Burger King sliders, comprising several varieties of mini-sandwiches, are a series of sandwiches that have been sold by international fast-food restaurant chain Burger King since the 1980s. Burger Bundles was the first iteration, a set of three small hamburgers or cheeseburgers. These sandwiches were eventually replaced with a reformulated product called Burger Buddies that was sold in pairs. After a change in management in 2004, Burger Buddies were re-released as BK Burger Shots. The company has also sold several chicken and breakfast sandwich versions of these products.

During the periods these products were sold, they were often the center of product advertising for the company. Additionally, as a major products in the company's portfolio, Burger King had registered many global trademarks to protect its investment in the products, most of which have since lapsed.

History
In 1987, Burger King offered a set of miniature burgers called Burger Bundles. The Burger Bundles were sold in a set of three or six, much like White Castle or Krystal burgers, but served in a single package. At the time of introduction, sales of the sandwich greatly exceeded industry expectations, drawing in the pre-teen and teen demographics in large numbers. A problem with the silver dollar sized patties used at the time was that they were too small for the company's automated broiler's chain and would fall through. The company discontinued the Burger Bundles in late 1987.

The sandwich was reintroduced in a slightly different format called Burger Buddies. Instead of three or six miniature hamburger patties, it had a single number eight shaped patty that was served on a pair of co-joined buns. The sandwich was sold for 99¢ and was designed to be torn into two smaller sandwiches. There was a breakfast version of the Burger Buddies called the Breakfast Buddies that had eggs, cheese and a sausage patty, again for 99¢. Breakfast menus at the time also began selling mini hash-browns, which resemble Tater Tots. Another variant of the Burger Bundles was introduced later in 1987 in chicken sandwich form called Chicken Bundles. Burger King later introduced the Impossible Slider using meatless patties made by Impossible Foods.

Product description
BK Burger Shots consisted of a figure-8 shaped burger with mustard, ketchup and pickles on a pair of co-joined buns without sesame seeds. They were sold in two- or six-piece packs.

Variants
 BK Breakfast Shots have an egg, a cheese sauce, American cheese and a choice of ham, bacon or a sausage patty served on the same style co-joined bun, and are sold in two- or four-piece packs. Again, these were based on the Breakfast variant of the Burger Buddies, the Breakfast Buddies. The original did not have the cheese sauce.
 Angus mini-burgers are the British version, sold only as a kids meal and made with ketchup as the only topping. It was originally sold in a six-piece "share pack" with two sandwiches as burgers, two as cheeseburgers and two as bacon-cheeseburgers.

See also
 Krystal Fast food burger chain founded around the mini-burger
 White Castle Fast food chain credited with creating the mini-burger

References

Burger King foods
Products introduced in 1987

Burger King sliders


Ten Chimneys was the summer home and gentleman's farm of Broadway actors Lynn Fontanne and Alfred Lunt, and a social center for American theater. The property is located in Genesee Depot in the Town of Genesee in Waukesha County, Wisconsin, United States.

Ten Chimneys was declared a National Historic Landmark in 2003, for the significance of its owners to the history of performing arts, and for its distinctive architecture and decoration.

History
Lynn Fontanne was born in 1887 in England. From childhood she wanted to be an actress, starting as a chorus girl in Cinderella in 1905. In 1916 she came to the U.S., and hit real success playing in Dulcy in 1921.

Alfred Lunt, Jr. was born in 1892 in Milwaukee, the son of a Wisconsin lumberman. He was interested in the theater from the age of three, and enjoyed summers working on his aunt's farm in Neenah. In 1906 Alfred's Swedish-born stepfather moved the family out to the village of Genesee Depot, where he practiced as a physician. But within a few years financial problems forced the family to move to Finland, then a Russian possession, to live with the step-father's family. Alfred spent summers in Finland, learning a fondness for the culture. During the school year he attended Carroll College Academy back in Waukesha, then started at Carroll College, where he majored in oratory, appeared in college plays, and designed, built, and painted scenery. In 1912 he left Carroll and headed east to join a theater company in Boston, where he eventually became a successful stage actor, achieving acclaim in Booth Tarkington's play Clarence in 1919.

Despite his successful, cosmopolitan career, Alfred remained fond of his childhood home in Wisconsin. In 1913 he bought three acres near Genesee Depot that would become Ten Chimneys. In 1915 he had the first section of the house built, described by a visitor as "one enormous room with staircases leading up to a gallery which had doors leading to bedrooms."  Alfred's mother Hattie and his half-siblings lived there year-round, and he joined them in the summers.

Lunt and Fontanne fell in love in 1919 when they met backstage at a rehearsal in New York, and they married in 1922. The couple's first summer at home with Alfred's mother was strained and in 1924 they set about expanding the chicken coop into a cottage for themselves to live in. The resulting cottage has many details drawn from traditional Swedish farmhouses: corner brick and stucco fireplaces with sloping chimney wings, folk paintings (some painted by Lunt himself), and inscriptions in Swedish throughout the cottage. The exception is Lynn Fontanne's room upstairs, which is white on white, with a carpet of stitched sheepskins.

In 1923 Lunt and Fontanne appeared in their first play together, Sweet Nell of Old Drury. The following year they appeared together in the play The Guardsman, which was highly acclaimed and which they later made into a movie. Over the years they starred together in over 140 Broadway plays, and were considered the first family of American theater.

In 1932 Lunt and Fontanne swapped houses with his mother and sister, with Lunt and Fontanne moving into the main house and his mother and sister moving to the Cottage. With that, Lunt renamed the Cottage the "hen house."

Over the years Lunt and Fontanne continued building and developing at Ten Chimneys. In 1936 they added the L-shaped swimming pool and the cabana. In 1938 they began remodeling and expanding the house, adding quarters for the cook and housekeeper and extra living space. The design was a collaboration between Lunt and architect Charles Dornbusch of Loebl, Schlossman and Demuth of Chicago, who helped with most of the structures on the estate, including the cottage fourteen years before. In 1939 they added the metal gate around the auto court. In 1947 they completed the new chicken coop (designed with advice from a specialist at the UW Ag Department) and greenhouse, and the gatehouse. Also in 1947 they reconstructed the Studio, a traditional hewn-log building that was taken apart in Sweden, shipped to America, and reassembled for use as a rehearsal space. Flagstone paths and retaining walls were added later to tie the estate together.

In his NRHP nomination, Jim Draeger states "the crowning jewel of Ten Chimneys is the finely decorated and furnished interior of the main house." The entry hall features marble tile, hand-painted murals on the walls, a porcelain Swedish stove, and a dramatic spiral staircase that leads to the second level. On that level are the kitchen and what the Lunts called the Flirtation Room, which leads to other parts of the house, including the Music Room, with a fireplace and hand-painted murals depicting Biblical scenes like baby Moses among the bullrushes. The murals were painted by artist Claggett Wilson starting in 1938, when the house was expanded. The library has a secret passage through a bookshelf. The upper level contains bedrooms, with murals showing peasants farming and wildlife. Lynn's bedroom is again colored light, with a Swedish fireplace. Alfred's bedroom is simpler, also with its own Swedish corner fireplace. The many fireplaces require the ten chimneys which give the estate its name.

Ten Chimneys was also a farm, though that may seem hard to reconcile with a Flirtation Room. As a child Lunt enjoyed working in the fields and that continued as an adult. Once while visiting the Oliviers in England, he wrote home: "...I had a high old time as their garden was full of weeds & did I go to it..." From the initial three acres, the farm at Ten Chimneys grew to over 100. Lunt was absent much of the year, so in 1929 he hired Ben Perkins of Mukwonago as overseer. While Lunt was away, he and Perkins exchanged letters about matters like the used silo filler they bought for $65. (Lunt was cost-conscious.) They started a large vegetable garden in 1939 and an orchard later. In 1941, Alfred and Lynn bought each other cows as Christmas gifts - the first two cows on the farm. In 1942 the farm included four cows, some pigs and up to 200 chickens. To support the animals, they grew 6 acres of corn, 7 acres of oats, four of alfalfa, one of clover and 3/4 acres of wheat. The milk from the cows was made into butter, with some eaten on the farm and some sold locally.  Some butter, meat and vegetables were shipped to the Lunts in New York and even in Europe during WWII, when rationing made them hard to obtain otherwise. Alfred recalled in 1956:  I'm just a country boy who happens to be an actor. But fashionable parties and clever talk - all that sort of thing - well, y'know, it bores me stiff.  I'd rather listen to my chickens clucking any time.

During their careers, Fontanne and Lunt retreated to Ten Chimneys every summer for personal and artistic rejuvenation.  A host of stage and screen luminaries made pilgrimages to Genesee Depot as guests of the Lunts, including Noël Coward, Helen Hayes, Orson Welles, Laurence Olivier, and Vivien Leigh. Carol Channing said, "If you get to go to Ten Chimneys, you must have done something right."

Upon retirement, the Lunts returned to Ten Chimneys and spent the rest of their lives at their beloved home in Genesee Depot, with Alfred dying in 1977 and Lynn in 1983.

Opening to the public
In 1996 arts advocate Joseph W. Garton, a restaurateur in Madison, Wisconsin, purchased Ten Chimneys, and Ten Chimneys Foundation was established to preserve and share the estate. The foundation then purchased the property from Garton in 1998.

As a historic property, the estate was exceptionally well preserved, since the Lunts' original furniture, decorations, and personal items were barely disturbed between Lynn Fontanne's death in 1983 and the beginning of preservation efforts by Ten Chimneys Foundation in 1998.

Ten Chimneys Foundation opened the estate to the public for the first time on May 26, 2003, which would have been the Lunts' 81st wedding anniversary. The estate remains open for public tours from May through November. Ten Chimneys Foundation also continues to fulfill the estate's original role as a home for the arts by providing programming and resources for theater professionals.

Gallery

See also
List of National Historic Landmarks in Wisconsin
National Register of Historic Places listings in Waukesha County, Wisconsin

References

External links

Ten Chimneys
NPR: "The 'Fabulous Lunts,' Alive at Ten Chimneys"
New York Times: "Lunt and Fontanne's Most Lasting Production"

National Historic Landmarks in Wisconsin
Museums in Waukesha County, Wisconsin
Houses on the National Register of Historic Places in Wisconsin
Houses completed in 1915
Historic house museums in Wisconsin
Theatre museums in the United States
Biographical museums in Wisconsin
Houses in Waukesha County, Wisconsin
National Register of Historic Places in Waukesha County, Wisconsin

Ten Chimneys


Anarchism without adjectives is a pluralist tendency of anarchism that opposes sectarianism and advocates for cooperation between different anarchist schools of thought. First formulated by the Spanish anarchists Ricardo Mella and Fernando Tarrida del Mármol, as a way to bridge the ideological divide between the collectivists and communist factions, it was later adopted by the Italian communist Errico Malatesta and the American individualist Voltairine de Cleyre.

