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Winston-Salem State University
Yancey Thigpen, former NFL wide receiver who played for the San Diego Chargers (1991), the Pittsburgh Steelers (1992–1997), and the Tennessee Oilers/Titans Dennis L.A. White, stage and screen actor noted for portraying Damion 'D-Roc' Butler in the Notorious B.I.G. biopic entitled Notorious and the re-occurring character "Mistah Ray" on NBC's Parenthood Earl "The Twirl" Williams, American-Israeli basketball player Donald Evans (American football), former professional American football Defensive Lineman in the National Football League for the Los Angeles Rams, Philadelphia Eagles, Pittsburgh Steelers & New York Jets Richard Huntley, professional American football running back in the National Football League. He played six seasons for the Atlanta Falcons (1996), the Pittsburgh Steelers (1998–2000), the Carolina Panthers (2001), and the Detroit Lions (2002). Louis Farrakhan, religious leader, African-American activist, and social commentator
Winston-Salem State University. Yancey Thigpen, former NFL wide receiver who played for the San Diego Chargers (1991), the Pittsburgh Steelers (1992–1997), and the Tennessee Oilers/Titans Dennis L.A. White, stage and screen actor noted for portraying Damion 'D-Roc' Butler in the Notorious B.I.G. biopic entitled Notorious and the re-occurring character "Mistah Ray" on NBC's Parenthood Earl "The Twirl" Williams, American-Israeli basketball player Donald Evans (American football), former professional American football Defensive Lineman in the National Football League for the Los Angeles Rams, Philadelphia Eagles, Pittsburgh Steelers & New York Jets Richard Huntley, professional American football running back in the National Football League. He played six seasons for the Atlanta Falcons (1996), the Pittsburgh Steelers (1998–2000), the Carolina Panthers (2001), and the Detroit Lions (2002). Louis Farrakhan, religious leader, African-American activist, and social commentator
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Winston-Salem State University
Louis Farrakhan, religious leader, African-American activist, and social commentator Oronde Gadsden, former professional American football wide receiver in the National Football League for the Dallas Cowboys and Miami Dolphins Spurgeon Neal Ellington, Tuskegee Airman. 1st Lieutenant in the U.S. Army. Awarded the Distinguished Flying Cross. Maria Howell, actress and singer. She made her film debut in The Color Purple (1985) and appeared in Hidden Figures (2016) as Ms. Sumner. William Hayes, American football defensive end for the Miami Dolphins of the National Football League (NFL). He was drafted by the Tennessee Titans in the fourth round of the 2008 NFL Draft. Harry Lewis, member of the Pennsylvania House of Representatives, representing the 74th House district in Chester County, Pennsylvania. Derwin L. Montgomery, Winston-Salem City Councilman, pastor, owner of the Winston-Salem Chronicle, and a member of the North Carolina House of Representatives.
Winston-Salem State University. Louis Farrakhan, religious leader, African-American activist, and social commentator Oronde Gadsden, former professional American football wide receiver in the National Football League for the Dallas Cowboys and Miami Dolphins Spurgeon Neal Ellington, Tuskegee Airman. 1st Lieutenant in the U.S. Army. Awarded the Distinguished Flying Cross. Maria Howell, actress and singer. She made her film debut in The Color Purple (1985) and appeared in Hidden Figures (2016) as Ms. Sumner. William Hayes, American football defensive end for the Miami Dolphins of the National Football League (NFL). He was drafted by the Tennessee Titans in the fourth round of the 2008 NFL Draft. Harry Lewis, member of the Pennsylvania House of Representatives, representing the 74th House district in Chester County, Pennsylvania. Derwin L. Montgomery, Winston-Salem City Councilman, pastor, owner of the Winston-Salem Chronicle, and a member of the North Carolina House of Representatives.
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Winston-Salem State University
Derwin L. Montgomery, Winston-Salem City Councilman, pastor, owner of the Winston-Salem Chronicle, and a member of the North Carolina House of Representatives. Moyer Hauser (1896 to 1978) Professor of Physics and engineer who helped build WSSU building formally Slater Teachers College. The Hauser Building on campus was initially named for him. Moyer Hauser was the chief sound effects producer for City's Community radio workshop in the early 1940s.
Winston-Salem State University. Derwin L. Montgomery, Winston-Salem City Councilman, pastor, owner of the Winston-Salem Chronicle, and a member of the North Carolina House of Representatives. Moyer Hauser (1896 to 1978) Professor of Physics and engineer who helped build WSSU building formally Slater Teachers College. The Hauser Building on campus was initially named for him. Moyer Hauser was the chief sound effects producer for City's Community radio workshop in the early 1940s.
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References External links Winston-Salem State Athletics website University of North Carolina Public universities and colleges in North Carolina Historically black universities and colleges in the United States Universities and colleges accredited by the Southern Association of Colleges and Schools Universities and colleges in Winston-Salem, North Carolina 1892 establishments in North Carolina
Winston-Salem State University. References External links Winston-Salem State Athletics website University of North Carolina Public universities and colleges in North Carolina Historically black universities and colleges in the United States Universities and colleges accredited by the Southern Association of Colleges and Schools Universities and colleges in Winston-Salem, North Carolina 1892 establishments in North Carolina
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1891 Canadian federal election
The 1891 Canadian federal election was held on March 5, 1891, to elect members of the House of Commons of Canada of the 7th Parliament of Canada. It was won by the Conservative Party of Prime Minister Sir John A. Macdonald. The main issue of the 1891 campaign was Macdonald's National Policy, a policy of protective tariffs. The Liberals supported reciprocity (free trade) with the United States. Macdonald led a Conservative campaign emphasizing stability, and retained the Conservatives' majority in the House of Commons. It was a close election and he campaigned hard. Macdonald died a few months after the election, which led to his succession by four different Conservative Prime Ministers until the 1896 election. It was Wilfrid Laurier's first election as leader of the Liberals. Although he lost the election, he increased the Liberals' support. He returned in 1896 to win a solid majority, despite losing the popular vote.
1891 Canadian federal election. The 1891 Canadian federal election was held on March 5, 1891, to elect members of the House of Commons of Canada of the 7th Parliament of Canada. It was won by the Conservative Party of Prime Minister Sir John A. Macdonald. The main issue of the 1891 campaign was Macdonald's National Policy, a policy of protective tariffs. The Liberals supported reciprocity (free trade) with the United States. Macdonald led a Conservative campaign emphasizing stability, and retained the Conservatives' majority in the House of Commons. It was a close election and he campaigned hard. Macdonald died a few months after the election, which led to his succession by four different Conservative Prime Ministers until the 1896 election. It was Wilfrid Laurier's first election as leader of the Liberals. Although he lost the election, he increased the Liberals' support. He returned in 1896 to win a solid majority, despite losing the popular vote.
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Canadian voters would return to the issue of free trade 20 years later in the 1911 federal election. National results Notes: * Party did not nominate candidates in the previous election. 1 One Nationalist candidate was elected by acclamation. 2 The Parliamentary website identifies two candidates in Nova Scotia as being "Progressives". This may be an error. Acclamations: The following Members of Parliament were elected by acclamation; British Columbia: 1 Conservative, 1 Liberal-Conservative Manitoba: 1 Conservative Ontario: 1 Conservative Quebec: 1 Conservative, 2 Liberal, 1 Nationalist Results by province Vote and seat summaries See also List of Canadian federal general elections List of political parties in Canada 7th Canadian Parliament Notes References Further reading External links The Election of 1891: A Question of Loyalty, by James Marsh Federal 1891 March 1891 events
1891 Canadian federal election. Canadian voters would return to the issue of free trade 20 years later in the 1911 federal election. National results Notes: * Party did not nominate candidates in the previous election. 1 One Nationalist candidate was elected by acclamation. 2 The Parliamentary website identifies two candidates in Nova Scotia as being "Progressives". This may be an error. Acclamations: The following Members of Parliament were elected by acclamation; British Columbia: 1 Conservative, 1 Liberal-Conservative Manitoba: 1 Conservative Ontario: 1 Conservative Quebec: 1 Conservative, 2 Liberal, 1 Nationalist Results by province Vote and seat summaries See also List of Canadian federal general elections List of political parties in Canada 7th Canadian Parliament Notes References Further reading External links The Election of 1891: A Question of Loyalty, by James Marsh Federal 1891 March 1891 events
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Brodmann area 47
Brodmann area 47, or BA47, is part of the frontal cortex in the human brain. It curves from the lateral surface of the frontal lobe into the ventral (orbital) frontal cortex. It is below areas BA10 and BA45, and beside BA11. This cytoarchitectonic region most closely corresponds to the gyral region the orbital part of inferior frontal gyrus, although these regions are not equivalent. Pars orbitalis is not based on cytoarchitectonic distinctions, and rather is defined according to gross anatomical landmarks. Despite a clear distinction, these two terms are often used liberally in peer-reviewed research journals.
Brodmann area 47. Brodmann area 47, or BA47, is part of the frontal cortex in the human brain. It curves from the lateral surface of the frontal lobe into the ventral (orbital) frontal cortex. It is below areas BA10 and BA45, and beside BA11. This cytoarchitectonic region most closely corresponds to the gyral region the orbital part of inferior frontal gyrus, although these regions are not equivalent. Pars orbitalis is not based on cytoarchitectonic distinctions, and rather is defined according to gross anatomical landmarks. Despite a clear distinction, these two terms are often used liberally in peer-reviewed research journals.
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BA47 is also known as orbital area 47. In the human, on the orbital surface it surrounds the caudal portion of the orbital sulcus (H) from which it extends laterally into the orbital part of inferior frontal gyrus (H). Cytoarchitectonically it is bounded caudally by the triangular area 45, medially by the prefrontal area 11 of Brodmann-1909, and rostrally by the frontopolar area 10 (Brodmann-1909). It incorporates the region that Brodmann identified as "Area 12" in the monkey, and therefore, following the suggestion of Michael Petrides, some contemporary neuroscientists refer to the region as "BA47/12". BA47 has been implicated in the processing of syntax in oral and sign languages, musical syntax, and semantic aspects of language. Functions and Clinical Considerations
Brodmann area 47. BA47 is also known as orbital area 47. In the human, on the orbital surface it surrounds the caudal portion of the orbital sulcus (H) from which it extends laterally into the orbital part of inferior frontal gyrus (H). Cytoarchitectonically it is bounded caudally by the triangular area 45, medially by the prefrontal area 11 of Brodmann-1909, and rostrally by the frontopolar area 10 (Brodmann-1909). It incorporates the region that Brodmann identified as "Area 12" in the monkey, and therefore, following the suggestion of Michael Petrides, some contemporary neuroscientists refer to the region as "BA47/12". BA47 has been implicated in the processing of syntax in oral and sign languages, musical syntax, and semantic aspects of language. Functions and Clinical Considerations
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Language Processing and Comprehension
Brodmann area 47. Language Processing and Comprehension
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Brodmann area 47
A major function of BA 47 is language processing and comprehension. Although Broca’s and Wernicke’s areas are often the major foci of neuroanatomical studies related to language, research has discovered that these two areas are not as integral to language comprehension as originally thought; other structures like BA 47 play a major role. Specifically, BA 47 is active in tasks regarding semantics, or identifying the meaning of words and sentences. To understand language semantics, consider Dapretto and Bookheimer’s (1999) study where participants needed to identify that there was a difference between the sentences, “The man was attacked by the Doberman,” and “The man was attacked by the Pitbull.” While sentence form was similar, the words Doberman and Pitbull had different meanings, specifically dog breeds. This is indicative of a change in semantics. Having defined what semantics are, it is important to identify the functional limitations of individuals with damage to BA 47. Patients
Brodmann area 47. A major function of BA 47 is language processing and comprehension. Although Broca’s and Wernicke’s areas are often the major foci of neuroanatomical studies related to language, research has discovered that these two areas are not as integral to language comprehension as originally thought; other structures like BA 47 play a major role. Specifically, BA 47 is active in tasks regarding semantics, or identifying the meaning of words and sentences. To understand language semantics, consider Dapretto and Bookheimer’s (1999) study where participants needed to identify that there was a difference between the sentences, “The man was attacked by the Doberman,” and “The man was attacked by the Pitbull.” While sentence form was similar, the words Doberman and Pitbull had different meanings, specifically dog breeds. This is indicative of a change in semantics. Having defined what semantics are, it is important to identify the functional limitations of individuals with damage to BA 47. Patients
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dog breeds. This is indicative of a change in semantics. Having defined what semantics are, it is important to identify the functional limitations of individuals with damage to BA 47. Patients with lesions to BA 47 reported difficulty engaging in tasks that required one to process words as well as tasks that required one to be familiar with grammatical rules.
