poseidon Adventure (1972), Stella Stevens got the role. Shortly afterwards she recorded her first demo with Lou Adler, and Roll with the Feelin for Decca Records with producer-arranger Gene Paige. After filming Last of the Red Hot Lovers, Kellerman passed up a role in another Altman film:

Kellerman's next roles included as a woman involved in a deadly plot in the slasher film A Reflection of Fear (1972); an eccentric woman in the road movie Slither opposite James Caan (1973), and a tormented journalist in Charles Jarrott's musical remake of Frank Capra's Lost Horizon (also contributing to the latter's soundtrack). Two years later, she played Mackinley Beachwood in Dick Richards' Rafferty and the Gold Dust Twins (1975), one of two women who kidnap driving instructor—and former United States Marine Corps gunnery sergeant—Rafferty (Alan Arkin), also singing "Honky Tonk Angels".

In October 1975, Kellerman sang at Reno Sweeney, and performed two shows nightly at the Rainbow Grill from November 25 to December 14. Her next appearance was as Sybil Crane (a woman in the midst of a divorce) in The Big Bus, a parody of disaster films, followed by a role as a lonely real estate agent in the Alan Rudolph-directed and Altman-produced Welcome to L.A. (both 1976). The next year, Kellerman appeared in a week-long run of cabaret concerts beginning at the Grand Finale club on May 2. Songs that evening included versions of Leon Russell and Betty Everett hits.

At the end of the decade, Kellerman's roles included Maureen, a veteran vaudevillian, in Verna: USO Girl (1978); Veronica Sterling, a party-addicted socialite, in the made-for-television film She'll Be Sweet (1978); and Lise Bockweiss—one of several wives of Pasquinel (Robert Conrad) and daughter of Herman Bockweiss (Raymond Burr)—in the 12-episode miniseries Centennial (1978–1979). Kellerman played Kay King, the pretentious and kooky mother of a lovelorn daughter (Diane Lane), in George Roy Hill's A Little Romance (1979).

1980s

Kellerman began the decade as Mary, a divorced middle-aged suburban mother struggling to raise her rebellious daughter (Jodie Foster) in Adrian Lyne's Foxes (1980); Martha, a six-times-married eccentric, in Bill Persky's Serial, and the silly-but-sophisticated Mrs. Liggett in Jack Smight's Loving Couples. Her later roles included Mary, a child psychiatrist in a sadomasochistic relationship with a psychology professor (Stephen Lackman) after they meet by accident (literally) in Michael Grant's Head On, and a 1920s socialite in Kirk Browning's made-for-television film adaptation of Dorothy Parker's 1929 short story Big Blonde (both 1980). From October 3 to November 15, 1980, Kellerman starred as Julia Seton in an Ahmanson Theatre production of Philip Barry's Holiday (directed by Robert Allan Ackerman) with Kevin Kline, Maurice Evans, and Marisa Berenson.

On February 7, 1981, Kellerman hosted Saturday Night Live, appearing in four sketches ("Monologue", "The Audition", "Was I Ever Red", and "Lean Acres") and closing the show with Donna Summer's "Starting Over Again". Kellerman's next performances were in made-for-television films. She played the title character's first wife, Maxine Cates, in Dempsey and a honky-tonk dance-hall proprietress in September Gun. That year she also appeared in a stage production, Tom Eyen's R-rated spoof of 1940s women's prison films Women Behind Bars. Kellerman played Gloria, a tough inmate who controls the other prisoners.

Her next roles were a KGB-training-school warden in the made-for-television film, Secret Weapons (1985); the sadomasochistic Judge Nedra Henderson in Moving Violations (1985); Rodney Dangerfield's love interest in Alan Metter's comedy Back to School (1986); Julie Andrews' and Jack Lemmon's eccentric neighbor in Blake Edwards' That's Life (1986); a porn star trying to get into heaven in Meatballs III: Summer Job (1986); Kerri Green's mother in Three for the Road (1987), and an actress in Henry Jaglom's Someone to Love. Late in the decade, Kellerman planned to release her second album, which would have included "It's Good to Be Bad, It's Bad to Be Good" from 1992's Boris and Natasha: The Movie (which she produced and starred in as Natasha Fatale); however, the album never was released.