Anarchists without adjectives are suspicious of dogmatism and criticise prescriptions for a post-capitalist future, which they consider authoritarian. Instead they hold that a new society should be allowed to emerge spontaneously after a social revolution, which they believe could result in the experimental development of different economic forms in different locations. They thus tend to focus on taking action in the present, with contemporary forms outright rejecting utopianism.

Background
When anarchist communism was first formulated in 1876, debates over its merits led to a split within the Anarchist International, as French and Italian communists clashed with collectivists from Spain. At the 1877 Vervies Conference, Swiss anarchist leader James Guillaume attempted to overcome the split by arguing that "each group be free to determine its own solutions".

This position was adopted by a number of Spanish anarchists, who advocated for the tolerance of different, coexisting anarchist schools of thought. In 1886, Catalan anarchists around the periodical  began attempting to settle the communist-collectivist split by propagating a kind of "non-denominational" anarchism. Despite opposition from anarchist communists around the Tierra y Libertad paper, these anarchists began referring to themselves as "socialist anarchists" and used terms such as "indifferent anarchism" or "plain and simple anarchism" in order to overcome the divide.

In 1888, the anti-sectarian campaign was adopted by a circle of anarchist intellectuals led by Antoni Pellicer, who formulated a perspective that rejected any qualifying labels for anarchism. This perspective was developed further by the political theorists Fernando Tarrida del Mármol and Ricardo Mella, who articulated an "unhyphenated form of anarchism" which they termed "anarchism without adjectives" ().

Development

By Tarrida

A pupil of Anselmo Lorenzo, Tarrida had initially been attracted to collectivist anarchism, through the federalism of Pierre-Joseph Proudhon and Francesc Pi i Margall. By 1889, he had become a prolific anarchist speaker and writer for Acracia, winning support from many of Barcelona's workers, who delegated him to the International Workers Congresses of Paris. Drawing from his background in mathematics, Tarrida considered anarchism to be a universal philosophy with scientifically-validated principles. Although himself a collectivist, he rejected rigid doctrine and refused to engage in the debate between the collectivists and communists, instead upholding Pellicer's formula for an anarchism that included a diversity of economic systems. From this position, he first developed his theory of "anarchism without adjectives".

Tarrida first used the term at a November 1889 meeting in Barcelona, when he called for anarchists to reject of all forms of dogma in order to conform closer with the principles of "nature, science and justice". The communist-collectivist feud, which dominated the anarchist discourse of the time, had encouraged Tarrida to issue an appeal for an ecumenical approach to anarchism, calling for tolerance between different anarchist tendencies in order to focus on the cause of revolutionary anarchism. He concluded that if anarchists were to be consistent with their anti-dogmatic tendencies, which upheld freedom of thought, they ought not to impose their own economic programmes on others. Nevertheless, the feud persisted, with French communists denouncing the Spanish collectivists as authoritarian and scrutinising Tarrida's proposal for an "anarchism without adjectives".

The following year, in the pages of the French communist newspaper Le Révolté, Tarrida replied that the pursuit of anarchy and the abolition of the State ought to be emphasised as the common foundation of anarchism. He held the economic question to be of "secondary importance", rejecting any rigid systematic theory and upholding the complimentary potential of different anarchist economic propositions. The French communists, he argued, had become too ideologically rigid and puritanical, which had isolated them from other anarchist groups and rendered them ineffective as a force against the bourgeoisie. He concluded by encouraging them to drop their utopian tendencies to preconceive an immutable future anarchist society, so that they could better adapt to the changing social and economic conditions of the present. He also criticised the French communists for attempting to impose a "foreign style of anarchism" on Spanish collectivists, whose organisationalist tendencies had arisen from different material conditions and had proven an effective response to those conditions. Although Tarrida rejected the communists' indiscriminate anti-organizational stance, he was also opposed to rigidity within Spanish collectivism, arguing that the Federation of Workers of the Spanish Region (FTRE) had "outlived its usefulness" by growing increasingly bureaucratic and accepting its dissolution.

By Mella

A different approach to "anarchism without adjectives" was taken up by the prolific anarchist theorist Ricardo Mella. In contrast to Tarrida, who recommended that different anarchist systems be synthesised, Mella called for free experimentation to determine the best system for a given circumstance. Mella believed that the great divide within anarchism wasn't between communism and collectivism, but between tolerance and intransigence, the latter of which created divisions over the supremacy of different forms of dogma. When Mella began writing for Acracia, he initially called for tolerance between anarchist tendencies as a way to prevent communist ideas from becoming predominant in Spain. In his article La reacción y la revolución, Mella argued against dogmatic economic prescriptions for a future anarchist society, declaring that a revolutionary movement could only arise from a diversity of perspectives that could "proceed according to whatever traditions and customs best suited the circumstances at hand."

Although Mella remained a staunch collectivist and anti-communist, he nevertheless opposed the internecine split between the two factions, attempting to keep the debate between them healthy by continuing his advocacy of non-denominational anarchism. As time went on, he became more tolerant of communism, considering it to be possible for it to coexist alongside other economic systems. He even went on to defend anarchist communists from attacks by the Italian criminologist Cesare Lombroso and translated the work of Peter Kropotkin, although he remained uncomfortable fully endorsing communist views for the rest of his life.

In 1889, Mella published the apotheosis of his development of anarchism without adjectives: his utopian novella La Nueva Utopía, which examined the possible social and economic forms of a future anarchist society. In the book, Mella depicts a society that had undergone a social revolution, resulting in the complete satisfaction of their needs and a harmonious cooperation between its inhabitants. Such an economic and social reorganization of society had been achieved after multiple centuries of experimentation and hard work, driven by scientific and technological progress, which had eliminated both toil and environmental pollution.

Growth and adoption

In Europe
Throughout the 1890s, Tarrida and Mella continued their campaign for the adoption of a non-sectarian form of anarchism, eventually achieving some success. Many other anarchists, including Anselmo Lorenzo and Joan Montseny, began calling for an end to the dogmatic schism between communists and collectivists, with the adjectives themselves even taking on negative connotations among those that had tired of the split. Inspired by Tarrida and Mella, many other European anarchists began to eschew hyphenated labels and refer solely to anarchy as their end goal, rejecting prescriptions for a future society as inherently authoritarian. Anarchism without adjectives was taken up by Élisée Reclus and Max Nettlau, the latter of whom called for a non-sectarian anarchism that accounted for both communism and individualism, without universalizing either, leaving room for experimentation in different possibilities of economic organization.

The position was also adopted by the Italian communist Errico Malatesta, who likewise argued against dogmatism within the anarchist movement, declaring: "Let us do away with all exclusivism of schools of thinking." Malatesta warned that "one must beware, at the risk of certain disaster, of supposing that one's system is the only, and infallible, one [...] and that its success must be assured at all costs, by means other than those which depend on persuasion, which spring from the evidence of facts." Malatesta posited that as anarchism centres spontaneity, it would be wrong for anarchists to impose economic prescriptions. He concluded that different anarchist tendencies should therefore unite within a single organisation, which centred a shared anarchist method. Malatesta also began referring to himself as an "anarchist socialist", in order to promote inclusivity of different anarchist schools. In the pages of Le Révolté, Malatesta declared that "[i]t is not right for us, to say the least, to fall into strife over mere hypotheses".

By the turn of the 20th century, anarchism without adjectives had spread beyond Europe to the Americas, where many anarchists were increasingly migrating. In Buenos Aires, Antonio Pellicer argued that Argentine workers ought to reject dogmatism and embrace anarchism without adjectives. It also found its way to the United States, where American anarchists were brought over to the idea by the arguments of Tarrida del Marmól.

In the United States
In the United States, there was also an intense debate between individualist anarchists around Benjamin Tucker and the anarchist communists around Johann Most, who dismissed each other's ideas as un-anarchistic. Troubled by the "bitter debates" between anarchists from divergent schools of economic thought, those who did not see a need to confine themselves to one particular school of thought called for more tolerance among anarchists, with some of them explicitly terming it "anarchism without adjectives".

Starting in the 1880s, many American anarchists began to prioritize their commonly-held anti-statism over their differing economic methods, which they saw as of secondary importance and something to be left until the future. In 1893, William and Lizzie Holmes organized an international anarchist conference in Chicago, where they attempted to formulate a common programme for anarchists to unite behind. They were joined by Voltairine de Cleyre, Honoré Jackson, C. L. James, Lucy Parsons and William Henry van Ornum, but the conference was boycotted by Benjamin Tucker and Johann Most, who were still locked in an ideological conflict. Over the subsequent years, the Holmes couple and their circle continued attempting to reconcile the different anarchist factions, even going as far as to advocate for an anti-authoritarian united front with Georgists, socialists and nationalists. In 1895, the Jewish anarchist J. A. Maryson began calling for a "pure and simple" anarchism that upheld freedom of opinion, arguing that diversity was an essential component of freedom.

By the 1900s, the most visible American exponent of anarchism without adjectives was Voltairine de Cleyre, who adopted the term from Tarrida del Mármol, and likewise advocated for cooperation between different anarchist philosophies and strategies. She criticised economic dogmatism, believing that after the state was abolished, different localities would be free to experiment in different economic forms of anarchism, ranging from mutualism to communism.

During the last years of her life, de Cleyre argued passionately against anarchist sectarianism, declaring her desire to rid the anarchist movement of "those outrageous excommunications which belong properly to the Church of Rome, and which serve no purpose but to bring us into deserved contempt with outsiders."  Skeptical of "high-sounding theories", which she considered to be indicative of intellectual elitism, de Cleyre preferred to support action in the present rather than indulge in debates over the future. She believed that a future free society could not be forecast, due to the uncertainty of how society might evolve, and thus upheld all experiments in the direction of greater freedom as intrinsically good.

As she saw shortcomings in each anarchist school of thought, arguing for the best elements of each to be synthesized into a more pragmatic philosophy, historian Paul Avrich argued that de Cleyre "cannot be fitted into any single anarchist category". Until the end of her life, she insisted on labelling herself simply as an "anarchist", even as she personally moved from American individualism towards the anarchist communism advocated by Emma Goldman. Herself inspired by Max Stirner's individualist anarchism, Goldman also came to reject visionary thinking of "blueprints for the future", instead declaring that anarchist methods must be adapted depending on the circumstances of different places and times.