Brodmann area 47. dog breeds. This is indicative of a change in semantics. Having defined what semantics are, it is important to identify the functional limitations of individuals with damage to BA 47. Patients with lesions to BA 47 reported difficulty engaging in tasks that required one to process words as well as tasks that required one to be familiar with grammatical rules.
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Recently, studies have determined that BA 47 is involved in processing more than just spoken language. Considering BA 47’s role in language semantics, it is essential to note that this function is not related only to oral communication; BA 47 is also important for identifying semantics in sign language. Specifically, BA 47 plays a role in helping us determine what spoken words mean as well as what signed words mean. This finding that similar areas of the brain are active when processing different types of linguistic information is especially interesting considering the fact that the sensory modalities involved in spoken and sign language are different, the former involves audition and the latter involves vision. Furthermore, in addition to language processing, BA 47 helps us process music. Levitin and Menon (2003) found that BA 47 showed greater activation when individuals were presented with “scrambled” sounds that violated their expectations versus sounds that went together and
Brodmann area 47. Recently, studies have determined that BA 47 is involved in processing more than just spoken language. Considering BA 47’s role in language semantics, it is essential to note that this function is not related only to oral communication; BA 47 is also important for identifying semantics in sign language. Specifically, BA 47 plays a role in helping us determine what spoken words mean as well as what signed words mean. This finding that similar areas of the brain are active when processing different types of linguistic information is especially interesting considering the fact that the sensory modalities involved in spoken and sign language are different, the former involves audition and the latter involves vision. Furthermore, in addition to language processing, BA 47 helps us process music. Levitin and Menon (2003) found that BA 47 showed greater activation when individuals were presented with “scrambled” sounds that violated their expectations versus sounds that went together and
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Levitin and Menon (2003) found that BA 47 showed greater activation when individuals were presented with “scrambled” sounds that violated their expectations versus sounds that went together and confirmed their expectations. That is, with disrupted musical structure, participants required more brain processing for musical comprehension, and that happened in BA 47.
Brodmann area 47. Levitin and Menon (2003) found that BA 47 showed greater activation when individuals were presented with “scrambled” sounds that violated their expectations versus sounds that went together and confirmed their expectations. That is, with disrupted musical structure, participants required more brain processing for musical comprehension, and that happened in BA 47.
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Emotional Recognition BA47 is thought to be related to the recognition of emotions. The emotions thought to be recognized by BA47 are fear, disgust, and anger. In a study conducted by R. Sprengelmeyer, M. Rausch, U.T. Eysel, and H. Pruzentek this hypothesis was tested be using an fMRI experiment on six healthy individuals with no prior neurological problems. The individuals were shown 8 faces showing the emotions of fear, disgust, anger, or neutral. The fMRI image was taken after the subjects were shown the face for 3 seconds. BA 47 showed increased activity when the subject was shown the emotions of fear, disgust, and anger. See also Brodmann area List of regions in the human brain
Brodmann area 47. Emotional Recognition BA47 is thought to be related to the recognition of emotions. The emotions thought to be recognized by BA47 are fear, disgust, and anger. In a study conducted by R. Sprengelmeyer, M. Rausch, U.T. Eysel, and H. Pruzentek this hypothesis was tested be using an fMRI experiment on six healthy individuals with no prior neurological problems. The individuals were shown 8 faces showing the emotions of fear, disgust, anger, or neutral. The fMRI image was taken after the subjects were shown the face for 3 seconds. BA 47 showed increased activity when the subject was shown the emotions of fear, disgust, and anger. See also Brodmann area List of regions in the human brain
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See also Brodmann area List of regions in the human brain Further reading Ardila, A., Bernal, B., & Rosselli, M. (2017). Should Broca’s area include Brodmann area 47? Psicothema, 29(1), 73-77. https://doi.org/10.7334/psicothema2016.11 Dapretto, M., & Bookheimer, S. Y. (1999). Form and content: Dissociating syntax and semantics in sentence comprehension. Neuron, 24(2), 427-432. https://doi.org/10.1016/S0896-6273(00)80855-7 Dronkers, N. F., Wilkins, D. P., Van Valin, R. D., Redfern, B. B., & Jaeger, J. J. (2004). Lesion analysis of the brain areas involved in language comprehension. Cognition, 92(1-2), 145-177. https://doi.org/10.1016/j.cognition.2003.11.002 Molitoris, J., Seay, M., Crinon, J., Newhart, M., Davis, C., & Hillis, A. (2010, May 23–27). The role of Brodmann area 47 in acute stroke Patients with language impairment [Conference session]. Clinical Aphasiology 2010 Conference, Isle of Palms, SC, United States. http://aphasiology.pitt.edu/2162/
Brodmann area 47. See also Brodmann area List of regions in the human brain Further reading Ardila, A., Bernal, B., & Rosselli, M. (2017). Should Broca’s area include Brodmann area 47? Psicothema, 29(1), 73-77. https://doi.org/10.7334/psicothema2016.11 Dapretto, M., & Bookheimer, S. Y. (1999). Form and content: Dissociating syntax and semantics in sentence comprehension. Neuron, 24(2), 427-432. https://doi.org/10.1016/S0896-6273(00)80855-7 Dronkers, N. F., Wilkins, D. P., Van Valin, R. D., Redfern, B. B., & Jaeger, J. J. (2004). Lesion analysis of the brain areas involved in language comprehension. Cognition, 92(1-2), 145-177. https://doi.org/10.1016/j.cognition.2003.11.002 Molitoris, J., Seay, M., Crinon, J., Newhart, M., Davis, C., & Hillis, A. (2010, May 23–27). The role of Brodmann area 47 in acute stroke Patients with language impairment [Conference session]. Clinical Aphasiology 2010 Conference, Isle of Palms, SC, United States. http://aphasiology.pitt.edu/2162/
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Petitto, L. A., Zatorre, R. J., Gauna, K., Nikelski, E. J., Dostie, D., & Evans, A. C. (2000). Speech-like cerebral activity in profoundly deaf people processing signed languages: Implications for the neural basis of human language. PNAS, 97(25), 13961–13966. https://doi.org/10.1073/pnas.97.25.13961 Sprengelmeyer, R.; Rausch, M.; Eysel, U. T.; Przuntek, H. (1998). "Neural Structures Associated with Recognition of Facial Expressions of Basic Emotions". Proceedings: Biological Sciences. 265 (1409): 1927–1931. ISSN 0962-8452. References External links For Neuroanatomy of this area visit BrainInfo 47 Frontal lobe
Brodmann area 47. Petitto, L. A., Zatorre, R. J., Gauna, K., Nikelski, E. J., Dostie, D., & Evans, A. C. (2000). Speech-like cerebral activity in profoundly deaf people processing signed languages: Implications for the neural basis of human language. PNAS, 97(25), 13961–13966. https://doi.org/10.1073/pnas.97.25.13961 Sprengelmeyer, R.; Rausch, M.; Eysel, U. T.; Przuntek, H. (1998). "Neural Structures Associated with Recognition of Facial Expressions of Basic Emotions". Proceedings: Biological Sciences. 265 (1409): 1927–1931. ISSN 0962-8452. References External links For Neuroanatomy of this area visit BrainInfo 47 Frontal lobe
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University of North Carolina School of the Arts
The University of North Carolina School of the Arts (UNCSA) is an arts school in Winston-Salem, North Carolina. It grants high school, undergraduate, and graduate degrees. Founded in 1963 as the North Carolina School of the Arts by then-Governor Terry Sanford, it was the first public arts conservatory in the United States. The school owns and operates the Stevens Center in Downtown Winston-Salem and is accredited by the Southern Association of Colleges and Schools. The school consists of five professional schools: School of Dance, School of Design & Production (including a HS Visual Arts Program), School of Drama, School of Filmmaking, and School of Music. History
University of North Carolina School of the Arts. The University of North Carolina School of the Arts (UNCSA) is an arts school in Winston-Salem, North Carolina. It grants high school, undergraduate, and graduate degrees. Founded in 1963 as the North Carolina School of the Arts by then-Governor Terry Sanford, it was the first public arts conservatory in the United States. The school owns and operates the Stevens Center in Downtown Winston-Salem and is accredited by the Southern Association of Colleges and Schools. The school consists of five professional schools: School of Dance, School of Design & Production (including a HS Visual Arts Program), School of Drama, School of Filmmaking, and School of Music. History
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University of North Carolina School of the Arts
History Founding The idea of the University of North Carolina School of the Arts was initiated in 1962 by Vittorio Giannini, a leading American Composer and teacher of Composition at Juilliard, the Curtis Institute of Music and the Manhattan School of Music, who approached then-governor Terry Sanford and enlisted the help of author John Ehle and William Sprott Greene, Jr. and Martha Dulin Muilenburg of Charlotte, North Carolina, to support his dream of an arts conservatory. State funds were appropriated, and a North Carolina Conservatory Committee was established. The School of the Arts became a constituent institution of the University of North Carolina in 1972.
University of North Carolina School of the Arts. History Founding The idea of the University of North Carolina School of the Arts was initiated in 1962 by Vittorio Giannini, a leading American Composer and teacher of Composition at Juilliard, the Curtis Institute of Music and the Manhattan School of Music, who approached then-governor Terry Sanford and enlisted the help of author John Ehle and William Sprott Greene, Jr. and Martha Dulin Muilenburg of Charlotte, North Carolina, to support his dream of an arts conservatory. State funds were appropriated, and a North Carolina Conservatory Committee was established. The School of the Arts became a constituent institution of the University of North Carolina in 1972.
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In 2008, the institution's board of trustees voted unanimously to change the name of the school from the "North Carolina School of the Arts" to the "University of North Carolina School of the Arts" to raise its profile. The name change was subsequently approved by the University of North Carolina Board of Governors, North Carolina Senate, North Carolina House of Representatives, and Governor Mike Easley.