1990s
In 1992, there was a fourth collaboration between Kellerman and Altman in The Player, in which she appeared as herself. Supporting roles followed in Percy Adlon's Younger and Younger (1993), Murder She Wrote (1993) and Mirror, Mirror II: Raven Dance (1994), the sequel of the Yvonne De Carlo and Karen Black horror film Mirror, Mirror. The actress appeared in another Altman film, Prêt-à-Porter (1994), as Sissy Wanamaker, editor-in-chief of Harper's Bazaar, with Tracey Ullman and Linda Hunt. During filming, Altman flew Kellerman and co-star Lauren Bacall from Paris for his tribute at Lincoln Center. From April 18 to May 21, 1995, Kellerman played the title role in the Maltz Jupiter Theatre production of Mame. Around this time, Kellerman appeared in back-to-back plays in Boston and Edmonton. In Boston, she played Martha in the Hasty Pudding Theatricals production of Who's Afraid of Virginia Woolf?, and starred as Mary Jane Dankworth in a two-month, two-character production of Lay of the Land with Michael Hogan in Edmonton. That year Kellerman planned to release her second album, Something Kool, featuring songs from the 1950s.

In 1996, Kellerman played a calculating sister in an episode of The Naked Truth, "Sister in Sex Triangle with Gazillionaire!" A year later, she collaborated with Altman for the last time in "All the President's Women", an episode of the director's TV series Gun. The actress then co-produced and reprised her Canadian stage role in a film version of The Lay of the Land.

In 1997, Kellerman was scheduled to play the title role in Mrs. Scrooge: A Slightly Different Christmas Carol, a made-for-TV film version of Charles Dickens' novella. In the film, Mrs. Scrooge is a homophobic widow whose late partner (Jacob Marley) and three other spirits awaken her to the reality of AIDS. Although it was never released, the actress told a reporter for The Advocate why the project was more personal than professional: "My sister's gay—and was gay before it was popular... My sister is a very loving person. So is her girlfriend. And my daughter is an amazing woman. They're all heroic in my book."

Kellerman appeared in the 1998 Columbo episode "Ashes to Ashes". On June 10, 1999, Kellerman joined actresses Kathleen Turner and Beverly Peele in a Planned Parenthood press conference supporting a proposed law introduced to the U.S. Congress.

2000s
At the beginning of the century, Kellerman appeared in Canon Theatre's production of Eve Ensler's The Vagina Monologues with Teri Hatcher and Regina Taylor.
This was followed by a cabaret show at Feinstein's at the Regency, which opened with Helen Reddy's "I Am Woman". Other songs ranged from Barbra Streisand's "The Way We Were" to "We Shall Overcome" and "America the Beautiful". In March 2002, Kellerman performed in Los Angeles' What a Pair, a benefit for breast cancer research, joining singer-songwriter Julia Fordham for "Why Can't I". That year, the actress also played protagonist Judge Marcia Blackwell in the made-for-television film Verdict in Blood. This was followed by another cabaret show, produced by Hal David, at the Palmdale Playhouse. Songs included Etta James' "Sunday Kind of Love" and "Long Way From St. Louis". An album (Body Parts) was planned, but never released.

In the summer of 2004, Kellerman played host Madame ZinZanni in Teatro ZinZanni. That year she also received the Susan B. Anthony "Failure is Impossible" Award, honoring women in the film industry who have overcome adversity, at the High Falls Film Festival. Kellerman returned to the stage for a second What a Pair concert, joining actress Lauren Frost for "I'm Past My Prime". The next year, she played Dolores Montoya in Blank Theatre Company's Los Angeles revival of The Wild Party, followed by the sexually-provocative Sandy in Susan Seidelman's Boynton Beach Club. Kellerman sang Cole Porter's "My Heart Belongs to Daddy" with actress, singer and songwriter Kathleen "Bird" York at her third (and final) What a Pair concert. In 2006 the actress appeared as herself in the first episode of the IFC's The Minor Accomplishments of Jackie Woodman, "A Cult Classic".

In September 2008, Kellerman recorded a duet with Ray Brown Jr. (son of Ella Fitzgerald and Ray Brown), "I Thought About You", for Brown's duet CD Friends and Family. In 2009, Kellerman released a jazz and blues album, Sally, her first since Roll with the Feelin. Sally featured interpretations of songs by Linda Ronstadt, Kim Carnes, Aerosmith, Nina Simone, the Motels, Neil Diamond, Jackson Browne, Marvin Gaye, Dolly Parton, Jennifer Warnes, and James Taylor. That year she also played Donette, owner of a small-town diner, in the made-for-television film The Wishing Well.