Anarchism without adjectives was later taken up by Luigi Galleani and the Galleanisti, who went so far as to reject formal organizational structures, claiming the end point of any organization was to move towards conservatism and eventually become reactionary. Other Italian-American anarchists, who were not followers of Galleani, also came to consider themselves anarchists without adjectives, rejecting specific currents and individual leaders.

Contemporary developments
Eventually, the term "anarchism without adjectives" largely fell out of use, although its anti-sectarian principles were still implicitly upheld by some contemporary anarchists, following the development of diverse new social movements. Research by Dana M. Williams found that North American anarchists were more likely to reject the labels of "red" or "green anarchist", in favour of simply identifying as "anarchist", "anti-authoritarian" or some form of "anarchist without adjectives".

Voltairine de Cleyre's contributions to anarchism without adjectives have been particularly influential on the development of contemporary anarchism, which has often neglected prescriptive models for alternatives to globalization and neoliberalism. de Cleyre's conception of anarchism without adjectives was adopted by the anarchist historian Peter Marshall, who argued against false binaries that separate economic systems or dichotomise the individual against the community. The anarchist communist Wayne Price has also proposed that a post-capitalist transition would be carried out in an "experimental, pluralist, and decentralized society," which would utilise different solutions to the specific issues that affect them. Post-anarchism, while attaching an adjective to anarchism, has also argued for a polythetic classification of different anarchist schools of thought, proposing an "anarchism with many possible adjectives".

See also
Synthesis anarchism

References

Bibliography

Further reading

Without adjectives
Anti-capitalism

Anarchism without adjectives


Bucha () is a city of oblast significance in Kyiv Oblast (province) of Ukraine. In 2021, 36,971 people lived there.

Battle of Bucha (2022)
The Battle of Bucha happened during the
Kyiv offensive, during the 2022 Russian invasion of Ukraine. Between 27 February and 31 March, the city was occupied by the Russian Armed Forces, who have allegedly murdered hundreds of Ukrainian civilians during the Bucha massacre.

The city was badly damaged during the battle.

Cities in Kyiv Oblast

Bucha, Kyiv Oblast


Caulie Frank Whitehead (July 2, 1892 – May 16, 1976) was an American politician. He was Mayor of Jacksonville, Florida, from 1945 to 1949. He was a member of the Democratic Party.

History
Whitehead ran for Mayor of Jacksonville in 1945. He defeated the incumbent John T. Alsop, Jr., who had been mayor for eighteen years from 1923 to 1937 and from 1941 to 1945, in the Democratic primary; as there was no general election, Whitehead became mayor. Among his initiatives was a plan to ease the city's growing traffic problems by building a new bridge out of pontoons over the St. Johns River. This plan never came to fruition, but influenced the later construction of the conventional Fuller Warren Bridge. Whitehead was defeated in the 1949 mayoral race by the upstart W. Haydon Burns, who successfully courted African-American voters to overcome Whitehead. In Whitehead's later years he owned and ran a room-and-boarding house in Jacksonville. He died in 1976.

References

External links
 Political Graveyard

Mayors of Jacksonville, Florida
Florida Democrats
1976 deaths
1892 births
20th-century American politicians

Frank Whitehead (American politician)


Andrija Raičević (Tolac, a Herzegovinian village, Ottoman Empire, c. 1610 - Peć, Ottoman Empire, after 1673) was a Serbian icon painter and miniaturist who worked during the Ottoman occupation of the Balkan Peninsula.

Raičević undertook commissions for the Patriarchate of Peć and went to Bosnia and Herzegovina to paint icons for the iconostasis in the Church of the Holy Archangels Michael and Gabriel in Sarajevo. He is noted for having painted Saint Nicholas in an abstract but traditional form. His icon is not influenced by Western art; St. Nicholas is presented in the Byzantine art style of the twelfth century and those that followed suit. All of his commissions came from the Patriarchate (Peć) or from high-ranking Serbian officials.

The Monastery of the Holy Trinity of Pljevlja, also known as Vrhobreznica, was the largest rewriting center (Scriptorium) in Montenegro during the period of Ottoman rule. In the monastic brotherhood of the Holy Trinity, some of the most important achievements of Serbian manuscript literature from the Ottoman era were created. John the Exarch's Hexameron (a 15th-century Russian translation) and Cosmas Indicopleustes's Christian topography, hand-copied by Gavrilo Trojičanin in 1649 and then illustrated by painter Andrija Raičević, were a remarkable and significant undertaking of miniature painting in the seventeenth century. Raičević was a relative of Mojsije, the abbot of the Monastery of the Holy Trinity.  Over time, these two works in the same connection became especially recognizable by Raičević's extraordinary illustrations. Today, Andrija Raičević's works are on display in the Museum of the Serbian Orthodox Church and Heritage museum Pljevlja  (Zavičajni muzej Pljevlja).

See also
 Serbian art

References

17th-century Serbian artists

People from Pljevlja
1610s births
1670s deaths
Christian artists
Serbian painters

Andrija Raičević


Antakrddaaśāh is the eighth of the 12 Jain āgamas said to be promulgated by Māhavīra himself. Antakrddaaśāh  translated as "Ten Chapters on End-Makers" is said to have been composed by Ganadhara Sudharmaswami as per the Śvetámbara tradition.

It contains stories describing those who succeeded in destroying all their karmas and succeeded in attaining Moksa and putting an end to the re-births.

Jain texts

Antakrddaasah


Natural History is a natural history magazine published in the United States. The stated mission of the magazine is to promote public understanding and appreciation of nature and science.

History
Founded in 1900 by the American Museum of Natural History, Natural History was first titled The American Museum Journal. In 2002, the magazine was purchased from the Museum by a new company, headed at the time by Charles Harris. As of 2013 the magazine is published in North Carolina by Howard Richman.   There are 10 issues published annually.

Since its founding, Natural History has chronicled the major expeditions and research findings by curators at the American Museum of Natural History and at other natural history museums and science centers. Stephen Jay Gould's column, "This View of Life," was a regular feature of the magazine from 1974 until he retired the column in 2001. Other regular columnists and contributing authors current or past include Neil deGrasse Tyson, Jared Diamond, Richard Dawkins, Norman D. Newell, Roger Welsch, and Thomas Nicholson.

References

External links

 Online archives

History magazines published in the United States
Magazines established in 1900
Environmental magazines
Nature magazines
Science and technology magazines published in the United States
American Museum of Natural History
Magazines published in North Carolina

Natural History (magazine)


Zero Gunner 2 is a 3D multidirectional shooter developed by Psikyo as a sequel to Zero Gunner, the original arcade game. It was released for the Dreamcast in Japan in 2001.

A version of this game was developed and released in 2018 for the Nintendo Switch, by Zerodiv. This version was given the title Zero Gunner 2- as Zerodiv had to rebuild the game almost from scratch, due to the original data being missing, and out of respect for both the original version of the game and purists. This version was later released for Microsoft Windows via Steam in December 2020, PlayStation 4 in July 2022 and Xbox One in January 2023.

Story
In the near future, an Asian conglomerate known as Igem develops a unique energy source capable of developing a number of innovative machines. Their over-abundant research with the energy leads to the construction of a weather control machine called ONI, developed entirely for the purpose of taking over the world. Once ONI is activated, the countries of the world suffer and Igem's secret militia move in to destroy any opposition. It is here that the Zero Gunner squadron is called into action to stop Igem and to destroy ONI.

Gameplay
One or two players can take their pick of three helicopters, each with their own firing pattern and battle oncoming waves of enemies through 7 different stages, each with a boss at the end. Each boss has a different form at the beginning, such as a train, boat, airplane, or submarine, but after the players have inflicted enough damage, it turns into a giant robot. After the players destroy the robot, the stage ends and they progress on to the new stage. There are 9 modes of difficulty, ranging from "Child", where enemies fire little to none when fired upon to "Very Hard", where enemies fire at almost any given moment.

The game is particularly innovative by including a way to rotate the helicopter in 360 degrees, allowing the player to fire in any direction. Most of the time this is required to survive, as enemies not only come from the top of the screen, but the left, right, and bottom as well. Like other scrolling shooters, the game makes use of power-ups to improve a helicopter's firepower. Each player also has a "Special" Bar, which slowly rises whenever players collect the little "E" icons from destroyed enemies. Every time the bar fills, the player has an opportunity to unleash their helicopter's special attack which often is capable of destroying every enemy on the screen. The first 4 stages, either Alpine Armored Train, Submergence City, Sea of Cloud, or Marine Base, are chosen in random order. The last 3 stages, Asian Slum, Orbital Elevator, and Aerial Capital, are in a set order. Helicopters are:

• the Comanche, which is blue and has lasers as its main weapon.

• the Apache, which is dark green and has blue bullets and straight-firing missiles as its weaponry.

• the Hokum, which is yellow and is the best helicopter, considering it has guided missiles, bullets that deal high damage, and a Special Attack that is 99 rounds and includes small planes that fire at the enemy and follow you around.

Reception
In Japan, Game Machine listed Zero Gunner 2 on their July 15, 2001 issue as being the eighth most-successful arcade game of the month.

On release, Famitsu magazine scored the Dreamcast version of the game a 30 out of 40.

References

External links

2001 video games
Arcade video games
Dreamcast games
IOS games
Android (operating system) games
Nintendo Switch games
Windows games
PlayStation 4 games
Xbox One games
Helicopter video games
Japan-exclusive video games
Psikyo games
City Connection franchises
Scrolling shooters
Video game sequels
Multiplayer and single-player video games
Video games developed in Japan

Zero Gunner 2


Railway Chateau Cemetery (referred to as Railway Chateau British Cemetery on the entrance stone) is a Commonwealth War Graves Commission (CWGC) burial ground for the dead of the First World War located in Belgium in the Ypres Salient on the Western Front.

The cemetery grounds were assigned to the United Kingdom in perpetuity by King Albert I of Belgium in recognition of the sacrifices made by the British Empire in the defence and liberation of Belgium during the war.

Foundation
This small cemetery was originally established as Augustine Street Cabaret Cemetery in November 1914. It was also known as L.4 Post Cemetery.

The cemetery was designed by W H Cowlishaw.

References

External links

 Railway Chateau Cemetery at Find a Grave

Commonwealth War Graves Commission cemeteries in Belgium
Cemeteries and memorials in West Flanders

Railway Chateau Cemetery


Thomas Metcalfe (March 20, 1780 – August 18, 1855), also known as Thomas Metcalf or as "Stonehammer", was a U.S. Representative, Senator, and the tenth Governor of Kentucky. He was the first gubernatorial candidate in the state's history to be chosen by a nominating convention rather than a caucus. He was also the first governor of Kentucky who was not a member of the Democratic-Republican Party.