University of North Carolina School of the Arts. In 2008, the institution's board of trustees voted unanimously to change the name of the school from the "North Carolina School of the Arts" to the "University of North Carolina School of the Arts" to raise its profile. The name change was subsequently approved by the University of North Carolina Board of Governors, North Carolina Senate, North Carolina House of Representatives, and Governor Mike Easley.
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Leaders Vittorio Giannini was the School's founder and first President. His vision of arts education shaped UNCSA at its beginning and continues to influence it today. Giannini served as President of the fledgling institution until his death in November 1966. A resolution dated December 3, 1966 by the Board of Trustees and the Governor pays tribute to Giannini as the founder of the School, noting that 'When it was a dream, he sought a home for it and helped bring it into being. When it was an infant institution, he gave it structure and design.' The Pulitzer Prize-winning composer Robert Ward became UNCSA's second president following Giannini's death.
University of North Carolina School of the Arts. Leaders Vittorio Giannini was the School's founder and first President. His vision of arts education shaped UNCSA at its beginning and continues to influence it today. Giannini served as President of the fledgling institution until his death in November 1966. A resolution dated December 3, 1966 by the Board of Trustees and the Governor pays tribute to Giannini as the founder of the School, noting that 'When it was a dream, he sought a home for it and helped bring it into being. When it was an infant institution, he gave it structure and design.' The Pulitzer Prize-winning composer Robert Ward became UNCSA's second president following Giannini's death.
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In 1974 Robert Suderburg became UNCSA's third chancellor following Martin Sokoloff, the administrative director, who served as interim chancellor from 1973 to 1974. During his time at UNCSA the Workplace building, containing the Semans Library, was opened on the UNCSA campus, as well as the Stevens Center, previously the Carolina Theatre, in downtown Winston-Salem. The gala opening of the Stevens Center featured the school's symphony orchestra conducted by Leonard Bernstein, with Isaac Stern as soloist and Gregory Peck as the Master of Ceremonies. Attendees included Agnes de Mille, Cliff Robertson, Governor James Hunt, President and Mrs. Gerald Ford and Lady Bird Johnson. The Stevens Center remains UNCSA's largest performance facility.
University of North Carolina School of the Arts. In 1974 Robert Suderburg became UNCSA's third chancellor following Martin Sokoloff, the administrative director, who served as interim chancellor from 1973 to 1974. During his time at UNCSA the Workplace building, containing the Semans Library, was opened on the UNCSA campus, as well as the Stevens Center, previously the Carolina Theatre, in downtown Winston-Salem. The gala opening of the Stevens Center featured the school's symphony orchestra conducted by Leonard Bernstein, with Isaac Stern as soloist and Gregory Peck as the Master of Ceremonies. Attendees included Agnes de Mille, Cliff Robertson, Governor James Hunt, President and Mrs. Gerald Ford and Lady Bird Johnson. The Stevens Center remains UNCSA's largest performance facility.
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Jane E. Milley became Chancellor at the School of the Arts in September 1984. In the spring of 1990, Alex C. Ewing was appointed Chancellor. He assumed the position in July 1990, following Philip R. Nelson, former Dean of music at Yale University, who served as Interim Chancellor during the 1989–90 school year. Ewing had been associated with the School since 1985, when he became chairman of the Board of Visitors. In 1988 he established the Lucia Chase Endowed Fellowship for Dance at the School, in memory of his mother, a co-founder and principal dancer with American Ballet Theatre. A man of diverse talents, Ewing almost single-handedly revitalized the Joffrey Ballet during his tenure as general director in the 1960s. As Chancellor, Ewing oversaw the success of the School's $25 million campaign for endowment and scholarships. He also orchestrated a combination of local, state and national support to secure the establishment of NCSA's fifth arts school, the School of Filmmaking, in
University of North Carolina School of the Arts. Jane E. Milley became Chancellor at the School of the Arts in September 1984. In the spring of 1990, Alex C. Ewing was appointed Chancellor. He assumed the position in July 1990, following Philip R. Nelson, former Dean of music at Yale University, who served as Interim Chancellor during the 1989–90 school year. Ewing had been associated with the School since 1985, when he became chairman of the Board of Visitors. In 1988 he established the Lucia Chase Endowed Fellowship for Dance at the School, in memory of his mother, a co-founder and principal dancer with American Ballet Theatre. A man of diverse talents, Ewing almost single-handedly revitalized the Joffrey Ballet during his tenure as general director in the 1960s. As Chancellor, Ewing oversaw the success of the School's $25 million campaign for endowment and scholarships. He also orchestrated a combination of local, state and national support to secure the establishment of NCSA's fifth arts school, the School of Filmmaking, in
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campaign for endowment and scholarships. He also orchestrated a combination of local, state and national support to secure the establishment of NCSA's fifth arts school, the School of Filmmaking, in 1993. Ewing took a special interest in NCSA's campus plan. Other capital projects he spearheaded included a new Sculpture Studio, a new Fitness Center, and the start of the Student Commons renovation. Wade Hobgood, Dean of the College of the Arts at California State University at Long Beach since 1993, was named Chancellor in February 2000, assuming the position on July 1, 2000. A native of Wilson, NC, Hobgood attended East Carolina University, where he earned a Bachelor of Fine Arts and Master of Fine Arts in Communication Arts.
University of North Carolina School of the Arts. campaign for endowment and scholarships. He also orchestrated a combination of local, state and national support to secure the establishment of NCSA's fifth arts school, the School of Filmmaking, in 1993. Ewing took a special interest in NCSA's campus plan. Other capital projects he spearheaded included a new Sculpture Studio, a new Fitness Center, and the start of the Student Commons renovation. Wade Hobgood, Dean of the College of the Arts at California State University at Long Beach since 1993, was named Chancellor in February 2000, assuming the position on July 1, 2000. A native of Wilson, NC, Hobgood attended East Carolina University, where he earned a Bachelor of Fine Arts and Master of Fine Arts in Communication Arts.
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University of North Carolina School of the Arts
John Mauceri was UNCSA's seventh chancellor. He assumed the position following Gretchen M. Bataille, former Senior Vice President for Academic Affairs of the 16-campus University of North Carolina, who served as Interim Chancellor during the 2005–2006 academic year. Mr. Mauceri earned Bachelor of Science and Master of Philosophy in music theory degrees from Yale University, where he was also a member of the faculty for fifteen years. He is internationally known as a conductor, arranger and music director; he was the first American to hold the post of music director in both British and Italian opera houses. For the last fifteen years he had been the Director of the Hollywood Bowl Orchestra in Los Angeles, California. A distinguished recording artist, he has won Grammy, Tony, Emmy and Drama Desk awards. In addition, he frequently writes articles on opera, musical theater and music for the American cinema. Chancellor Mauceri announced in the Fall of 2012 that he would retire at the
University of North Carolina School of the Arts. John Mauceri was UNCSA's seventh chancellor. He assumed the position following Gretchen M. Bataille, former Senior Vice President for Academic Affairs of the 16-campus University of North Carolina, who served as Interim Chancellor during the 2005–2006 academic year. Mr. Mauceri earned Bachelor of Science and Master of Philosophy in music theory degrees from Yale University, where he was also a member of the faculty for fifteen years. He is internationally known as a conductor, arranger and music director; he was the first American to hold the post of music director in both British and Italian opera houses. For the last fifteen years he had been the Director of the Hollywood Bowl Orchestra in Los Angeles, California. A distinguished recording artist, he has won Grammy, Tony, Emmy and Drama Desk awards. In addition, he frequently writes articles on opera, musical theater and music for the American cinema. Chancellor Mauceri announced in the Fall of 2012 that he would retire at the
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Drama Desk awards. In addition, he frequently writes articles on opera, musical theater and music for the American cinema. Chancellor Mauceri announced in the Fall of 2012 that he would retire at the conclusion of the 2012–2013 academic year.
University of North Carolina School of the Arts. Drama Desk awards. In addition, he frequently writes articles on opera, musical theater and music for the American cinema. Chancellor Mauceri announced in the Fall of 2012 that he would retire at the conclusion of the 2012–2013 academic year.
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Lindsay Bierman, former editor of Southern Living magazine, served as chancellor from 2014 to 2019, overseeing the implementation of a new strategic plan, widespread campus renovations, and the launch of the largest fundraising campaign in school history. Bierman departed UNCSA in 2019 to become chief executive officer of the North Carolina public television system, known then as UNC-TV and subsequently rebranded as PBS North Carolina. In 2020, Brian Cole, who had previously served as dean of the UNCSA School of Music and interim chancellor, was named the ninth chancellor at UNCSA.
University of North Carolina School of the Arts. Lindsay Bierman, former editor of Southern Living magazine, served as chancellor from 2014 to 2019, overseeing the implementation of a new strategic plan, widespread campus renovations, and the launch of the largest fundraising campaign in school history. Bierman departed UNCSA in 2019 to become chief executive officer of the North Carolina public television system, known then as UNC-TV and subsequently rebranded as PBS North Carolina. In 2020, Brian Cole, who had previously served as dean of the UNCSA School of Music and interim chancellor, was named the ninth chancellor at UNCSA.
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Campus The school's campus consists of in Winston-Salem, near Old Salem. There are eight residence halls – six for college students, two for high school students, an on-campus student apartment complex and an off-campus student apartment complex within walking distance. The school has eleven performance and screening spaces; the ACE Exhibition Complex with three movie theaters, Crawford Recital Hall (with a Fisk Organ), deMille Theatre for dance, Hood Recital Hall, Performance Place with three theatrical spaces, the Stevens Center in downtown Winston-Salem, and Watson Chamber Music Hall. Performance Place is the home of the drama department, the ACE Theatre is the home of the filmmaking department, deMille theatre is the home of the dance department and Watson, Hood and Crawford halls are used by the music department. The Stevens Center is shared.
University of North Carolina School of the Arts. Campus The school's campus consists of in Winston-Salem, near Old Salem. There are eight residence halls – six for college students, two for high school students, an on-campus student apartment complex and an off-campus student apartment complex within walking distance. The school has eleven performance and screening spaces; the ACE Exhibition Complex with three movie theaters, Crawford Recital Hall (with a Fisk Organ), deMille Theatre for dance, Hood Recital Hall, Performance Place with three theatrical spaces, the Stevens Center in downtown Winston-Salem, and Watson Chamber Music Hall. Performance Place is the home of the drama department, the ACE Theatre is the home of the filmmaking department, deMille theatre is the home of the dance department and Watson, Hood and Crawford halls are used by the music department. The Stevens Center is shared.
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The school also has a fitness center with an interior basketball court, the Semans Library, the Hanes Student Commons, Workplace (adjacent to the library) which holds Visual Arts Studios as well as Offices and Studios for the School of Dance, Gray Building, which holds high school academics on the third floor and music offices and practice rooms on the first and second floors, a building holding two dance studios, a visual arts sculpting studio, a large design and production complex, a costume, wig and makeup studio, a welcome center, and several buildings for administrative offices and college academics. New studio spaces and a new apartment complex are currently under construction.
University of North Carolina School of the Arts. The school also has a fitness center with an interior basketball court, the Semans Library, the Hanes Student Commons, Workplace (adjacent to the library) which holds Visual Arts Studios as well as Offices and Studios for the School of Dance, Gray Building, which holds high school academics on the third floor and music offices and practice rooms on the first and second floors, a building holding two dance studios, a visual arts sculpting studio, a large design and production complex, a costume, wig and makeup studio, a welcome center, and several buildings for administrative offices and college academics. New studio spaces and a new apartment complex are currently under construction.