2010s
Kellerman starred with Ernest Borgnine and Mickey Rooney in Night Club (2011). Her performance as a woman with Alzheimer's living in a retirement home won an Accolade Competition Award for Best Supporting Actress. That year she played a recurring role as Lola (an eccentric artist) in Cinemax's sexually explicit comedy-drama series Chemistry, followed by guest appearances on the CW teen drama series 90210 as Marla, an aging Hollywood actress with dementia who considers assisted suicide. On July 7, 2012, Kellerman appeared with Tito Ortiz, Cary Elwes, and Drake Bell in an episode of the Biography Channel's Celebrity Ghost Stories.

On April 30, 2013, the actress released her memoir, Read My Lips: Stories of a Hollywood Life, published by Weinstein Books. In the book, she remembered a close-knit, family-oriented past Hollywood and her triumphs and tribulations as an actress during the 1960s. Kellerman made promotional book-signing appearances in Los Angeles, Santa Monica, Manhattan, and Jersey City. Shortly afterward, she appeared as Marc Maron's bohemian mother in the "Dead Possum" episode of his comedy series.

Kellerman later received a Fort Lauderdale International Film Festival (FLIFF) Lifetime Achievement Award at Cinema Paradiso in Fort Lauderdale, Florida. The ceremony, which included a montage of her work and an audience question-and-answer session, was moderated by film historian Foster Hirsch. In September 2013 filmmaker Ellen Houlihan released a short film Joan's Day Out, in which Kellerman played a grandmother who escapes from her assisted-living facility to bail her teenage granddaughter out of prison. The actress joined the Love Can Initiative, a nonprofit organization dedicated to enriching the lives of low income families and their children, in February 2014. Kellerman made a return appearance in the second season of Maron in the episode "Mom Situation", and as part of an Epix Network documentary celebrating the life of Robert Altman on August 6, 2014.

In October 2014, TVLine announced that Kellerman had been cast in the mysterious role of Constance Bingham on the daytime soap opera The Young and the Restless and was nominated for a Daytime Emmy as Best Actress in a Guest Role.  In 2016, she continued her recurring role on Maron and played in five episodes of the new series Decker.

Personal life
In 1961, Kellerman underwent a botched home abortion, and went to a hospital for the first time (due to her Christian Science upbringing). The relationship that had caused her terminated pregnancy was with bit actor William Duffy.

In the late 1960s, she was briefly involved with actor-screenwriter Lawrence Hauben. Hauben shot a documentary, Venus, about their relationship, which received a very limited theatrical release in 1971.

After the release of MASH, on December 17, 1970, Kellerman married Starsky & Hutch producer Rick Edelstein.
Anjanette Comer, Joanne Linville, and Luana Anders were among her bridesmaids. On March 6, 1972, Kellerman divorced Edelstein, citing irreconcilable differences. "We've fought every day since we've met," she said at the time.

In 1967, Kellerman's sister, Diana, came out as a lesbian and separated from her husband, Ian Charles Cargill Graham, who took full custody of the couple's daughter, Claire. After Diana moved to France with her partner, she didn't communicate with her daughter for eight years. Sally adopted Claire on January 30, 1976, and on April 10, Ian Graham died in Edinburgh, Scotland.

For a time in the mid-1970s, Kellerman was involved with Mark Farner of the rock group Grand Funk Railroad. He wrote the song "Sally", from the 1976 album Born to Die, as an ode to their relationship. She also dated screenwriters David Rayfiel and Charles Shyer, as well as journalist Warren Hoge, producer Jon Peters, and actor Edd Byrnes. In her autobiography, Kellerman made a point to note that her romance with Byrnes was never consummated.

On May 11, 1980, Kellerman married producer Jonathan D. Krane in a private ceremony at Jennifer Jones's Malibu home. In 1989, the couple adopted newborn twins, Jack Donald and Hanna Vaughan, who were born on June 24 of that year. The family relocated to Jupiter, Florida in 1991. After encountering financial difficulties, they sold their condo there in 2008 and moved back to Hollywood.