At age 16, Metcalfe was apprenticed to his older brother and became a stonemason. He helped construct the Green County courthouse, known as the oldest courthouse in Kentucky. Later, political opponents would mock his trade, giving him the nickname "Old Stone Hammer." His political career began with four terms in the Kentucky House of Representatives. His service was interrupted by the War of 1812, in which he commanded a company in the defense of Fort Meigs. At the age of thirty-eight, he was elected to the U.S. House of Representatives. He held his seat in the House for five terms, then resigned to run for governor. In an election decided by 709 votes, Metcalfe defeated William T. Barry in the gubernatorial election of 1828. Metcalfe's predecessor, Joseph Desha was so stunned by his party's loss that he threatened not to vacate the governor's mansion. Ultimately, however, he respected the will of the people, and allowed an orderly transition.

Metcalfe's primary concern as governor was the issue of internal improvements. Among his proposed projects were a road connecting Shelbyville to Louisville and a canal on the Falls of the Ohio. When President Andrew Jackson vetoed funds to construct a turnpike connecting Maysville and Lexington, Metcalfe built it anyway, paying for it entirely with state funds. Following his term as governor, he served in the state senate, and completed the unfinished term of John J. Crittenden in the U.S. Senate in 1848. After this, he retired to "Forest Retreat", his estate in Nicholas County, where he died of cholera in 1855. Metcalfe County, Kentucky, was named in his honor.

Early life
Thomas Metcalfe was born on March 20, 1780, to John Metcalfe and his third wife, Sarah "Sally" Dent (Chinn) Metcalfe in Fauquier County, Virginia. His father served as a captain in the Revolutionary War. In 1784, the Metcalfe family settled near Russell's Cave in Fayette County, Virginia (now Kentucky). Some years later, they would move to a farm in Nicholas County.

Metcalfe received only a rudimentary education, and at age sixteen, he was apprenticed to his brother and learned the craft of stonemasonry. Three years later, their father died, leaving the brothers to provide for their mother and younger siblings. Metcalfe became one of the most prominent stonemasons and building contractors during the settlement period of Kentucky.  A number of his stone houses survive and are listed on the National Register of Historic Places, including his first home in Robertson County. Other structures built by the Metcalfe brothers are the state's first governor's mansion and the Green County courthouse, known as the oldest courthouse in Kentucky, and the Presbyterian church at West Union in far southern Ohio.

On October 2, 1801, Metcalfe enlisted as a lieutenant in the 29th Regiment of the Kentucky Militia. He was promoted to captain on October 12, 1802. About 1806, Metcalfe married Nancy Mason of Fairfax, Virginia. The couple had four children. Between 1817 and 1820, Metcalfe built a house for his family in Nicholas County. The estate was dubbed "Forest Retreat" by statesman Henry Clay who, on his first visit to the newly constructed house, told Metcalfe, "Tom, you have here a veritable Forest Retreat."

Political career
Metcalfe's political career began in 1812 when he was elected to represent Nicholas County in the Kentucky House of Representatives. His service was interrupted by the War of 1812. In 1813, he raised a company of volunteers and commanded them at the Battle of Fort Meigs. While he was away at war, the voters of his district re-elected him to the Kentucky House; only thirteen votes were cast against him. He continued to serve in the Kentucky House until 1816.

In the House of Representatives
At the age of thirty-eight, Metcalfe was elected to the Sixteenth Congress, defeating Joshua Desha. During his tenure in the House, which lasted five terms, he was the chairman of the Committee on Indian Affairs and the Committee on Militia. He opposed the Second Bank of the United States, but favored extension of credit to purchasers of public land. In 1821, he proposed granting preemption rights to squatters. A slaveowner himself, he opposed restrictions on slavery in Missouri and the Louisiana Purchase.

In James Monroe's annual address to the legislature in December 1822, he called on Congress to report on how to best deal with the Seminoles that inhabited the recently acquired territory of Florida. As chair of the Committee on Indian Affairs, Metcalfe delivered the report on February 21, 1823. His committee found that, under the terms of the Adams-Onis Treaty that transferred control of Florida to the United States from Spain, the Seminoles were to be accorded the same privileges as U.S. citizens. Accordingly, the committee recommended that each Seminole family be given a land grant. They hoped that this would help break the tribal loyalties of the Seminoles and expedite their amalgamation into white society. The committee's report was largely ignored.

In 1826, Metcalfe served on a House committee that investigated allegations that Vice-President John C. Calhoun had improperly benefited from a contract he awarded while serving as Secretary of War in 1822. While Calhoun was cleared of any wrongdoing, his friend, South Carolina Representative George McDuffie, began an exchange of correspondence with Metcalfe regarding the proceedings. The correspondence became heated, and McDuffie challenged Metcalfe to a duel. As the recipient of the challenge, Metcalfe had the right to choose the terms of the engagement. He chose rifles as the weapon at a distance of 90 feet. McDuffie insisted that wounds from a previous duel had left him incapable of handling a rifle, and proposed pistols as an alternative. Metcalfe replied that he had never handled a pistol in his life. Unable to come to an agreement on the conditions of the duel, both sides eventually dropped the matter entirely.

Governor of Kentucky
Metcalfe resigned his seat in the House on June 1, 1828, in order to run for the governorship of Kentucky. He was chosen as the candidate of the National Republican Party at their nominating convention and was the first gubernatorial candidate in the state to be chosen using this method. He defeated William T. Barry by a margin of 709 votes, but his running mate, Joseph R. Underwood, was badly defeated by the Democratic-Republican nominee, John Breathitt. Metcalfe's election in 1828 marked the first time the governorship had been won by a candidate who was not a Democratic-Republican. However, only one Democratic-Republican would hold the office between Metcalfe's term and the election of Lazarus W. Powell in 1851.

Joseph Desha, the outgoing governor, refused to believe that his party had lost the election. He disliked Metcalfe not only due to his party affiliation, but also because of his occupation as a stonemason, which he believed was too low a calling for a governor. Metcalfe's opponents made slights on the quality of his stone work and his views on the Old Court-New Court controversy. When told about these charges, Metcalfe remarked "They may say what they like about my views, but the first man that dares to attack my character, I will cleave his skull with my stone hammer, as I would cleave a rock." As word of this remark spread, Metcalfe was given the nickname "Old Stone Hammer." Despite his threats to remain in the governor's mansion until the legislature convened, Desha respected the will of the people, and left the residence on September 2, 1828.

Metcalfe opposed the spoils system and the doctrine of nullification. He favored protective tariffs and federal aid for internal improvements. He oversaw the establishment of a road connecting Shelbyville to Louisville. When President Andrew Jackson vetoed federal aid for a turnpike connecting Maysville and Lexington, Metcalfe continued constructing it with state funds. (The road is now a portion of U.S. Route 68.) Metcalfe's term also saw the commissioning of the state's first railroad and the beginning of plans for a canal at the Falls of the Ohio. At the governor's recommendation, the state legislature approved additional aid for education, and the creation of district schools.

Later life and death
Following his term as governor, Metcalfe represented Nicholas and Bracken Counties in the Kentucky Senate from 1834 to 1838. In 1836, he served as a Whig presidential elector, and he presided over the Kentucky Whig Convention in Harrodsburg on August 26, 1839. From 1840 to 1849, he served as president of the state board of internal improvements. Finally, he was appointed and subsequently elected as a Whig to the United States Senate to fill the vacancy caused by the resignation of John J. Crittenden. He served from June 23, 1848, to March 3, 1849. During his short tenure, he denounced secession, and asserted that Kentucky would remain part of the Union.

After his term in the Senate Metcalfe engaged in agricultural pursuits near Carlisle, Kentucky. He died of cholera in his home on August 18, 1855. He was interred in the family burial ground at Forest Retreat. Metcalfe County, Kentucky, was formed in 1860 and named in his honor. "Forest Retreat" was listed on the National Register of Historic Places on October 2, 1973.

See also
:Category:Thomas Metcalfe buildings

References

Bibliography

Further reading

External links

1780 births
1855 deaths
People from Fauquier County, Virginia
American people of English descent
Democratic-Republican Party members of the United States House of Representatives from Kentucky
National Republican Party members of the United States House of Representatives from Kentucky
Whig Party United States senators from Kentucky
National Republican Party state governors of the United States
Governors of Kentucky
Kentucky state senators
Members of the Kentucky House of Representatives
American proslavery activists
American stonemasons
People from Fayette County, Kentucky
People from Nicholas County, Kentucky
American militia officers
American militiamen in the War of 1812
People from Kentucky in the War of 1812
Deaths from cholera
Infectious disease deaths in Kentucky
United States senators who owned slaves
Members of the United States House of Representatives who owned slaves

Thomas Metcalfe (Kentucky politician)


"Memories to Burn" is a song written by Warren Robb and Dave Kirby, and recorded by American country music artist Gene Watson.  It was released in October 1985 as the second single and title track from the album Memories to Burn.  The song reached #5 on the Billboard  Hot Country Singles & Tracks chart.

Chart performance

References

1986 singles
1985 songs
Gene Watson songs
Epic Records singles

Memories to Burn


An acoustic guitar is a musical instrument in the string family. When a string is plucked, its vibration is transmitted from the bridge, resonating throughout the top of the guitar. It is also transmitted to the side and back of the instrument, resonating through the air in the body, and producing sound from the sound hole. The original, general term for this stringed instrument is guitar, and the retronym 'acoustic guitar' distinguishes it from an electric guitar, which relies on electronic amplification. Typically, a guitar's body is a sound box, of which the top side serves as a sound board that enhances the vibration sounds of the strings. In standard tuning the guitar's six strings are tuned (low to high) E2 A2 D3 G3 B3 E4.

Guitar strings may be plucked individually with a pick (plectrum) or fingertip, or strummed to play chords. Plucking a string causes it to vibrate at a fundamental pitch determined by the string's length, mass, and tension. (Overtones are also present, closely related to harmonics of the fundamental pitch.) The string causes the soundboard and the air enclosed by the sound box to vibrate. As these have their own resonances, they amplify some overtones more strongly than others, affecting the timbre of the resulting sound.

History
The guitar likely originated in Spain in the early 16th century, deriving from the guitarra latina. Gitterns (small, plucked guitars), were the first small, guitar-like instruments created during the Spanish Middle Ages with a round back, like that of the lute. Modern guitar-shaped instruments were not seen until the Renaissance era, when the body and size began to take a guitar-like shape.