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Performance opportunities UNCSA offers many performance opportunities throughout the course of a school year. Dance students have three seasonal performances: Fall dance, Winter dance, and Spring dance. They also perform the Nutcracker every Christmas as well as many other minor performances throughout the school year. Music students have the chance to perform in front of their peers every Wednesday at performance hour, and students are usually in a large ensemble, such as jazz band, orchestra, opera, or wind ensemble. These ensembles each perform several times a year.
University of North Carolina School of the Arts. Performance opportunities UNCSA offers many performance opportunities throughout the course of a school year. Dance students have three seasonal performances: Fall dance, Winter dance, and Spring dance. They also perform the Nutcracker every Christmas as well as many other minor performances throughout the school year. Music students have the chance to perform in front of their peers every Wednesday at performance hour, and students are usually in a large ensemble, such as jazz band, orchestra, opera, or wind ensemble. These ensembles each perform several times a year.
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The School of Design and Production is responsible for the scenery, costumes, wigs, makeup, lighting, sound, and stage management for all shows produced by the School of Drama, two operas that UNCSA produces each year through the Fletcher Opera Institute, as well as dance performances, although dance costumes are provided partly by the Costume Department and also by the School of Dance's own professional costume shop. The Lighting Department each December presents a showcase entitled "Photona" which combines lighting as well as projection equipment. The Film-making school is host to the ACE Exhibition Complex, where students can display their work and watch others. This complex, along with the Stevens Center, is host to the RiverRun International Film Festival every spring.
University of North Carolina School of the Arts. The School of Design and Production is responsible for the scenery, costumes, wigs, makeup, lighting, sound, and stage management for all shows produced by the School of Drama, two operas that UNCSA produces each year through the Fletcher Opera Institute, as well as dance performances, although dance costumes are provided partly by the Costume Department and also by the School of Dance's own professional costume shop. The Lighting Department each December presents a showcase entitled "Photona" which combines lighting as well as projection equipment. The Film-making school is host to the ACE Exhibition Complex, where students can display their work and watch others. This complex, along with the Stevens Center, is host to the RiverRun International Film Festival every spring.
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All School Musical
University of North Carolina School of the Arts. All School Musical
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Once every four years, UNCSA produces an all-school musical – a massive, extensive, Broadway-style production involving all five arts schools of the conservatory. All students have the opportunity to audition. Past all-school musicals have included Brigadoon, Oklahoma!, Kiss Me, Kate, Canterbury Tales, and Guys and Dolls with the most recent one being Leonard Bernstein's Mass. The purpose of the all-school musicals are not only to provide the students with professional experience but also to raise money and awareness for the school. For example, for West Side Story the lead roles and Chancellor John Mauceri traveled to New York to promote the school and the school's revival of the musical. West Side Story was performed at UNCSA's Stevens Center from May 3–13, 2007, and then went on tour to Chicago's Ravinia Festival on June 8, 2007. The production was directed by Dean of Drama Gerald Freedman, the assistant director of the original production, and conducted by UNCSA Chancellor and
University of North Carolina School of the Arts. Once every four years, UNCSA produces an all-school musical – a massive, extensive, Broadway-style production involving all five arts schools of the conservatory. All students have the opportunity to audition. Past all-school musicals have included Brigadoon, Oklahoma!, Kiss Me, Kate, Canterbury Tales, and Guys and Dolls with the most recent one being Leonard Bernstein's Mass. The purpose of the all-school musicals are not only to provide the students with professional experience but also to raise money and awareness for the school. For example, for West Side Story the lead roles and Chancellor John Mauceri traveled to New York to promote the school and the school's revival of the musical. West Side Story was performed at UNCSA's Stevens Center from May 3–13, 2007, and then went on tour to Chicago's Ravinia Festival on June 8, 2007. The production was directed by Dean of Drama Gerald Freedman, the assistant director of the original production, and conducted by UNCSA Chancellor and
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to Chicago's Ravinia Festival on June 8, 2007. The production was directed by Dean of Drama Gerald Freedman, the assistant director of the original production, and conducted by UNCSA Chancellor and world renown conductor John Mauceri. It has also been reported that Arthur Laurents changed portions of the dialogue for the UNCSA production. In May 2011, UNCSA presented "Oklahoma!" as an all-school musical.
University of North Carolina School of the Arts. to Chicago's Ravinia Festival on June 8, 2007. The production was directed by Dean of Drama Gerald Freedman, the assistant director of the original production, and conducted by UNCSA Chancellor and world renown conductor John Mauceri. It has also been reported that Arthur Laurents changed portions of the dialogue for the UNCSA production. In May 2011, UNCSA presented "Oklahoma!" as an all-school musical.
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Notable alumni Student life Mascot Although UNCSA has no officially sanctioned athletic teams, the school mascot is The Fighting Pickle. The premiere athletic event from the early 1970s was an annual touch-football game between a UNCSA team versus one from a Wake Forest University fraternity. The mascot was selected by a contest name the football team in 1972. The original name was simply "The Pickles," along with a slogan, "Sling 'Em By The Warts!" but the mascot eventually became "The Fighting Pickles." In the spring of 2010, UNCSA hosted a competition to choose the new, official "Fighting Pickle" mascot. Design entries and voting was opened to students, alumni, faculty, staff and former faculty and staff. The winner was unveiled on May 21, 2010 in the Student Union's cafe, "The Pickle Jar."
University of North Carolina School of the Arts. Notable alumni Student life Mascot Although UNCSA has no officially sanctioned athletic teams, the school mascot is The Fighting Pickle. The premiere athletic event from the early 1970s was an annual touch-football game between a UNCSA team versus one from a Wake Forest University fraternity. The mascot was selected by a contest name the football team in 1972. The original name was simply "The Pickles," along with a slogan, "Sling 'Em By The Warts!" but the mascot eventually became "The Fighting Pickles." In the spring of 2010, UNCSA hosted a competition to choose the new, official "Fighting Pickle" mascot. Design entries and voting was opened to students, alumni, faculty, staff and former faculty and staff. The winner was unveiled on May 21, 2010 in the Student Union's cafe, "The Pickle Jar."
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Student organizations UNCSA has many active student organizations, including, but not limited to, the following: SGA (Student Government Association) Pride (UNCSA's Gay, Lesbian, and Transgender support organization) United States Institute for Theatre Technology (USITT) Student Chapter Overly Rambunctious God's Youth (Comedy Improv troupe) Artists of Color S.G. (UNCSA High School Student Government) Controversies In 1995, UNCSA [then NCSA] was sued by former student Christopher Soderlund. Soderlund alleged that two dance instructors sexually abused him. News of the lawsuit led to the resignation of the accused faculty members, Richard Kuch and Richard Gain. The suit was dismissed in 2001 due to the expiration of the statute of limitations.
University of North Carolina School of the Arts. Student organizations UNCSA has many active student organizations, including, but not limited to, the following: SGA (Student Government Association) Pride (UNCSA's Gay, Lesbian, and Transgender support organization) United States Institute for Theatre Technology (USITT) Student Chapter Overly Rambunctious God's Youth (Comedy Improv troupe) Artists of Color S.G. (UNCSA High School Student Government) Controversies In 1995, UNCSA [then NCSA] was sued by former student Christopher Soderlund. Soderlund alleged that two dance instructors sexually abused him. News of the lawsuit led to the resignation of the accused faculty members, Richard Kuch and Richard Gain. The suit was dismissed in 2001 due to the expiration of the statute of limitations.
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A 2004 state audit uncovered multiple instances of financial improprieties committed by Wade Hobgood, who served as chancellor of the university from 2000 to 2005, as well as other staff and administrators, including Dale Pollock, the former dean of the School of Filmmaking (1999-2006), who also served as interim dean from 2020 to 2021. In 2011, the school settled a lawsuit brought forward by an anonymous former employee after negligently hiring a known sexual predator to its campus police department. According to the Winston-Salem Journal, the amount paid to the former employee by the school was $100,000. In 2016, the school settled another lawsuit brought forward by a former graduate student for alleged disability discrimination that "did not include monetary damages."
University of North Carolina School of the Arts. A 2004 state audit uncovered multiple instances of financial improprieties committed by Wade Hobgood, who served as chancellor of the university from 2000 to 2005, as well as other staff and administrators, including Dale Pollock, the former dean of the School of Filmmaking (1999-2006), who also served as interim dean from 2020 to 2021. In 2011, the school settled a lawsuit brought forward by an anonymous former employee after negligently hiring a known sexual predator to its campus police department. According to the Winston-Salem Journal, the amount paid to the former employee by the school was $100,000. In 2016, the school settled another lawsuit brought forward by a former graduate student for alleged disability discrimination that "did not include monetary damages."
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In the fall of 2021, Soderlund and six other dance alumni sued the school and multiple former administrators for sexual abuses perpetrated by faculty. The lawsuit, Alloways-Ramsey et al. v. Milley et al., case 21-CVS-4831 filed 29 September 2021 in the Superior Court for Forsyth County, was made possible by a special North Carolina law allowing child sexual abuse survivors to file claims through the end of the year. An investigation by the Raleigh News & Observer and the Charlotte Observer found that the school's investigation into alleged faculty misconduct in the 1990s "hid the most damning discoveries." In a subsequent refiling, 32 additional alumni joined the complaint, alleging various forms of sexual, physical and verbal abuse by faculty. 17 more alumni joined the lawsuit in late December 2021, bringing the total number of plaintiffs to 56.
University of North Carolina School of the Arts. In the fall of 2021, Soderlund and six other dance alumni sued the school and multiple former administrators for sexual abuses perpetrated by faculty. The lawsuit, Alloways-Ramsey et al. v. Milley et al., case 21-CVS-4831 filed 29 September 2021 in the Superior Court for Forsyth County, was made possible by a special North Carolina law allowing child sexual abuse survivors to file claims through the end of the year. An investigation by the Raleigh News & Observer and the Charlotte Observer found that the school's investigation into alleged faculty misconduct in the 1990s "hid the most damning discoveries." In a subsequent refiling, 32 additional alumni joined the complaint, alleging various forms of sexual, physical and verbal abuse by faculty. 17 more alumni joined the lawsuit in late December 2021, bringing the total number of plaintiffs to 56.