Jonathan Krane died of a heart attack on August 1, 2016, aged 64. Their adopted daughter, Hanna Krane, died on October 22, 2016, at age 27 from heroin and methamphetamine use.

Kellerman and Krane separated twice during their 36-year marriage, first for a few months in 1994, then again during 1997–98 over Krane's public affair with Nastassja Kinski. As Kellerman had dated married men in the past, she forgave her husband for the affair.

Kellerman died from heart failure at a care facility in Woodland Hills, Los Angeles, on February 24, 2022, at the age of 84. At the time of her death, she had dementia.

Filmography

Television

Awards and nominations

Source:

Discography
 Roll with the Feelin''' (Decca, 1972)
 Sally (The Music Force, 2009)

Bibliography
 Kellerman, Sally (2013). Read My Lips: Stories of a Hollywood Life''. Weinstein Books. .

References

Sources

External links
 Sally Kellerman at Facebook

1937 births
2022 deaths
20th-century American actresses
21st-century American actresses
21st-century American memoirists
Actresses from Long Beach, California
American Christian Scientists
American film actresses
American television actresses
American voice actresses
American women memoirists
American women singers
California Democrats
American LGBT rights activists
Los Angeles City College alumni
Memoirists from California

Sally Kellerman


Justin Lee Bartha (born July 21, 1978) is an American actor. In film, Bartha has played Riley Poole in the National Treasure film series and Doug Billings in The Hangover trilogy. His television roles include David Sawyer in the NBC comedy series The New Normal as well as Colin Morrello in the CBS All Access legal and political drama The Good Fight.

Early life
Bartha was born in Fort Lauderdale, Florida, and moved to West Bloomfield, Michigan when he was eight. His father, Stephen, is a commercial real estate agent while his mother, Betty, is a school teacher. He has one older brother, Jeffrey. Bartha was raised in a Reform Jewish family. After he graduated from West Bloomfield High School in 1996, he moved to New York City and studied filmmaking and theatre at New York University's Tisch School of Arts.

Career

Bartha began his film career behind the camera as a production assistant on the film Analyze This. His acting debut came with his first film, 54, as a clubgoer. He wrote and directed a short film, Highs and Lows, which was shown at the South by Southwest Film Festival in 2003. Additionally, he wrote, produced, and starred in an MTV pilot called The Dustin and Justin Show.

Bartha co-starred opposite Ben Affleck, Jennifer Lopez, Christopher Walken and Al Pacino in the critically bashed Gigli in 2003, before his co-starring role in the National Treasure franchise (2004; 2007) as Riley Poole. He reprised the role in the series continuation for Disney+.

In 2006, Bartha co-starred in the film Failure to Launch and NBC's sitcom Teachers which only aired six episodes.

In November 2007, Bartha was cast in an indie drama, Holy Rollers. His character lures a young Hasidic Jew (Jesse Eisenberg) into becoming an ecstasy dealer. Filming began in New York in the spring of 2008, and the film was released in 2010. Bartha re-teamed with Eisenberg for Eisenberg's critically acclaimed play, Asuncion. Bartha also starred alongside Catherine Zeta-Jones in the Bart Freundlich film, The Rebound which is about a 25-year-old man who starts a romance with his older single mother neighbor, the film began shooting in April 2008 in New York and finished in June. In The Hangover comedy film series, he played Doug Billings, one of the "Wolfpack" members who goes on weekend trips with the trio. After a wild nights of partying, he goes missing and his friends frantically search everywhere for him.

Bartha starred as Max in the Broadway revival of the play Lend Me a Tenor by Ken Ludwig. He performed alongside Tony Shalhoub, Anthony LaPaglia, Brooke Adams, and Jan Maxwell. A farcical comedy, it was directed by Stanley Tucci and started previews at the Music Box Theatre on March 11, 2010, with the official opening date on April 4, 2010. It was nominated for a Tony award for best revival of a play. In 2011, Bartha signed on to star in the premiere of Zach Braff's play All New People at Second Stage Theatre. All New People began June 28 and ran through mid-August. Anna Camp, David Wilson Barnes and Krysten Ritter co-starred in this production under the direction of Peter DuBois. In February 2012, Bartha signed on to co-star on the NBC comedy pilot The New Normal. On May 7, 2012, NBC ordered the project to series. The show was centered around a gay couple (played by Bartha and Andrew Rannells) and the surrogate mother (Georgia King) they selected to bear their child. It premiered on September 11, 2012, but was officially cancelled the next year on May 10, 2013.