The earliest string instruments related to the guitar and its structure were broadly known as vihuelas within Spanish musical culture. Vihuelas were string instruments that were commonly seen in the 16th century during the Renaissance. Later, Spanish writers distinguished these instruments into two categories of vihuelas. The vihuela de arco was an instrument that mimicked the violin, and the vihuela de Penola was played with a plectrum or by hand. When it was played by hand it was known as the vihuela de mano. Vihuela de mano shared extreme similarities with the Renaissance guitar as it used hand movement at the sound hole or sound chamber of the instrument to create music.

By 1790 only six-course vihuela guitars (six unison-tuned pairs of strings) were being created and had become the main type and model of guitar used in Spain. Most of the older 5-course guitars were still in use but were also being modified to a six-coursed acoustical guitar. Fernando Ferandiere's book Arte de tocar la Guitarra Española por Música (Madrid, 1799) describes the standard Spanish guitar from his time as an instrument with seventeen frets and six courses with the first two 'gut' strings tuned in unison called the terceras and the tuning named to 'G' of the two strings. The acoustic guitar at this time began to take the shape familiar in the modern acoustic guitar. The coursed pairs of strings eventually became less common in favor of single strings.

Around 1850, the form and structure of the modern guitar was established by Spanish guitar maker Antonio Torres Jurado who increased the size of the guitar body, altered its proportions, and made use of fan bracing, which first appeared in guitars made by Francisco Sanguino in the late 18th century. The bracing pattern, which refers to the internal pattern of wood reinforcements used to secure the guitar's top and back to prevent the instrument from collapsing under tension, is an important factor in how the guitar sounds. Torres' design greatly improved the volume, tone, and projection of the instrument, and it has remained essentially unchanged since.

Acoustic properties

The acoustic guitar's soundboard, or top, also has a strong effect on the loudness of the guitar. Woods that are good at transmitting sound, like spruce, are commonly used for the soundboard. No amplification occurs in this process, because musicians add no external energy to increase the loudness of the sound (as would be the case with an electronic amplifier). All the energy is provided by the plucking of the string. Without a soundboard, however, the string would just "cut" through the air without moving it much. The soundboard increases the surface of the vibrating area in a process called mechanical impedance matching. The soundboard can move the air much more easily than the string alone, because it is large and flat. This increases the entire system's energy transfer efficiency, and musicians emit a much louder sound.

In addition, the acoustic guitar has a hollow body, and an additional coupling and resonance effect increases the efficiency of energy transmission in lower frequencies. The air in a guitar's cavity resonates with the vibrational modes of the string and soundboard. At low frequencies, which depend on the size of the box, the chamber acts like a Helmholtz resonator, increasing or decreasing the volume of the sound again depending on whether the air in the box moves in phase or out of phase with the strings. When in phase, the sound increases by about 3 decibels. In opposing phase, it decreases about 3 decibels. As a Helmholtz resonator, the air at the opening is vibrating in or out of phase with the air in the box and in or out of phase with the strings. These resonance interactions attenuate or amplify the sound at different frequencies, boosting or damping various harmonic tones. Ultimately, the cavity air vibrations couple to the outside air through the sound hole, though some variants of the acoustic guitar omit this hole, or have  holes, like a violin family instrument (a trait found in some electric guitars such as the ES-335 and ES-175 models from Gibson). This coupling is most efficient because here the impedance matching is perfect: it is air pushing air.

A guitar has several sound coupling modes: string to soundboard, soundboard to cavity air, and both soundboard and cavity air to outside air. The back of the guitar also vibrates to some degree, driven by air in the cavity and mechanical coupling to the rest of the guitar. The guitar—as an acoustic system—colors the sound by the way it generates and emphasizes harmonics, and how it couples this energy to the surrounding air (which ultimately is what we perceive as loudness). Improved coupling, however, comes costing decay time, since the string's energy is more efficiently transmitted. Solid body electric guitars (with no soundboard at all) produce very low volume, but tend to have long sustain.

All these complex air coupling interactions, and the resonant properties of the panels themselves, are a key reason that different guitars have different tonal qualities. The sound is a complex mixture of harmonics that give the guitar its distinctive sound.

Amplification

Classical gut-string guitars lacked adequate projection, and were unable to displace banjos until innovations introduced helped to increase their volume. Two important innovations were introduced by United States firm C.F. Martin: steel strings and the increasing of the guitar top area; the popularity of Martin's larger "dreadnought" body size among acoustic performers is related to the greater sound volume produced. These innovations allowed guitars to compete with and often displace the banjos that had previously dominated jazz bands. The steel-strings increased tension on the neck; for stability, Martin reinforced the neck with a steel truss rod, which became standard in later steel-string guitars.

An acoustic guitar can be amplified by using various types of pickups or microphones. However, amplification of acoustic guitars had many problems with audio feedback. In the 1960s, Ovation's parabolic bowls dramatically reduced feedback, allowing greater amplification of acoustic guitars. In the 1970s, Ovation developed thinner sound-boards with carbon-based composites laminating a thin layer of birch, in its Adamas model, which has been viewed as one of the most radical designs in the history of acoustic guitars. The Adamas model dissipated the sound-hole of the traditional soundboard among 22 small sound-holes in the upper chamber of the guitar, yielding greater volume and further reducing feedback during amplification. Another method for reducing feedback is to fit a rubber or plastic disc into the sound hole.

The most common types of pickups used for acoustic guitar amplification are piezo and magnetic pickups. Piezo pickups are generally mounted under the bridge saddle of the acoustic guitar and can be plugged into a mixer or amplifier. A Piezo pickup made by Baldwin was incorporated in the body of Ovation guitars, rather than attached by drilling through the body; the combination of the Piezo pickup and parabolic ("roundback") body helped Ovation succeed in the market during the 1970s.

Magnetic pickups on acoustic guitars are generally mounted in the sound hole, and are similar to those in electric guitars. An acoustic guitar with pickups for electrical amplification is called an acoustic-electric guitar.

In the 2000s, manufacturers introduced new types of pickups to try to amplify the full sound of these instruments. This includes body sensors, and systems that include an internal microphone along with body sensors or under-the-saddle pickups.

Types
Historical and modern acoustic guitars are extremely varied in their design and construction. Some of the most important varieties are the classical guitar (Spanish Guitar/Nylon-stringed), steel-string acoustic guitar and lap steel guitar.

Nylon/gut stringed guitars:
Vihuela
Gittern
Baroque guitar
Romantic guitar
Classical guitar, the modern version of the original guitar, including additional strings models
Russian/Gypsy guitar
Flamenco guitar
Lute
Steel stringed guitars:
Steel-string acoustic guitar, also known as western, folk or country guitar
Twelve string guitar
Resonator guitar (such as the Dobro)
Archtop guitar
 Selmer/Maccaferri (Manouche) guitar
Battente guitar
Lap steel guitar
Lap slide guitar
Parlor guitar
Lyre-guitar
Other variants:
Harp guitar
Pikasso guitar (a variant of harp guitar)
Contraguitar (Viennese variant of harp guitar)
Acoustic bass guitar
Banjo guitar

Body shape
Common body shapes for modern acoustic guitars, from smallest to largest:

Range – The smallest common body shape, sometimes called a mini jumbo, is three-quarters the size of a jumbo-shaped guitar. A range shape typically has a rounded back to improve projection for the smaller body. The smaller body and scale length make the range guitar an option for players who struggle with larger body guitars.

Parlor – Parlor guitars have small compact bodies and have been described as "punchy" sounding with a delicate tone. It normally has 12 open frets. The smaller body makes the parlor a more comfortable option for players who find large body guitars uncomfortable.

Grand Concert – This mid-sized body shape is not as deep as other full-size guitars, but has a full waist. Because of the smaller body, grand concert guitars have a more controlled overtone and are often used for their sound projection when recording.

Auditorium – Similar in dimensions to the dreadnought body shape, but with a much more pronounced waist. This general body shape is also sometimes referred to as an "Orchestra" style guitar depending on the manufacturer. The shifting of the waist provides different tones to stand out. The auditorium body shape is a newer body when compared to the other shapes such as dreadnought.

Dreadnought – This is the classic guitar body shape. The style was designed by Martin Guitars to produce a deeper sound than "classic"-style guitars, with very resonant bass. The body is large and the waist of the guitar is not as pronounced as the auditorium and grand concert bodies. There are many Dreadnought variants produced, one of the most notable being the Gibson J-45.

Jumbo – The largest standard guitar body shape found on acoustic guitars. Jumbo is bigger than an Auditorium but similarly proportioned, and is generally designed to provide a deep tone similar to a dreadnought's. It was designed by Gibson to compete with the dreadnought, but with maximum resonant space for greater volume and sustain. The foremost example of the style is the Gibson J-200, but like the dreadnought, most guitar manufacturers have at least one jumbo model.

Playing Techniques
The acoustic guitar is played in a variety of different genres and musical styles, with each featuring different playing techniques. Some of the most commonly used techniques are:

Strumming
(main article: Strum)

Strumming involves a rhythmic upward and downward motion of the picking hand (right if playing a right-handed guitar; left if playing a left-handed guitar) across the strings, while the opposite ("fretting") hand is in chord formation. This can be done with or without a guitar pick, depending on if the guitarist wants a crisp or more dull and blended sound, respectively. There are many common strumming patterns, which are played based on the specific time signature of a given song. Simple on-beat strumming is typically the first and least complex technique that guitarists learn. Guitarists can also alternate patterns or emphasize strums on specific beats to add rhythm, character, and unique style to a song. An example of a song featuring the strum technique is "Free Fallin" By Tom Petty, where you hear full open chord strums.

Fingerstyle
(main article: Fingerstyle guitar)

Fingerstyle, also known as fingerpicking, involves a patterned plucking of the strings with the picking hand. This technique focuses on playing specific notes in a melodic pattern, rather than full chord strums. Guitarists use their thumb, index, middle, and ring fingers, which are notated as "p" (as in pulgar), "i" (as in indice), "m" (as in medio), and "a" (as in anular), respectively, based on the Spanish language. This "PIMA" acronym in sheet music or tabs tells guitarists which picking hand finger to pluck a string with in a given picking pattern When strings are plucked downward, this technique produces a clear and articulate sound that adds movement and melody to a song. A variation of fingerstyle is "percussive fingerstyle," where guitarists combine traditional fingerstyle with rhythmic taps or hits on the body of the guitar to imitate a percussion sound. An example of a song featuring the fingerstyle technique is "Landslide" By Fleetwood Mac, where you hear plucked moving notes rather than full strums.

Slide

(main article: Slide guitar)

Slide guitar is a common technique that can be played on acoustic, steel acoustic, and/or electric guitars. It is primarily used in the blues, rock, and country genres. When playing with this technique, guitarists wear a small metal, glass, or plastic tube on one of their fretting hand fingers and slide it across the fretboard rather than pressing firmly on singular frets. The picking hand either strums or plucks as normal. This produces a smooth and blended transition between notes and chords, called glissando. An example of a song featuring the slide technique is "For Emma" By Bon Iver, where you can hear a seamless sliding melody over the song.