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Additional reporting by the Raleigh News & Observer and the Charlotte Observer in February 2022 uncovered details of another lawsuit against the school brought by two alumnae of the college music program who alleged that they were sexually harassed by Nicholas Muni, the former artistic director of the A. J. Fletcher Opera Institute (which is part of UNCSA), and that the school's leadership failed to protect them by allowing Muni back on campus during the Title IX investigation that ended in the termination of his employment. The Observer's investigation also found that Muni remained on the school's payroll into 2020, despite UNCSA's insistence that his employment ended in 2018. References External links
University of North Carolina School of the Arts. Additional reporting by the Raleigh News & Observer and the Charlotte Observer in February 2022 uncovered details of another lawsuit against the school brought by two alumnae of the college music program who alleged that they were sexually harassed by Nicholas Muni, the former artistic director of the A. J. Fletcher Opera Institute (which is part of UNCSA), and that the school's leadership failed to protect them by allowing Muni back on campus during the Title IX investigation that ended in the termination of his employment. The Observer's investigation also found that Muni remained on the school's payroll into 2020, despite UNCSA's insistence that his employment ended in 2018. References External links
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References External links Music schools in North Carolina Drama schools in the United States Film schools in the United States School of the Arts Boarding schools in North Carolina Educational institutions established in 1963 Universities and colleges accredited by the Southern Association of Colleges and Schools Universities and colleges in Winston-Salem, North Carolina 1963 establishments in North Carolina Theatre in North Carolina
University of North Carolina School of the Arts. References External links Music schools in North Carolina Drama schools in the United States Film schools in the United States School of the Arts Boarding schools in North Carolina Educational institutions established in 1963 Universities and colleges accredited by the Southern Association of Colleges and Schools Universities and colleges in Winston-Salem, North Carolina 1963 establishments in North Carolina Theatre in North Carolina
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Pathogenesis
Pathogenesis is the process by which a disease or disorder develops. It can include factors which contribute not only to the onset of the disease or disorder, but also to its progression and maintenance. The word comes from Greek πάθος pathos 'suffering, disease' and γένεσις genesis 'creation'. Description Types of pathogenesis include microbial infection, inflammation, malignancy and tissue breakdown. For example, bacterial pathogenesis is the process by which bacteria cause infectious illness. Most diseases are caused by multiple processes. For example, certain cancers arise from dysfunction of the immune system (skin tumors and lymphoma after a renal transplant, which requires immunosuppression).
Pathogenesis. Pathogenesis is the process by which a disease or disorder develops. It can include factors which contribute not only to the onset of the disease or disorder, but also to its progression and maintenance. The word comes from Greek πάθος pathos 'suffering, disease' and γένεσις genesis 'creation'. Description Types of pathogenesis include microbial infection, inflammation, malignancy and tissue breakdown. For example, bacterial pathogenesis is the process by which bacteria cause infectious illness. Most diseases are caused by multiple processes. For example, certain cancers arise from dysfunction of the immune system (skin tumors and lymphoma after a renal transplant, which requires immunosuppression).
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Pathogenesis
The pathogenic mechanisms of a disease (or condition) are set in motion by the underlying causes, which if controlled would allow the disease to be prevented. Often, a potential cause is identified by epidemiological observations before a pathological link can be drawn between the cause and the disease. The pathological perspective can be directly integrated into an epidemiological approach in the interdisciplinary field of molecular pathological epidemiology. Molecular pathological epidemiology can help to assess pathogenesis and causality by means of linking a potential risk factor to molecular pathologic signatures of a disease. Thus, the molecular pathological epidemiology paradigm can advance the area of causal inference. See also Causal inference Epidemiology Molecular pathological epidemiology Molecular pathology Pathology Pathophysiology Salutogenesis References Further reading Pathology
Pathogenesis. The pathogenic mechanisms of a disease (or condition) are set in motion by the underlying causes, which if controlled would allow the disease to be prevented. Often, a potential cause is identified by epidemiological observations before a pathological link can be drawn between the cause and the disease. The pathological perspective can be directly integrated into an epidemiological approach in the interdisciplinary field of molecular pathological epidemiology. Molecular pathological epidemiology can help to assess pathogenesis and causality by means of linking a potential risk factor to molecular pathologic signatures of a disease. Thus, the molecular pathological epidemiology paradigm can advance the area of causal inference. See also Causal inference Epidemiology Molecular pathological epidemiology Molecular pathology Pathology Pathophysiology Salutogenesis References Further reading Pathology
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Lasso (programming language)
Lasso is an application server and server management interface used to develop internet applications and is a general-purpose, high-level programming language. Originally a web datasource connection tool, for Filemaker and later included in Apple Computer's FileMaker 4.0 and Claris Homepage as CDML, it has since evolved into a complex language used to develop and serve large-scale internet applications and web pages. Lasso includes a simple template system allowing code to control generation of HTML and other content types. Lasso is object-oriented and every value is an object. It also supports procedural programming through unbound methods. The language uses traits and multiple dispatch extensively.
Lasso (programming language). Lasso is an application server and server management interface used to develop internet applications and is a general-purpose, high-level programming language. Originally a web datasource connection tool, for Filemaker and later included in Apple Computer's FileMaker 4.0 and Claris Homepage as CDML, it has since evolved into a complex language used to develop and serve large-scale internet applications and web pages. Lasso includes a simple template system allowing code to control generation of HTML and other content types. Lasso is object-oriented and every value is an object. It also supports procedural programming through unbound methods. The language uses traits and multiple dispatch extensively.
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Lasso (programming language)
Lasso has a dynamic type system, where objects can be loaded and augmented at runtime, automatic memory management, a comprehensive standard library, and three compiling methodologies: dynamic (comparable to PHP-Python), just-in-time compilation (comparable to Java or .NET Framework), and pre-compiled (comparable to C). Lasso also supports Query Expressions, allowing elements within arrays and other types of sequences to be iterated, filtered, and manipulated using a natural language syntax similar to SQL. Lasso includes full Unicode character support in the standard string object, allowing it to serve and support multi-byte characters such as Japanese and Swedish, and supports transparent UTF-8 conversion when writing string data to the network or file system.
Lasso (programming language). Lasso has a dynamic type system, where objects can be loaded and augmented at runtime, automatic memory management, a comprehensive standard library, and three compiling methodologies: dynamic (comparable to PHP-Python), just-in-time compilation (comparable to Java or .NET Framework), and pre-compiled (comparable to C). Lasso also supports Query Expressions, allowing elements within arrays and other types of sequences to be iterated, filtered, and manipulated using a natural language syntax similar to SQL. Lasso includes full Unicode character support in the standard string object, allowing it to serve and support multi-byte characters such as Japanese and Swedish, and supports transparent UTF-8 conversion when writing string data to the network or file system.
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Lasso (programming language)
Lasso is often used as a scripting language, and also used in a wide range of non-scripting contexts. Lasso code can be packaged into standalone executable programs called "LassoApps", in which folder structures are compiled into single files. The Lasso Server application server runs as a system service and receives requests from the web server through FastCGI. It then hands the request off to the appropriate Lasso Instance, which formulates the response. Multiple individual instances are supported, allowing one server to handle multiple sites, each as separate processes. The server uses a high performance IO-based green threading system designed for multi-core systems. Lasso can be compared to the server-side scripting languages PHP and Python, ColdFusion, Ruby, etc.
Lasso (programming language). Lasso is often used as a scripting language, and also used in a wide range of non-scripting contexts. Lasso code can be packaged into standalone executable programs called "LassoApps", in which folder structures are compiled into single files. The Lasso Server application server runs as a system service and receives requests from the web server through FastCGI. It then hands the request off to the appropriate Lasso Instance, which formulates the response. Multiple individual instances are supported, allowing one server to handle multiple sites, each as separate processes. The server uses a high performance IO-based green threading system designed for multi-core systems. Lasso can be compared to the server-side scripting languages PHP and Python, ColdFusion, Ruby, etc.
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Lasso (programming language)
Lasso can be compared to the server-side scripting languages PHP and Python, ColdFusion, Ruby, etc. Free for development, Lasso allows partial access to its source code, allowing developers to add or change major components of the language (for example, Ke Carlton's DS implementation of the Lasso Inline). Licensing comes in both SAS and stand-alone versions. History Lasso began in the mid-1990s when early web developers were attempting to build database-backed websites using Apple's FileMaker Pro. On the Mac platform, there were two solutions: Eric Bickford's WEB-FM, and Russell Owens' FileMaker CGI (ROFM), both built in AppleScript and requiring the use of FileMaker Pro calculation fields for formatting. (WEB-FM was subsequently rewritten in C).
Lasso (programming language). Lasso can be compared to the server-side scripting languages PHP and Python, ColdFusion, Ruby, etc. Free for development, Lasso allows partial access to its source code, allowing developers to add or change major components of the language (for example, Ke Carlton's DS implementation of the Lasso Inline). Licensing comes in both SAS and stand-alone versions. History Lasso began in the mid-1990s when early web developers were attempting to build database-backed websites using Apple's FileMaker Pro. On the Mac platform, there were two solutions: Eric Bickford's WEB-FM, and Russell Owens' FileMaker CGI (ROFM), both built in AppleScript and requiring the use of FileMaker Pro calculation fields for formatting. (WEB-FM was subsequently rewritten in C).
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In the Fall of 1995, independent developer Vince Bonfanti wrote a new CGI based on ROFM, using C/C++ for improved performance, and using the notion of HTML-based "templates" instead of relying on calculation fields. This proved very popular in the FileMaker community, and was brought to the attention of Bill Doerrfeld, owner of Blue World Communications Inc., a print and website development firm based out of Issaquah, Washington, who bought the source code. At this time, Blue World experimented with improvements for the CGI in the Frontier scripting environment, which inspired the name "Lasso". Further need for improvement drove the creation of a C-based CGI which was later released as "Lasso 1.0". At this point Lasso only worked with FileMaker Pro 3.x and WebSTAR, and only ran on Apple Mac OS 8 and above.
Lasso (programming language). In the Fall of 1995, independent developer Vince Bonfanti wrote a new CGI based on ROFM, using C/C++ for improved performance, and using the notion of HTML-based "templates" instead of relying on calculation fields. This proved very popular in the FileMaker community, and was brought to the attention of Bill Doerrfeld, owner of Blue World Communications Inc., a print and website development firm based out of Issaquah, Washington, who bought the source code. At this time, Blue World experimented with improvements for the CGI in the Frontier scripting environment, which inspired the name "Lasso". Further need for improvement drove the creation of a C-based CGI which was later released as "Lasso 1.0". At this point Lasso only worked with FileMaker Pro 3.x and WebSTAR, and only ran on Apple Mac OS 8 and above.
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Lasso's popularity grew most notably from reviews in print publications and Blue World's hosting of and participation in many email discussion lists, many of which specifically pertained to FileMaker Pro. Blue World also made frequent appearances and was known as a leading company at MacWorld conferences. Following the release of the Lasso 1.2 lineup in January 1997, Blue World and the Bonfantis entered private talks with Claris, the software division of Apple Computer, and owner of FileMaker Pro. Claris eventually licensed the post-version-1.2 Lasso source code, and with the help of Vince and Paul Bonfanti released the FileMaker Web Companion as a component of FileMaker Pro 4.0. FileMaker Web Companion's language, CDML (Claris Dynamic Markup Language), differed from Lasso 1.2's LDML (Lasso Dynamic Markup Language), but was close enough as to offer an easy transition for developers looking to serve from FileMaker Pro through third-party servers and offered more compelling features.
Lasso (programming language). Lasso's popularity grew most notably from reviews in print publications and Blue World's hosting of and participation in many email discussion lists, many of which specifically pertained to FileMaker Pro. Blue World also made frequent appearances and was known as a leading company at MacWorld conferences. Following the release of the Lasso 1.2 lineup in January 1997, Blue World and the Bonfantis entered private talks with Claris, the software division of Apple Computer, and owner of FileMaker Pro. Claris eventually licensed the post-version-1.2 Lasso source code, and with the help of Vince and Paul Bonfanti released the FileMaker Web Companion as a component of FileMaker Pro 4.0. FileMaker Web Companion's language, CDML (Claris Dynamic Markup Language), differed from Lasso 1.2's LDML (Lasso Dynamic Markup Language), but was close enough as to offer an easy transition for developers looking to serve from FileMaker Pro through third-party servers and offered more compelling features.