In 2014, Bartha starred in another of Jesse Eisenberg's plays, A Little Part of All Of Us, alongside Eisenberg, for Playing On Air, a non-profit organization that "records short plays [for public radio and podcast] written by top playwrights and performed by outstanding actors."

Bartha has worked with the Matrix Theatre Company, guest directing their Teen Company in Are You Passing?, a play on the state of education in Detroit.

In 2018, Bartha co-starred as Colin Morrello in the first two seasons of the critically acclaimed CBS all-access drama, The Good Fight. In 2021, Bartha signed on to play Robert Morgenthau in the second season of the critically acclaimed EPIX hit drama, Godfather Of Harlem and co-starred opposite Jason Momoa in the Netflix movie Sweet Girl. In 2022, Bartha starred in the controversial and critically acclaimed standalone episode in the third season of Atlanta called, The Big Payback. Bartha plays a man named Marshall Johnson who finds out he must pay slavery reparations.

Personal life
Bartha married Pilates instructor and creator of B The Method Lia Smith in Oahu, Hawaii, on January 4, 2014. On April 13, 2014, she gave birth to their daughter. On April 16, 2016, she gave birth to their second daughter.

Acting credits

Music videos

References

External links

1978 births
Living people
20th-century American male actors
21st-century American male actors
American male film actors
American male stage actors
American male television actors
American Reform Jews
Jewish American male actors
Male actors from Fort Lauderdale, Florida
Male actors from Michigan
Tisch School of the Arts alumni
People from West Bloomfield, Michigan

Justin Bartha


Uli figures are wooden statues from New Ireland in Papua New Guinea. Like their neighbors to the north and south, the artistic traditions of the peoples of central New Ireland formerly focused largely around mortuary rites. In contrast to the intricate malagan carvings of the north, artists in central New Ireland produced less ornate but more permanent figures known as uli, which were kept and reused many times. No longer made today, uli were displayed as part of lengthy fertility rites involving the exhumation and reburial of human skulls, which accompanied the planting of sacred plants.

When a newly carved uli was brought out, a shaman assisted in inducing the spirit of the deceased chief to enter the carving, and after the ceremony, the work was kept in the "men's house" where it would continue to aid the successor and his people.

Uli figures appear hermaphroditic, having both a phallus and prominent breasts. This blending of male and female features possibly symbolized the fertile and nourishing powers of clan leaders, who were expected to provide for the other members of the clan. The Uli figures probably symbolized the connection between paternal and maternal life energy in initiation ceremonies.

Sources
New Ireland: art of the South Pacific by Michael Gunn, Philippe Peltier, St. Louis Art Museum, Musée du quai Branly, Ethnologisches Museum Berlin (2006)
Ritual arts of Oceania, New Ireland: in the collections of the Barbier-Mueller Museum by Musée Barbier-Mueller, Michael Gunn, Pierre-Alain Ferrazzini, Mona Bismarck Fondation (1994)
Assemblage of spirits: idea and image in New Ireland by Louise Lincoln, Minneapolis Institute of Arts (1987)
The iconology of the Uli figure of central New Ireland by Philip Collins Gifford (1974)

External links

Britannica Online Encyclopedia
The Metropolitan Museum of Art
Tomkins Collection
Brooklyn Museum

Death customs
New Ireland Province
Oceanian art
Religion in Papua New Guinea
Wooden sculptures
Androgyny
Intersex in religion and mythology

Uli figure


Similarity is an idea in geometry. It means that two polygons, line segments, or other figures can become the same via resizing. Similar objects do not need to have the same size. Two shapes are similar if their angles have the same measure and their sides are proportional. Two circles, squares, or line segments are always similar. If figure  is similar to figure , then we write .

Similarity is very similar to congruence. Congruent shapes have the same sides and angles. Because of that, two shapes are congruent to each other if one can become another through rotating, reflecting or moving only. In fact, all shapes that are congruent to each other are also similar, but not vice versa.

Related pages

 Equality

References

Geometry

Similarity (geometry)