Gallery

See also
 List of acoustic guitar brands

References

Further reading

External links

Rhythm section

Acoustic guitar


A pop is an onomatopoeic term for a quick sharp explosion.

Pop or POP could also mean:

Computer science
 Partial-order planning, an agorithm
 Post Office Protocol, Internet protocol used for E-mail
 Pop, an operation on a Stack

Food and drink
 Corn Pops, breakfast cereal
 Pop, carbonated soft drink
 Pop (frozen snack), snack on a stick or in a plastic or cardboard sleeve made from fruit juice or sugared water
 Blow Pops, Tootsie Roll brand
 Caramel Apple Pops, Tootsie Roll brand
 Jiffy Pop, popcorn product
 Pop Secret, well-known brand of popcorn
 Tootsie Pop, hard candy lollipop with a Tootsie Roll filling at its center
 Pop Tarts, a flat rectangular toaster pastry

Entertainment

 Prince of Persia, video game series
 The Planes of Power, expansion pack to the MMORPG EverQuest

Music

 Iggy Pop, American punk rock singer and actor
 Pop (album), 1997 album by U2
 Pop music, type of popular music

Acronym
A Point of Presence, where two communication interfaces meet.
The Post Office Protocol, a computer protocol to get electronic mail
Persistent organic pollutant, a kind of chemical substance
Progresterone only pill, a contraceptive for women
One of two operations that can be done on a stacĸ; pop removes the top element. The other one is called push, and puts on an element.

Other
 Pop (television channel), children's television channel in the UK
 Snap, Crackle and Pop, the three animated mascots of Rice Krispies cereal
 Pop, the male parent or grandparent of a child
 Pop, the first month of in the Maya Haab' calendar
 Pop art, visual artistic movement that emerged in the late 1950s
 Pop culture, the vernacular culture that prevails in any given society
 Pop icon, popular celebrity
 Point of Purchase, retail display design for retailers and brand owners.

Pop


A Pellin–Broca prism is a type of constant-deviation dispersive prism similar to an Abbe prism.

The prism is named for its inventors, the French instrument maker Ph. Pellin and professor of physiological optics André Broca.

The prism consists of a four-sided block of glass shaped as a right prism with 90°, 75°, 135°, and 60° angles on the end faces. Light enters the prism through face AB, undergoes total internal reflection from face BC, and exits through face AD. The refraction of the light as it enters and exits the prism is such that one particular wavelength of the light is deviated by exactly 90°. As the prism is rotated around an axis O, the line of intersection of bisector of ∠BAD and the reflecting face BC, the selected wavelength which is deviated by 90° is changed without changing the geometry or relative positions of the input and output beams.

The prism is commonly used to separate a single required wavelength from a light beam containing multiple wavelengths, such as a particular output line from a multi-line laser due to its ability to separate beams even after they have undergone a non-linear frequency conversion. For this reason, they are also commonly used in optical atomic spectroscopy.

References

Prisms (optics)

Pellin–Broca prism


Area code 206 is a telephone area code in the North American Numbering Plan (NANP) for the U.S. state of Washington. The numbering plan area (NPA) includes Seattle and most of its innermost suburbs. This includes such suburbs as Shoreline and Lake Forest Park; Mercer, Bainbridge, and Vashon Islands; and portions of metropolitan Seattle from Des Moines to Woodway.

History
Area code 206 was one of the original North American area codes assigned in 1947, when it served the entire state of Washington. In 1957, area code 509 was assigned for the eastern two-thirds of Washington in a flash-cut, with the split roughly following the Cascade Mountains.

Despite western Washington's growth in the second half of the 20th century, this configuration remained in place for 38 years. By the start of the 1990s, however, 206 was nearing exhaustion of central office codes from proliferation of cell phones, pagers, and fax machines.

On January 15, 1995, most of the old 206 territory outside of the Seattle/Tacoma area was split off with area code 360, which was one of the first two area codes not conforming to the then-traditional N0X/N1X format.

Numerous residents in the Seattle exurbs protested about no longer being associated with 206, leading US West, now part of Lumen Technologies, to return these to 206 shortly after the split.  As part of the reintegration, the cities of Des Moines and Woodway were both split between the new area codes, required by the capacity of the switching centers.

However, western Washington would have likely needed another area code before the end of the decade, as 206 was still on the brink of exhaustion even after the 360 split. The return of the Seattle  exurbs, combined with the continued proliferation of cell phones, faxes, and pagers, hastened a three-way split of the 206 territory, effective on April 25, 1997.  The southern portion, including Tacoma, received area code 253, while the northern portion, including Everett and the Eastside, was assigned area code 425.

On June 15, 2023, the WUTC approved the expansion of the overlay plan of area code 564 to the 206 area before central office code exhaustion occurs in 2025. Area code 564 had only served the 360 numbering plan area since 2017. 564 will also be added to the 253 and 425 area codes once necessary. However, ten-digit dialing has been mandatory for all of Washington west of the Cascades since 2017.

See also

List of Washington (state) area codes
List of North American Numbering Plan area codes

References

206
206
Telecommunications-related introductions in 1947

Area code 206


Countess Johanna Magdalene of Hanau-Lichtenberg (18 December 1660, Bischofsheim am Hohen Steg – 21 August 1715, Hanau) was a daughter of Johann Reinhard II of Hanau-Lichtenberg (1628–1666) and the Countess Palatine Anna Magdalena of Birkenfeld-Bischweiler (1640–1693).

She died on 21 August 1715 and is said to have been buried in the St. Mary's Church in Hanau.

Marriage and issue
On 5 December 1685 Johanna Magdalena married Count John Charles August of Leiningen-Dagsburg (born: 17 March 1662; died: 3 November 1698).  They had the following children:

 Anna Dorothea Charlotte (born: 11 August 1687; died young)
 Alexandrine Catherine (born: 21 August 1688; died: November 1708)
 Sophie Magdalena (born: 14 April 1691; died: 18 March 1727)
 married on 1 September 1723 Wild- and Rhinegrave John Charles Louis (born: 20 June 1686 at Rheingrafenstein Castle; died: 21 October 1740), son of Count Frederick William of Salm-Grumbach (1644–1706) and his wife Countess Louise of Leiningen (1654–1723)
 Marie Christine Felicizitas (born: 29 December 1692; died: 3 June 1734 in Eisenach)
 married on 4 December 1711 Prince Christopher of Baden-Durlach (born: 9 October 1684 at Karlsburg Castle in Durlach; died: 2 May 1723 in Karlsruhe), son of the Margrave Frederick VII Magnus of Baden-Durlach (1647–1709) and his wife Princess Augusta Maria of Schleswig-Holstein-Gottorp (1649–1728)
 married on 29 May 1727 at Philippsruhe Castle in Hanau-Kesselstadt to Duke John William III of Saxe-Eisenach (born: 17 October 1666 in Friedewald; died: 14 January 1729 in Eisenach), son of the Duke John George I of Saxe-Eisenach (1634–1686) and his wife Countess Johanetta of Sayn-Wittgenstein (1626–1701)
 William Christian Reinhard (born: 30 September 1693 at Broich Castle; died: 1 December 1693, ibid)
 Christian Karl Reinhard (born: 7 July 1695 at Broich Castle; died: 17 November 1766 in Heidesheim am Rhein)
 married on 27 November 1726 in Mettenheim with Katharina Polyxena of Solms-Rödelheim (born: 40 January 1702 in Rödelheim; died: 29 March 1765 in Heidenheim), daughter of Count Louis of Solms-Rödelheim (1664–1716) and his wife Countess Charlotte Sibylle of Ahlefeldt-Rixinger (1672–1716). In 1698, he succeeded his father as ruler of Leiningen-Dagsburg.
 John Louis William (born: 5 April 1697 at Broich Castle; died: November 1742)
 married around 1730 to Sofie Eleonore (born: 1710 in Dagsburg; died: 19 June 1768), daughter of Count  Leopold Emich of Leiningen (1685–1719) and his wife Countess Charlotte Amalie of Leiningen (1682–1729)

Ancestry

References
 Detlev Schwennicke: Europäische Stammtafeln: Stammtafeln zur Geschichte der Europäischen Staaten.
 Reinhard Suchier: Genealogie des Hanauer Grafenhauses, in: Festschrift des Hanauer Geschichtsvereins zu seiner fünfzigjährigen Jubelfeier am 27. August 1894, Hanau, 1894
 Reinhard Suchier: Die Grabmonumente und Särge der in Hanau bestatteten Personen aus den Häusern Hanau und Hessen, in: Programm des Königlichen Gymnasiums zu Hanau, Hanau, 1879, p. 1-56
 Ernst J. Zimmermann: Hanau Stadt und Land, 3rd ed., Hanau, 1919, reprinted 1978

Footnotes

1660 births
1715 deaths
17th-century German people
17th-century German women
18th-century German people
18th-century German women
Countesses in Germany
House of Hanau
Leiningen family
People from the Margraviate of Baden


Buzz Lightyear's Space Ranger Spin (also known as Buzz Lightyear Astro Blasters at California, Tokyo and Hong Kong, Buzz Lightyear Laser Blast at Paris and Buzz Lightyear Planet Rescue at Shanghai) is an interactive shooting dark ride attraction located in the Tomorrowland area of the Disney theme parks. Designed by Walt Disney Imagineering, this attraction combines a carnival game and a third-generation Omnimover system. It is inspired by Disney/Pixar's Toy Story franchise, and contains several elements loosely based on the cartoon series Buzz Lightyear of Star Command.

The attraction first opened at Magic Kingdom on November 3, 1998. Subsequent versions can be found at Tokyo Disneyland, Disneyland, Disneyland Park in Paris, and Shanghai Disneyland. Although each ride may have a different name, all share the same major plot and characters. The ride formerly existed at Hong Kong Disneyland under the name  Buzz Lightyear Astro Blasters, but was closed in September 2017. For a brief period from the Shanghai version's opening in 2016 until the Hong Kong version's closure in 2017, the attraction was only one of two that could be found at all six Disney castle parks worldwide (the other attraction being Dumbo the Flying Elephant).