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Lasso (programming language)
Including the Lasso-like Web Companion in FileMaker 4.0 helped grow popularity for Lasso in the fast-growing Macintosh web development community. Blue World continued developing Lasso with Kyle Jessup becoming Lasso's lead programmer. Lasso 2.0 was released in July 1997, introducing some fundamental shifts in how Lasso could be used.
Lasso (programming language). Including the Lasso-like Web Companion in FileMaker 4.0 helped grow popularity for Lasso in the fast-growing Macintosh web development community. Blue World continued developing Lasso with Kyle Jessup becoming Lasso's lead programmer. Lasso 2.0 was released in July 1997, introducing some fundamental shifts in how Lasso could be used.
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Lasso (programming language)
On February 26, 2002, Blue World released Lasso 5, a radical departure from the FileMaker-centric language to date. (There was never a Lasso 4 release; the version number skipped from 3 to 5.) Lasso 5 included, among many updates, a completely rewritten architecture (for OS X, Windows, Linux), and an embedded MySQL database. Though Lasso 5 still spoke to a FileMaker database (but not to a FileMaker Server), FileMaker as a data source remained relatively slow compared to an SQL engine, and was prohibitively more expensive. Since v2.0, Lasso was fully multithreaded, allowing many connections at once, but succumbed to FileMaker's latency or lag in certain operations, and there was no way to get around it reliably other than to make major changes to the data source.
Lasso (programming language). On February 26, 2002, Blue World released Lasso 5, a radical departure from the FileMaker-centric language to date. (There was never a Lasso 4 release; the version number skipped from 3 to 5.) Lasso 5 included, among many updates, a completely rewritten architecture (for OS X, Windows, Linux), and an embedded MySQL database. Though Lasso 5 still spoke to a FileMaker database (but not to a FileMaker Server), FileMaker as a data source remained relatively slow compared to an SQL engine, and was prohibitively more expensive. Since v2.0, Lasso was fully multithreaded, allowing many connections at once, but succumbed to FileMaker's latency or lag in certain operations, and there was no way to get around it reliably other than to make major changes to the data source.
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Lasso 5 also added support for Apache HTTP Server natively under OS X, Windows, and Linux, joining Webstar 5, AppleShare IP (which was replaced by OS X Server), and iTools (from Tenon). (Mac OS 9, on which Lasso had been used for many years, was unsupported). This drove closer ties to a classic LAMP server architecture. Blue World Communications released a series of plug-ins for popular Web development packages from Macromedia and Adobe. Lasso Studio 1.5 for Dreamweaver was a runner up in MacWorld magazine's Editors' Choice Awards for Internet and Development in 2001, losing out to Adobe Dreamweaver 3. Lasso Studio for Dreamweaver 1.5 was also reviewed favorably by MacWorld magazine earning 4 and a half mice. Later version of Lasso Studio supported both Macromedia Dreamweaver and Adobe GoLive including Lasso Studio 7 for Dreamweaver and GoLive on March 26, 2004.
Lasso (programming language). Lasso 5 also added support for Apache HTTP Server natively under OS X, Windows, and Linux, joining Webstar 5, AppleShare IP (which was replaced by OS X Server), and iTools (from Tenon). (Mac OS 9, on which Lasso had been used for many years, was unsupported). This drove closer ties to a classic LAMP server architecture. Blue World Communications released a series of plug-ins for popular Web development packages from Macromedia and Adobe. Lasso Studio 1.5 for Dreamweaver was a runner up in MacWorld magazine's Editors' Choice Awards for Internet and Development in 2001, losing out to Adobe Dreamweaver 3. Lasso Studio for Dreamweaver 1.5 was also reviewed favorably by MacWorld magazine earning 4 and a half mice. Later version of Lasso Studio supported both Macromedia Dreamweaver and Adobe GoLive including Lasso Studio 7 for Dreamweaver and GoLive on March 26, 2004.
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With the release of FileMaker Server and FileMaker Server Advanced version 7 in 2004 FileMaker signaled a major change in their strategy for serving data to Web sites. They emphasized XML-XSLT, ODBC, and JDBC connectivity, but only through the more expensive FileMaker Server Advanced product. Blue World began to distance the Lasso language from FileMaker and Apple. In 2005, Lasso Pro received MySQL Network certification demonstrating the importance of the popular open source database to the future of Lasso. On August 1 of 2004, Bill Doerrfeld officially sold the Lasso product line to OmniPilot Software, Inc. in Ft. Lauderdale, Florida. Lasso 7.0.3 was the last version of Lasso released by Blue World.
Lasso (programming language). With the release of FileMaker Server and FileMaker Server Advanced version 7 in 2004 FileMaker signaled a major change in their strategy for serving data to Web sites. They emphasized XML-XSLT, ODBC, and JDBC connectivity, but only through the more expensive FileMaker Server Advanced product. Blue World began to distance the Lasso language from FileMaker and Apple. In 2005, Lasso Pro received MySQL Network certification demonstrating the importance of the popular open source database to the future of Lasso. On August 1 of 2004, Bill Doerrfeld officially sold the Lasso product line to OmniPilot Software, Inc. in Ft. Lauderdale, Florida. Lasso 7.0.3 was the last version of Lasso released by Blue World.
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On August 1 of 2004, Bill Doerrfeld officially sold the Lasso product line to OmniPilot Software, Inc. in Ft. Lauderdale, Florida. Lasso 7.0.3 was the last version of Lasso released by Blue World. On October 25, 2004, OmniPilot officially announced the release of Lasso 8, a version including sandboxing for multiple sites on the same server and connectivity to many new datasources. This also included the first "free" version of Lasso limited to IP addresses. OmniPilot followed this release with a number of complementary products, including Lasso Studio 8 for Dreamweaver and GoLive on March 28, 2005, Lasso Studio for Eclipse, ChartFX integration and a number of free Lasso-based solutions.
Lasso (programming language). On August 1 of 2004, Bill Doerrfeld officially sold the Lasso product line to OmniPilot Software, Inc. in Ft. Lauderdale, Florida. Lasso 7.0.3 was the last version of Lasso released by Blue World. On October 25, 2004, OmniPilot officially announced the release of Lasso 8, a version including sandboxing for multiple sites on the same server and connectivity to many new datasources. This also included the first "free" version of Lasso limited to IP addresses. OmniPilot followed this release with a number of complementary products, including Lasso Studio 8 for Dreamweaver and GoLive on March 28, 2005, Lasso Studio for Eclipse, ChartFX integration and a number of free Lasso-based solutions.
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In 2007, three OmniPilot employees, Kyle Jessup (the original developer of Lasso 1.0), Fletcher Sandbeck (an early employee of Blue World known for regular Tips and Tricks) and Kerry Adams (an employee of OmniPilot) created a new company, LassoSoft LLC, to purchase the intellectual property of Lasso from OmniPilot and continue development. Recognizing the need to be competitive against much more popular languages such as PHP and ASP, radical changes in architecture, syntax and structure were made and released as Lasso 9.0. Technical challenges caused by these changes, coupled with limited marketing resources, led to significant community decline as the company struggled to release documentation and support for the new language.
Lasso (programming language). In 2007, three OmniPilot employees, Kyle Jessup (the original developer of Lasso 1.0), Fletcher Sandbeck (an early employee of Blue World known for regular Tips and Tricks) and Kerry Adams (an employee of OmniPilot) created a new company, LassoSoft LLC, to purchase the intellectual property of Lasso from OmniPilot and continue development. Recognizing the need to be competitive against much more popular languages such as PHP and ASP, radical changes in architecture, syntax and structure were made and released as Lasso 9.0. Technical challenges caused by these changes, coupled with limited marketing resources, led to significant community decline as the company struggled to release documentation and support for the new language.
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In December 2010, a new Canadian company was formed, LassoSoft Inc., which bought and invested heavily in the Lasso 9.0 language, marketing and documentation. Kyle Jessup agreed to stay on as both Lasso's Lead Developer and Benevolent Dictator for Life. Several releases (9.1 and 9.2) have released further developments in recent years. Release history Code examples Hello World Here are three ways to say "Hello world!" on a Lasso page. <?lasso 'Hello World!' ?> ['Hello world!'] Hello world! Square brackets are reserved in Lasso, so HTML entities must be used to show square brackets on Lasso pages for other purposes than marking Lasso tags. Alternatively, printing square brackets can be by Lasso or be disabled by including [no_square_brackets] at the file top.
Lasso (programming language). In December 2010, a new Canadian company was formed, LassoSoft Inc., which bought and invested heavily in the Lasso 9.0 language, marketing and documentation. Kyle Jessup agreed to stay on as both Lasso's Lead Developer and Benevolent Dictator for Life. Several releases (9.1 and 9.2) have released further developments in recent years. Release history Code examples Hello World Here are three ways to say "Hello world!" on a Lasso page. <?lasso 'Hello World!' ?> ['Hello world!'] Hello world! Square brackets are reserved in Lasso, so HTML entities must be used to show square brackets on Lasso pages for other purposes than marking Lasso tags. Alternatively, printing square brackets can be by Lasso or be disabled by including [no_square_brackets] at the file top.
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Inlines // Find all records in a table inline( -database='db_name', -table='table_name', -findall ) => { // Iterate through and process each row rows => { // Output each row to the current web request content_body += '<a href="' + column('url') + '">' + column('title') + '</a>' } } Inlines are the basic Lasso tool for database actions. Database commands can be issued as above, in Lasso's db-independent metalanguage, in which case the same search code works for MySQL, FileMaker Pro or for any other database backend with which Lasso can connect.
Lasso (programming language). Inlines // Find all records in a table inline( -database='db_name', -table='table_name', -findall ) => { // Iterate through and process each row rows => { // Output each row to the current web request content_body += '<a href="' + column('url') + '">' + column('title') + '</a>' } } Inlines are the basic Lasso tool for database actions. Database commands can be issued as above, in Lasso's db-independent metalanguage, in which case the same search code works for MySQL, FileMaker Pro or for any other database backend with which Lasso can connect.