Plot
The backstory of the ride revolves around the attempts of Evil Emperor Zurg (voiced by Ken Mitchroney in Space Ranger Spin, Tesshō Genda in Astro Blasters at Tokyo Disneyland, Andrew Stanton at Astro Blasters in Disneyland and Hong Kong Disneyland and Laurent Gamelon in Astro Blasters in Disneyland Paris, and an unknown actor in Planet Rescue) to steal the batteries (known as "crystallic fusion cells") used to power the space vehicles of the "Little Green Men" (voiced by Jeff Pidgeon). Participants are "Star Command" raw recruits sent to defeat Zurg. The queue area is awash in the chartreuse, white, and bright blue hues of Buzz Lightyear himself (voiced by Pat Fraley, who does voice for all Buzz Lightyear attractions [minus the Shanghai and Japanese rides]). Since Buzz Lightyear is a toy, the attraction is cleverly scaled to give the illusion that one has just been reduced to the size of an action figure, featuring such detail as giant, exposed Philips screw heads and an explanation of the interactive phase of the ride that resembles a toy's instruction sheet, only on a gigantic scale. An Audio-Animatronic Buzz Lightyear figure and giant Etch-a-Sketch (Disneyland) and/or View-Master (Walt Disney World) provide explanation of the "mission" to destroy Zurg's secret weapon with your blasters. While his body is audio-animatronic, Buzz's face is actually a screen with a projection of computer animation, allowing better lipsync and more expressive features, making him look like a more realistic representation of the character from the films.

Technical aspects
"Astro Blasters" and "Space Ranger Spin" are equal parts shooting gallery and dark ride. Visitors board an Omnimover space vehicle featuring two laser pistols and a joystick. The pistols are used to shoot laser beams at targets of varying point values. Targets that are hit while lit up will produce much higher scores. A digital readout on the dashboard shows the player's score. The joystick allows full 360-degree rotation of the vehicle to assist in aiming. During the ride, if the ride slows down or completely stops (this is a result of either a handicapped guest or a ride breakdown), this allows for "bonus points" as the pistols and targets do not turn off. There are 4 different shaped targets which are worth different numbers of points: round (100 points), square (1,000 points), diamond (5,000 points), and triangle (10,000 points).

At the conclusion of the ride, the digital score flashes L1-L7 displaying the ranking or level achieved for the below scores:

 Level 1 Star Cadet: 0 – 1,000
 Level 2 Space Scout: 1,001 – 10,000
 Level 3 Ranger 1st Class: 10,001 – 100,000
 Level 4 Planetary Pilot: 100,001 – 300,000
 Level 5 Space Ace: 300,001 – 600,000
 Level 6 Cosmic Commando: 600,001 – 999,998
 Level 7 Galactic Hero: 999,999+

Some of the rides feature an on-ride photo, which depending on the park may be available as a free electronic postcard via e-mail at the exit, or be available for purchase on the Disney's PhotoPass system. The photos include the player's score. If the score is in the top 100 highest of the day, the player's ranking may be included in the photo. The Top 10 players' scores are shown on the scoreboard at the exit queue. The top person gets their face posted on the screen. The Disneyland version once featured at-home play tied directly to the attraction itself via the Internet, however this is disabled.

The installation at the Magic Kingdom utilizes an existing ride system by Arrow Development, originally constructed in 1972 for If You Had Wings. The ride was designed and manufactured by Sansei Technologies, Inc. with the corporation of Walt Disney Imagineering.

History

Magic Kingdom
The layout and systems of the ride date all the way back to 1972. This space was originally home to If You Had Wings, an aviation themed ride sponsored by Eastern Airlines. Eastern Airlines dropped sponsorship of the ride for financial reasons in early June 1987. All Eastern themes were removed, and the ride was renamed If You Could Fly. If You Could Fly was closed down in January 1989.

The installation of Space Ranger Spin also impacted the Tomorrowland Transit Authority PeopleMover, which runs through the south show building. The Tomorrowland Transit Authority, or TTA as it is often called for short, had opened in 1975 as the WEDway PeopleMover. At that time, If You Had Wings was the attraction occupying the south show building. Three diorama windows were also positioned on the track: two on the right and one on the left. These allowed the Mexico, Jamaica, and Trinidad scenes to be visible to riders on the Tomorrowland Transit Authority in such a way as to hide all projectors, lights and other show support equipment.

The diorama windows were altered once more when If You Had Wings was transformed into Delta Dreamflight. This was done because the windows no longer correctly lined up with show scenes. The first window was replaced with backlit panels depicting the ride's barnstormer scene. Window two looked into the Parisian Excursion scene, from a viewpoint which heavily distorted the tableau's forced perspective. The third window would have had TTA riders looking directly into an extremely bright light and so was completely obscured with plywood and black fabric.

In October 1997, Disney announced that Buzz Lightyear's Space Ranger Spin would be added to Magic Kingdom. When Delta Dreamflight transitioned yet again into the current attraction in 1998, the first window was refitted with the diorama of the hair salon, and the second left open to look into the new attraction, though concern was expressed over the fact that this view allows TTA riders to look directly into banks of high-powered blacklights. At one point during Space Ranger Spin, it is possible to catch a glimpse of the TTA passing through the building. The ride was briefly sponsored by Mattel from opening day to 1999.

Buzz Lightyear's Space Ranger Spin was named the 2004 Disney Magazine Reader's Choice Award winner for Best Magic Kingdom Park Attraction for Young Kids.

Disneyland
Like the Magic Kingdom version at Walt Disney World, it uses infrastructure from previous attractions. Its show building originally housed the Circle-Vision 360° theater. In 1997, as part of a major makeover of Tomorrowland, the Circle-Vision theater was removed and the space became part of the queue for the now infamous Rocket Rods. The Rocket Rods, which were prone to breakdowns, ran from 1998 to 2000. This space was then unused until 2005, when Astro Blasters opened.

Queue

Magic Kingdom
The queue of the ride shows different pictures of Buzz Lightyear and the Little Green Men. It also shows the battery cells and pipes plugging into Star Command. Guests then pass the Buzz Lightyear animatronic (This version of the animatronic has his wings open and is not holding anything). After listening to what he has to say, guests then leave that room and board the XP 37. Attached to them are ion laser canons and a joystick to spin the cart.

Disneyland
Astro Blasters features more dialogue than Space Ranger Spin does. This ride's queue (as well as the other Astro Blasters/ Laser Blast) includes a walkie talkie with Buzz Lightyear on it reading his wrist communication device. The speakers provide backstory to the ride and how Zurg is attacking Green Planet, home of the Little Green Men. It also includes a picture of Zurg as wanted criminal number one. It has pictures of The green squadron leaving to attack. It also has posters describing the blasters and the XP 40 Star cruiser. In the Fast Pass line, there is a picture of Buzz Lightyear shooting a purple, green and orange colored alien. There is also a mural that depicts Lightyear leading a team of Space rangers. This mural is notable for seemingly featuring the character of Princess Mira Nova from the cartoon Buzz Lightyear of Star Command, although for some reason she has 3 eyes. The guests enter the briefing room to see Buzz Lightyear. This animatronic has no wings out and is holding an Astro Blaster. The Astro Blaster has a timer for when Buzz does his talking. As he says his line about finding Zurg's robot, the astro blaster lights up and blasts its laser at the Etch A Sketch, wiping off the picture of Zurg. However, in Paris, the laser can't keep up with the timer and it shines a little early. The animatronic gives a one-minute speech before a red alarm goes off signaling for the line to move along. The guest proceed down a long Corridor seeing the LGMs testing the Blasters. The guests then board the Star cruiser.

Shanghai Disneyland
The Queue has the look of a Star Tours type attraction and is the longest indoor queue for all of the versions of the attraction. It looks like the International Space Station. The walls are covered with pictures of Buzz Lightyear himself. Video monitors are displayed on some of those walls. The monitors play videos of the LGMS, and Zurg with his new weapon. Buzz Lightyear will also appear on the screen fighting the robots. Most of the videos show the Star command space ship. Each ship has a red and green blaster on each side. After the queue, guests will walk into the room where the space cruisers are.

Attraction

Magic Kingdom
The Magic Kingdom's version of the ride, known as Buzz Lightyear's Space Ranger Spin, is the first Buzz Lightyear attraction, and the third Omnimover ride to operate in Tomorrowland's south show building. Unlike other versions of the attraction, Magic Kingdom's version features laser guns that are stationary.

The ride begins when the cart enters a room with four blue colored astronauts holding guns aimed at a disco ball. The ride then enters a robot attack scene. An orange robot called the Box-O-Bot (originally labeled as a Rock 'Em Sock 'Em Robot during the Mattel sponsorship), a blue and purple robot called the Gigantobot, a green robot called the Battery Bot, and a Dog Bot are all present in this scene. The ride then slopes down a short hill into Planet Z. Here guests encounter many aliens including space chickens, space spiders, and others. There is also a volcano that is shooting green goo. The guests then enter Zurg's fortress where they see a battery delivery. Zurg is in his spaceship, which he calls his Spiderbot. In the next room the aliens show the guests that Zurg has escaped. The next room is the projection tunnel and in it Zurg is shooting at the guests. The final room shows Buzz Lightyear fighting with Zurg in the now destroyed Spiderbot. The Little green men help Buzz tear it apart. Then the unload area shows Buzz Lightyear thanking the guests while holding Zurg in the claw. Guests will then exit the ride into Store Command where they can purchase a photo of themselves on the ride.

Mattel, having just transferred its sponsorship from the It's a Small World attraction thus in turn making that attraction sponsorless in nearby Fantasyland originally sponsored the Walt Disney World attraction from its opening to 1999 when all references to Mattel were removed from the attraction. The Disney World version has been without sponsorship ever since.

Disneyland

Disneyland's version of the ride is called Buzz Lightyear Astro Blasters.

A key difference between this ride and its counterpart at Walt Disney World's Magic Kingdom is that its laser guns can be removed from their mounts to allow for more accurate shooting (similar to Men in Black: Alien Attack). The laser guns at Space Ranger Spin at Magic Kingdom cannot be removed from their mounts and have limited movement.