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If needed, a SQL statement can of course be embedded in the inline when using a database server that supports SQL: // Execute SQL statement inline( -database='db_name', -sql = 'SELECT * FROM table_name' )... In the above example, the dashes (-) before commands denote optional parameters. These can be specified in any order and generated dynamically; the last of any duplicate parameters take precedence. The inline command supports a large range of parameters allowing developers to interact with databases that they may not have intimate knowledge of. Custom database connectors can be created which allows leveraging the abstracted nature of the inline command. 99 Bottles of Beer The next procedural example prints out the lyrics for the song "99 Bottles of Beer". // Define a couple of useful methods define br => '<br/>' define bottles(n::integer) => #n != 1 ? ' bottles' | ' bottle' // Declare the local that will store the lyrics as a string local(out = '')
Lasso (programming language). If needed, a SQL statement can of course be embedded in the inline when using a database server that supports SQL: // Execute SQL statement inline( -database='db_name', -sql = 'SELECT * FROM table_name' )... In the above example, the dashes (-) before commands denote optional parameters. These can be specified in any order and generated dynamically; the last of any duplicate parameters take precedence. The inline command supports a large range of parameters allowing developers to interact with databases that they may not have intimate knowledge of. Custom database connectors can be created which allows leveraging the abstracted nature of the inline command. 99 Bottles of Beer The next procedural example prints out the lyrics for the song "99 Bottles of Beer". // Define a couple of useful methods define br => '<br/>' define bottles(n::integer) => #n != 1 ? ' bottles' | ' bottle' // Declare the local that will store the lyrics as a string local(out = '')
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define br => '<br/>' define bottles(n::integer) => #n != 1 ? ' bottles' | ' bottle' // Declare the local that will store the lyrics as a string local(out = '') // Use Lasso query syntax to generate the lyric with n in 99 to 1 by -1 do { #out += #n + bottles(#n) + ' of beer on the wall, ' + br #out += #n + bottles(#n) + ' of beer; ' + br #n-- #out += 'Take one down, pass it around, ' + br #out += #n + bottles(#n) + ' of beer on the wall. ' + (br * 2) } // Output result #out The next example uses an OOP approach to print out the lyrics when the object is represented as a string: // Define type define bottles_of_beer => type { // Define internal data data private bottles = 99 // Define private methods private br => '<br/>' private s => .bottles != 1 ? 's' | '' // Generate lyrics when object represented as a string public asstring => { local(out = '') // Use Lasso query syntax to generate the lyrics
Lasso (programming language). define br => '<br/>' define bottles(n::integer) => #n != 1 ? ' bottles' | ' bottle' // Declare the local that will store the lyrics as a string local(out = '') // Use Lasso query syntax to generate the lyric with n in 99 to 1 by -1 do { #out += #n + bottles(#n) + ' of beer on the wall, ' + br #out += #n + bottles(#n) + ' of beer; ' + br #n-- #out += 'Take one down, pass it around, ' + br #out += #n + bottles(#n) + ' of beer on the wall. ' + (br * 2) } // Output result #out The next example uses an OOP approach to print out the lyrics when the object is represented as a string: // Define type define bottles_of_beer => type { // Define internal data data private bottles = 99 // Define private methods private br => '<br/>' private s => .bottles != 1 ? 's' | '' // Generate lyrics when object represented as a string public asstring => { local(out = '') // Use Lasso query syntax to generate the lyrics
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local(out = '') // Use Lasso query syntax to generate the lyrics with n in 99 to 1 by -1 do { .bottles = #n #out += .bottles + ' bottle' + .s + ' of beer on the wall, ' + .br #out += .bottles + ' bottle' + .s + ' of beer; ' + .br .bottles-- #out += 'Take one down, pass it around, ' + .br #out += .bottles + ' bottle' + .s + ' of beer on the wall. ' + (.br * 2) } // Return result return #out } } bottles_of_beer Development tools, environments LassoLab Lasso Studio for Eclipse Lasso language mode for Coda Lasso language module for BBEdit References
Lasso (programming language). local(out = '') // Use Lasso query syntax to generate the lyrics with n in 99 to 1 by -1 do { .bottles = #n #out += .bottles + ' bottle' + .s + ' of beer on the wall, ' + .br #out += .bottles + ' bottle' + .s + ' of beer; ' + .br .bottles-- #out += 'Take one down, pass it around, ' + .br #out += .bottles + ' bottle' + .s + ' of beer on the wall. ' + (.br * 2) } // Return result return #out } } bottles_of_beer Development tools, environments LassoLab Lasso Studio for Eclipse Lasso language mode for Coda Lasso language module for BBEdit References
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// Return result return #out } } bottles_of_beer Development tools, environments LassoLab Lasso Studio for Eclipse Lasso language mode for Coda Lasso language module for BBEdit References External links , LassoSoft , LassoGuide LassoReference FileMaker ListSearch - LassoSoft's ListSearch Engine LassoTalk Archive on Nabble LassoTalk Archive on Google Groups ExecuChoice - PDF Tag Suite - PassThru - ShortString Knop - an open source web application framework for Lasso 8 and 9 LassoFusebox - a Lasso port of the popular open source Fusebox web application framework, for Lasso 8 and 9 LassoBin - A PasteBin for Lasso LassoForge - OpenSource Lasso Projects tagSwap - A public exchange for Lasso custom tags L-Debug - Debugging suite for Lasso 8 & Lasso 9 This Wikipedia entry relies heavily on early announcements and many notable sources no longer available on the web.
Lasso (programming language). // Return result return #out } } bottles_of_beer Development tools, environments LassoLab Lasso Studio for Eclipse Lasso language mode for Coda Lasso language module for BBEdit References External links , LassoSoft , LassoGuide LassoReference FileMaker ListSearch - LassoSoft's ListSearch Engine LassoTalk Archive on Nabble LassoTalk Archive on Google Groups ExecuChoice - PDF Tag Suite - PassThru - ShortString Knop - an open source web application framework for Lasso 8 and 9 LassoFusebox - a Lasso port of the popular open source Fusebox web application framework, for Lasso 8 and 9 LassoBin - A PasteBin for Lasso LassoForge - OpenSource Lasso Projects tagSwap - A public exchange for Lasso custom tags L-Debug - Debugging suite for Lasso 8 & Lasso 9 This Wikipedia entry relies heavily on early announcements and many notable sources no longer available on the web.
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Cross-platform software Object-oriented programming languages Scripting languages Dynamically typed programming languages Filename extensions High-level programming languages Programming languages created in 1995 Class-based programming languages
Lasso (programming language). Cross-platform software Object-oriented programming languages Scripting languages Dynamically typed programming languages Filename extensions High-level programming languages Programming languages created in 1995 Class-based programming languages
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The Sex Monster
The Sex Monster is a 1999 American comedy film written and directed by Mike Binder. Produced by Jack Binder, Scott Stephens. Starring Mariel Hemingway and Mike Binder. Plot Martin "Marty" Barnes, a neurotic businessman (director-writer Mike Binder) who works as a building contractor in Los Angeles, tries to improve his sex life with his wife Laura (Mariel Hemingway) by encouraging her to have a threesome involving another woman. Though Marty is fortunate enough to find that Laura likes the idea, he does not count on her decision that she not only has no need of her husband for enjoyment with ladies but also ends up actually preferring them to men. Nor does he anticipate her becoming a sexual tigress who seduces every female she encounters, including even Marty's own secretary.
The Sex Monster. The Sex Monster is a 1999 American comedy film written and directed by Mike Binder. Produced by Jack Binder, Scott Stephens. Starring Mariel Hemingway and Mike Binder. Plot Martin "Marty" Barnes, a neurotic businessman (director-writer Mike Binder) who works as a building contractor in Los Angeles, tries to improve his sex life with his wife Laura (Mariel Hemingway) by encouraging her to have a threesome involving another woman. Though Marty is fortunate enough to find that Laura likes the idea, he does not count on her decision that she not only has no need of her husband for enjoyment with ladies but also ends up actually preferring them to men. Nor does he anticipate her becoming a sexual tigress who seduces every female she encounters, including even Marty's own secretary.
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Cast Mike Binder as Marty Barnes Mariel Hemingway as Laura Barnes Renée Humphrey as Didi Taylor Nicholas as Billy Missy Crider as Diva Christopher Lawford as Dave Pembroke Joanna Heimbold as Evie Pembroke Kevin Pollak as Dr. Jerry Berman Kevin Pollak as Dr. Berman Stephen Baldwin as Murphy Anita Barone as Carol Kara Zediker as Ellen Marisol Nichols as Lucia Hollland Taylor as Muriel Noah stone as Danny External links 1999 comedy films 1999 LGBT-related films 1999 films American LGBT-related films American films Female bisexuality in film Films directed by Mike Binder Lesbian-related films Trimark Pictures films LGBT-related comedy films
The Sex Monster. Cast Mike Binder as Marty Barnes Mariel Hemingway as Laura Barnes Renée Humphrey as Didi Taylor Nicholas as Billy Missy Crider as Diva Christopher Lawford as Dave Pembroke Joanna Heimbold as Evie Pembroke Kevin Pollak as Dr. Jerry Berman Kevin Pollak as Dr. Berman Stephen Baldwin as Murphy Anita Barone as Carol Kara Zediker as Ellen Marisol Nichols as Lucia Hollland Taylor as Muriel Noah stone as Danny External links 1999 comedy films 1999 LGBT-related films 1999 films American LGBT-related films American films Female bisexuality in film Films directed by Mike Binder Lesbian-related films Trimark Pictures films LGBT-related comedy films
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Brodmann area 5
Brodmann area 5 is one of Brodmann's cytoarchitectural defined regions of the brain. It is involved in somatosensory processing, movement and association, and is part of the posterior parietal cortex. Human Brodmann area 5 is a subdivision of the parietal cortex, part of the cortex in the human brain. BA5 is part of the superior parietal lobule and part of the postcentral gyrus. It is situated immediately posterior to the primary somatosensory cortex. It is bounded cytoarchitecturally by Brodmann area 2, Brodmann area 7, Brodmann area 4, and Brodmann area 31.
Brodmann area 5. Brodmann area 5 is one of Brodmann's cytoarchitectural defined regions of the brain. It is involved in somatosensory processing, movement and association, and is part of the posterior parietal cortex. Human Brodmann area 5 is a subdivision of the parietal cortex, part of the cortex in the human brain. BA5 is part of the superior parietal lobule and part of the postcentral gyrus. It is situated immediately posterior to the primary somatosensory cortex. It is bounded cytoarchitecturally by Brodmann area 2, Brodmann area 7, Brodmann area 4, and Brodmann area 31.
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Brodmann area 5
It is bounded cytoarchitecturally by Brodmann area 2, Brodmann area 7, Brodmann area 4, and Brodmann area 31. Monkey In guenon Brodmann area 5 is a subdivision of the parietal lobe defined on the basis of cytoarchitecture. It occupies primarily the superior parietal lobule. Brodmann-1909 considered it topologically and cytoarchitecturally homologous to the preparietal area 5 of the human. Distinctive features (Brodmann-1905): compared to area 4 of Brodmann-1909 area 5 has a thick self-contained internal granular layer (IV); lacks a distinct internal pyramidal layer (V); has a marked sublayer 3b of pyramidal cells in the external pyramidal layer (III); has a distinct boundary between the internal pyramidal layer (V) and the multiform layer (VI); and has ganglion cells in layer V beneath its boundary with layer IV that are separated from layer VI by a wide clear zone. In the macaque monkey the area PE corresponds to BA5. Additional images
Brodmann area 5. It is bounded cytoarchitecturally by Brodmann area 2, Brodmann area 7, Brodmann area 4, and Brodmann area 31. Monkey In guenon Brodmann area 5 is a subdivision of the parietal lobe defined on the basis of cytoarchitecture. It occupies primarily the superior parietal lobule. Brodmann-1909 considered it topologically and cytoarchitecturally homologous to the preparietal area 5 of the human. Distinctive features (Brodmann-1905): compared to area 4 of Brodmann-1909 area 5 has a thick self-contained internal granular layer (IV); lacks a distinct internal pyramidal layer (V); has a marked sublayer 3b of pyramidal cells in the external pyramidal layer (III); has a distinct boundary between the internal pyramidal layer (V) and the multiform layer (VI); and has ganglion cells in layer V beneath its boundary with layer IV that are separated from layer VI by a wide clear zone. In the macaque monkey the area PE corresponds to BA5. Additional images
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In the macaque monkey the area PE corresponds to BA5. Additional images See also Brodmann area List of regions in the human brain Posterior parietal cortex References External links Visit BrainInfo for Neuroanatomy of this area 05 Parietal lobe
Brodmann area 5. In the macaque monkey the area PE corresponds to BA5. Additional images See also Brodmann area List of regions in the human brain Posterior parietal cortex References External links Visit BrainInfo for Neuroanatomy of this area 05 Parietal lobe
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Brodmann area 7
Brodmann area 7 is one of Brodmann's cytologically defined regions of the brain. It is involved in locating objects in space. It serves as a point of convergence between vision and proprioception to determine where objects are in relation to parts of the body. In humans Brodmann area 7 is part of the parietal cortex in the human brain. Situated posterior to the primary somatosensory cortex (Brodmann areas 3, 1 and 2), and superior to the occipital lobe, this region is believed to play a role in visuo-motor coordination (e.g., in reaching to grasp an object). In addition, area 7 along with area 5 has been linked to a wide variety of high-level processing tasks, including activation in association with language use. This function in language has been theorized to stem from how these two regions play a vital role in generating conscious constructs of objects in the world.