The ride begins in the robot attack scene with The Box-O-Bot, The Gigantobot (who have changed positions and coloring as in WDW's version, The Box-O-Bot was neon orange and was on the left side of the track and the Gigantobot was dark blue and purple and was on the right side of the track. Now-Box O-Bot is just orange and is on the right and the Gigantobot has a red body and red ears. The Dogbot, who now has a brown color and the Batterybot, who is now red and has a target on his nose [This variation is in Paris and in California while a similar version with a target on his forehead is in Tokyo and Hong Kong] are all present during this scene. There is also a mini Space Ranger in what looks like an X Wing. The Guests enter Zurg's Dreadnought down a hallway shooting batteries until you reach his laboratory. Zurg is shooting his "Zurgatronic Ion Blaster" (he dubbed it this in BLoSC). He is standing behind his now damaged Secret Weapon. Guests are about to transition into the next room which is completely dark while robots are being electrocuted trying to land the Dreadnought. The Guests enter Planet Z (In the French Version of the ride Buzz Lightyear says "Attention Space Rangers, you've landed on Planet Z! Be ready for anything"). Guests can shoot aliens including a call back to the pterodactyl that belongs to Sid Phillips in the First Toy Story Film. Before leaving Planet Z, Zurg is laughing in when he thinks he has triumphed because he is about to shoot Green Planet. Guests then enter a light tunnel with Zs around it. The next room is similar to Space Ranger Spin. Buzz Lightyear is using his Astro Blaster to take down Zurg's Secret Weapon. The Green Squadron are helping Buzz take down the ship. The final room has the LGMs signing the receipt to return Zurg to Al's Toys Barn. Zurg promises revenge as the Green Squadron thank the guests. Buzz Lightyear then thanks the guests. He tells them to put the Blasters where they belong and to check the score board. Guests exit the ride to Little Green Men's Store command.

Hong Kong Disneyland and Tokyo Disneyland

The Tokyo version is the original version of the ride and all of the ride's audio is in Japanese. At Hong Kong Disneyland, the ride is also called Buzz Lightyear Astro Blasters and is extremely similar to the Tokyo version, with a more elaborate queue. The Hong Kong version features English dialogue, though safety announcements are trilingual. Those two versions also featured a floating Planet Z outside of the space ship. On November 22, 2016, Disney announced that the ride would be closing. In its place would be the park's second Marvel-themed ride, Ant-Man and The Wasp: Nano Battle! The ride closed on August 31, 2017. However, Tokyo Disneyland's version is still operating today.

Disneyland Paris
At Disneyland Paris, Buzz Lightyear Laser Blast replaced the Circle-Vision 360° production Le Visionarium, which closed in 2004. This version of the ride is much like the Disneyland version, Buzz Lightyear Astro Blasters, except for the presence of a tribute to Le Visionarium: When you are in the robot attack scene at the beginning, if you look beneath the left arm of the Box-O-Bot, you might be able to see 9-Eye (the Circumvisual Photodroid from Le Visionarium) hiding there. However, it is an easy to miss tribute.

In the Paris version of the ride, the dialogue is the same but translated into French as well as English. In the queue, the Buzz Lightyear animatronic speaks English, as well as French for those who speak French, and don't understand English. Some areas of the ride provide both dialogues, but in the scene where Zurg's weapon is half-destroyed, it switches from English to French in a 6 dialogue loop as it does in the California version of the ride. This ride's cruiser is called the XP 41 calling back to the California version. This is also the version with the second longest indoor queue.

Shanghai Disneyland
The most recent version of this attraction is called Buzz Lightyear Planet Rescue. It is based on the opening sequence of Toy Story 2, set on Zurg's home planet and featuring the robots seen in the film.

As the ride begins, Buzz and the Little Green Men help guests take down the Zurg robots. Later, Buzz is seen fighting two of the robotic giants. The vehicles then move into a mine where Zurg is engineering a mega weapon. He unleashes more robots as Buzz struggles to stop the mining operation. Zurg is finally defeated and vows revenge.

Other appearances

In 2005, the Walt Disney Company premiered a home version of the ride in the form of an internet video game that allows users to connect with guests at the parks. The scores of each guest from the dark ride are tallied with the internet gamer and increase the points won.

There was also a bumper car attraction at Walt Disney World's DisneyQuest with the name "Buzz Lightyear's Astroblaster" where players rode and controlled enclosed bumper cars while shooting "asteroids" (black foam soccer balls) at each other. Getting hit by a ball at a specific target caused the cars to spin around and flash lights for a few seconds. However, that attraction was closed when DisneyQuest shut its doors in 2017.

The 2019 video game Kingdom Hearts III features a virtual version of the ride as one of its "Attraction Flow" theme park-inspired attacks, allowing the player to attack enemies with similar mechanics and visual style as the real ride.

Voice cast

Pat Fraley as Buzz Lightyear
Ken Mitchroney (Walt Disney World), and Andrew Stanton  (Disneyland) as Zurg
Jeff Pidgeon as Green Squadron
Peter Renaday as Space Ranger #1 (Disneyland versions only)
TBA as Space Ranger #2 (Disneyland versions only)
B. J. Ward as Space Ranger #3 and Star Command (Disneyland versions only)
Jeff Fischer as Space Ranger #4 (Disneyland versions only)

Tokyo Disneyland version
Minoru Inaba as Buzz Lightyear
Toshiharu Sakurai as Green Squadron
Tesshō Genda as Zurg
TBA as Star Command
TBA as Space Ranger #1
TBA as Space Ranger #2
TBA as Space Ranger #3
TBA as Space Ranger #4

Disneyland Paris version
Richard Darbois as Buzz Lightyear
Laurent Gamelon as Zurg
Christophe Lemoine as Green Squadron
TBA as Star Command
TBA as Space Ranger #1
TBA as Space Ranger #2
TBA as Space Ranger #3
TBA as Space Ranger #4

Gallery

See also
Magic Kingdom attraction and entertainment history
List of current Disneyland attractions
Tokyo Disneyland attraction and entertainment history
Toy Story Midway Mania

External links
 Disneyland Official Website
 Magic Kingdom Official Website
 Tokyo Disneyland Official Website
 Disneyland Paris Official Website
 Shanghai Disneyland Official Website

References

Buzz Lightyear of Star Command
Amusement rides introduced in 1998
Amusement rides introduced in 2004
Amusement rides introduced in 2005
Amusement rides that closed in 2017
Amusement rides introduced in 2006
Amusement rides introduced in 2016
Amusement rides manufactured by Arrow Dynamics
Amusement rides manufactured by Sansei Technologies
Dark rides
Disneyland
Magic Kingdom
Tokyo Disneyland
Hong Kong Disneyland
Disneyland Park (Paris)
Shanghai Disneyland
Pixar in amusement parks
Tomorrowland (Disney Parks)
Toy Story
Omnimover attractions
Audio-Animatronic attractions
Outer space in amusement parks
Walt Disney Parks and Resorts attractions
Former Walt Disney Parks and Resorts attractions
Buzz Lightyear

Buzz Lightyear's Space Ranger Spin


The capture of the Kishangarh in Rajasthan State India took place during the 1965 War between India and Pakistan. Its capture was one of the most important actions of the Desert Theater in that war and one of the finest examples of the use of local militia in the history of the Sub-Continent.

Background
The outpost is around 11 kilometres (Lat 27.871 N,Lon 70.563 E) inside Indian territory, in the so-called Jaisalmer Bulge. It is a small mud Structure 70 by 60 metres across. It sits 22 km east of the town of Tanot towards the International border. It also sits on the only road linking any part of Rajasthan with the Pakistani city of Rahim Yar Khan.

The Desert Sector was a mere sideshow in the 1965 Indo-Pakistan War. Both sides had little experience in desert fighting at the time, and moreover the main industrial, and economic heartland of Pakistan and India were to the north. As a result when war came the Indians main effort would be against Lahore and Sialkot in the Punjab. However the Indians left some forces in the region with the aim of launching local offensives. Pakistani army troops in the region were already very stretched, having to defend a sector nearly a thousand km in length. To counteract this effort, the commander Pakistan Army Rangers asked the local people for help.

The Hurs
The Hurs were and are the main tribe living in this area. A proud and fierce people, the Hurs had given the British a difficult time. They had rebelled during World War II against British rule  . At the time of the 1965 War the spiritual leader of the Hur was the Pir Pagaro.

The Hurs had earlier not joined the Pakistan Army in any numbers, however with the coming of war, thousands volunteered to fight against the Indians. The Hurs were (due to constraints of finances as well as time) given only basic training and armed with light weapons such as machine guns and assault rifles. The militia was placed under the Pakistani military and para-military forces operating in the sector (known collectively as the "Desert Force"). The Hur militia was commanded by the Faqir Jamal Mangrio.

The battle
The war began on 6 September 1965 and the hostilities in this sector commenced on September the 8th. Initially the Desert Force and the Hur was placed in a defensive role, a role for which they were well suited as it turned out. The Hur were familiar with the terrain and the local area and possessed many essential desert survival skills which their opponents (and indeed their comrades in the Pakistan Army) did not. Fighting as mainly light infantry, the Hur inflicted many casualties on the Indian forces as they entered Sindh. The Hurs were also employed as skirmishers, harassing the Indians LOC, a task they often undertook on camels. As the battle wore on the Hurs and the Desert Force were increasingly used to attack and capture Indian villages inside Rajasthan. It was in this vein that an assault on Kishangarh fort was launched. The attack surprised the Indians and the fort was captured after several days of bitter fighting.

Pakistani Troops at Fort Kishangarh

Pakistan Army Officers in front of Fort Kishangarh

Artist's depiction of the Pakistani Victory

References

 History of Indo-Pak War of 1965. Lt Gen Mahmud Ahmed (ret). ISBN 969-8693-01-7

India

Capture of Kishangarh Fort


Adam Feeney (born 7 March 1985) is a professional Australian tennis player.

Tennis career
Feeney's highest ATP singles ranking was World No. 248, which he reached in September 2007. His career high in doubles was World No. 100, which he reached in April 2008.

Adam Feeney was a successful junior, especially at doubles.  At the 2003 Wimbledon Championships, Feeney, along with fellow Australian Chris Guccione, made the final of the Boys' Doubles.  They lost the final to the Romanian pairing of Horia Tecău and Boys' Singles champion Florin Mergea.

Feeney made his first final in a professional tournament in March 2006 in the Australia F4 tournament in Bairnsdale, Victoria.  He lost to Konstantinos Economidis in the final. In August 2006 Feeney won his first pro tournament, the USA F21.  He defeated South African Kevin Anderson in the final. In September 2006, Feeney won the Australia F9 tournament, winning the final against Miles Armstrong. In July 2007, Feeney won the Great Britain F13 tournament, defeating Daniel King-Turner in the final.

Feeney has defeated many world class tennis players in his career.  For example, Feeney defeated 16-year-old Frenchman Gaël Monfils in the ITF Victorian Junior Championships 2003.

In 2006 he defeated American Sam Querrey, who became World No. 17 in 2011 in a Futures tournament in the United States. In 2008, Feeney defeated Bernard Tomic in an Australian Futures tournament.  He has also had victories over Horacio Zeballos, Karol Beck, Grigor Dimitrov, Kristian Pless, Mikhail Kukushkin and Dominik Hrbatý.

Career finals

Singles: 2 (6–9)

References

External links

1985 births
Living people
Australian male tennis players
Sportspeople from Gosford
Tennis people from New South Wales
Sportsmen from New South Wales

Adam Feeney