Brodmann area 7. Brodmann area 7 is one of Brodmann's cytologically defined regions of the brain. It is involved in locating objects in space. It serves as a point of convergence between vision and proprioception to determine where objects are in relation to parts of the body. In humans Brodmann area 7 is part of the parietal cortex in the human brain. Situated posterior to the primary somatosensory cortex (Brodmann areas 3, 1 and 2), and superior to the occipital lobe, this region is believed to play a role in visuo-motor coordination (e.g., in reaching to grasp an object). In addition, area 7 along with area 5 has been linked to a wide variety of high-level processing tasks, including activation in association with language use. This function in language has been theorized to stem from how these two regions play a vital role in generating conscious constructs of objects in the world.
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Brodmann area 7
Brodmann area 7 spans both the medial and lateral walls of the parietal cortex. The medial part of Brodmann area 7 is called precuneus. Laterally, it is called the superior parietal lobule (SPL). At the base of the SPL is the intraparietal sulcus, below which is the inferior parietal lobule (IPL), which in turn divides into Brodmann areas 39 (angular gyrus) and 40 (supramarginal gyrus). In guenon Brodmann area 7 is a subdivision of the cytoarchitecturally defined parietal region of cerebral cortex in Guenon primates. It occupies most of the parietal lobe excluding the postcentral gyrus and superior parietal lobule. This layer is distinguished by a lack of large ganglion cells in cortical layer V, slightly larger layer III pyramidal cells, and a multiform layer VI that is sharply bounded by white matter tracts. See also Brodmann area Korbinian Brodmann List of regions in the human brain Precuneus References External links 07 Parietal lobe
Brodmann area 7. Brodmann area 7 spans both the medial and lateral walls of the parietal cortex. The medial part of Brodmann area 7 is called precuneus. Laterally, it is called the superior parietal lobule (SPL). At the base of the SPL is the intraparietal sulcus, below which is the inferior parietal lobule (IPL), which in turn divides into Brodmann areas 39 (angular gyrus) and 40 (supramarginal gyrus). In guenon Brodmann area 7 is a subdivision of the cytoarchitecturally defined parietal region of cerebral cortex in Guenon primates. It occupies most of the parietal lobe excluding the postcentral gyrus and superior parietal lobule. This layer is distinguished by a lack of large ganglion cells in cortical layer V, slightly larger layer III pyramidal cells, and a multiform layer VI that is sharply bounded by white matter tracts. See also Brodmann area Korbinian Brodmann List of regions in the human brain Precuneus References External links 07 Parietal lobe
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Mel Allen
Mel Allen (born Melvin Allen Israel; February 14, 1913 – June 16, 1996) was an American sportscaster, best known for his long tenure as the primary play-by-play announcer for the New York Yankees. During the peak of his career in the 1940s, 1950s and 1960s, Allen was arguably the most prominent member of his profession, his voice familiar to millions. Years after his death, he is still promoted as having been "The Voice of the Yankees." In his later years, Allen was the first host of This Week in Baseball. Early life and career Allen was born in Birmingham, Alabama. He attended the University of Alabama, where he was a member of the Kappa Nu fraternity as an undergraduate.
Mel Allen. Mel Allen (born Melvin Allen Israel; February 14, 1913 – June 16, 1996) was an American sportscaster, best known for his long tenure as the primary play-by-play announcer for the New York Yankees. During the peak of his career in the 1940s, 1950s and 1960s, Allen was arguably the most prominent member of his profession, his voice familiar to millions. Years after his death, he is still promoted as having been "The Voice of the Yankees." In his later years, Allen was the first host of This Week in Baseball. Early life and career Allen was born in Birmingham, Alabama. He attended the University of Alabama, where he was a member of the Kappa Nu fraternity as an undergraduate.
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Mel Allen
Early life and career Allen was born in Birmingham, Alabama. He attended the University of Alabama, where he was a member of the Kappa Nu fraternity as an undergraduate. During his time at Alabama, Israel served as the public address announcer for Alabama Crimson Tide football games. In 1933, when the station manager or sports director of Birmingham's radio station WBRC asked Alabama coach Frank Thomas to recommend a new play-by-play announcer, he suggested Allen. His first broadcast was Alabama's home opener that year, against the Tulane Green Wave.
Mel Allen. Early life and career Allen was born in Birmingham, Alabama. He attended the University of Alabama, where he was a member of the Kappa Nu fraternity as an undergraduate. During his time at Alabama, Israel served as the public address announcer for Alabama Crimson Tide football games. In 1933, when the station manager or sports director of Birmingham's radio station WBRC asked Alabama coach Frank Thomas to recommend a new play-by-play announcer, he suggested Allen. His first broadcast was Alabama's home opener that year, against the Tulane Green Wave.
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Mel Allen
Allen graduated from the University of Alabama School of Law in 1937. Shortly after graduating, Allen took a train to New York City for a week's vacation. While on that week's vacation, he auditioned for a staff announcer's position at the CBS Radio Network. CBS executives already knew of Allen; the network's top sportscaster, Ted Husing, had heard many of his Crimson Tide broadcasts. He was hired at $45 () a week. He often did non-sports announcing such as for big band remotes, or "emceeing" game shows such as Truth or Consequences, serving as an understudy for both sportscaster Husing and newscaster Bob Trout.
Mel Allen. Allen graduated from the University of Alabama School of Law in 1937. Shortly after graduating, Allen took a train to New York City for a week's vacation. While on that week's vacation, he auditioned for a staff announcer's position at the CBS Radio Network. CBS executives already knew of Allen; the network's top sportscaster, Ted Husing, had heard many of his Crimson Tide broadcasts. He was hired at $45 () a week. He often did non-sports announcing such as for big band remotes, or "emceeing" game shows such as Truth or Consequences, serving as an understudy for both sportscaster Husing and newscaster Bob Trout.
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Mel Allen
In his first year at CBS, he announced the crash of the Hindenburg when the station cut away from singer Kate Smith's show. He first became a national celebrity when he ad libbed for a half-hour during the rain-delayed Vanderbilt Cup from an airplane. In 1939, he was the announcer for the Warner Brothers & Vitaphone film musical short-subject, On the Air, with Leith Stevens and the Saturday Night Swing Club. Stephen Borelli, in his biography How About That?! (a favorite expression of Allen's after an outstanding play by the home team), states that it was at CBS's suggestion in 1937, the year Melvin Israel joined the network, that he go by a different last name on the air. He chose Allen, his father's middle name as well as his own, and legally changed his name to Melvin Allen in 1943. Broadcasting career
Mel Allen. In his first year at CBS, he announced the crash of the Hindenburg when the station cut away from singer Kate Smith's show. He first became a national celebrity when he ad libbed for a half-hour during the rain-delayed Vanderbilt Cup from an airplane. In 1939, he was the announcer for the Warner Brothers & Vitaphone film musical short-subject, On the Air, with Leith Stevens and the Saturday Night Swing Club. Stephen Borelli, in his biography How About That?! (a favorite expression of Allen's after an outstanding play by the home team), states that it was at CBS's suggestion in 1937, the year Melvin Israel joined the network, that he go by a different last name on the air. He chose Allen, his father's middle name as well as his own, and legally changed his name to Melvin Allen in 1943. Broadcasting career
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Broadcasting career Baseball Allen was used as a color commentator for CBS's radio broadcast of the 1938 World Series. This led Wheaties to tap him to replace Arch McDonald as the voice of the Washington Senators for the 1939 season, who was moving on to New York as the first full-time radio voice of both the Yankees and the New York Giants for their home games. Senators' owner Clark Griffith wanted Walter Johnson, a former Senators pitcher, instead of Allen, and Wheaties relented. In June 1939, Garnett Marks, McDonald's partner on Yankee broadcasts, twice mispronounced Ivory Soap, the Yankees' sponsor at the time, as "Ovary Soap." He was fired, and Allen was tapped to replace him. McDonald himself went back to Washington after only one season, and Allen became the Yankees' and Giants' lead announcer, doing double duty for both teams because only their home games were broadcast at that time.
Mel Allen. Broadcasting career Baseball Allen was used as a color commentator for CBS's radio broadcast of the 1938 World Series. This led Wheaties to tap him to replace Arch McDonald as the voice of the Washington Senators for the 1939 season, who was moving on to New York as the first full-time radio voice of both the Yankees and the New York Giants for their home games. Senators' owner Clark Griffith wanted Walter Johnson, a former Senators pitcher, instead of Allen, and Wheaties relented. In June 1939, Garnett Marks, McDonald's partner on Yankee broadcasts, twice mispronounced Ivory Soap, the Yankees' sponsor at the time, as "Ovary Soap." He was fired, and Allen was tapped to replace him. McDonald himself went back to Washington after only one season, and Allen became the Yankees' and Giants' lead announcer, doing double duty for both teams because only their home games were broadcast at that time.
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He periodically recounted an anecdote that occurred during his first full season (1940) as Yankee play-by-play man. Hall of Fame first baseman Lou Gehrig had been forced to retire the year before after having been diagnosed with amyotrophic lateral sclerosis, a fatal illness. Speaking with Allen in the Yankee dugout, Gehrig told him "Mel, I never got a chance to listen to your games before because I was playing every day. But I want you to know they're the only thing that keeps me going." Allen broke down in tears after Gehrig departed. Allen's stint with the Yankees and Giants was interrupted in 1941, when no sponsor could be found and both teams went off the air, but the broadcasts resumed in 1942. Allen was the voice of both the Yankees and the Giants until 1943, when he entered the United States Army during World War II, broadcasting on The Army Hour and Armed Forces Radio.
Mel Allen. He periodically recounted an anecdote that occurred during his first full season (1940) as Yankee play-by-play man. Hall of Fame first baseman Lou Gehrig had been forced to retire the year before after having been diagnosed with amyotrophic lateral sclerosis, a fatal illness. Speaking with Allen in the Yankee dugout, Gehrig told him "Mel, I never got a chance to listen to your games before because I was playing every day. But I want you to know they're the only thing that keeps me going." Allen broke down in tears after Gehrig departed. Allen's stint with the Yankees and Giants was interrupted in 1941, when no sponsor could be found and both teams went off the air, but the broadcasts resumed in 1942. Allen was the voice of both the Yankees and the Giants until 1943, when he entered the United States Army during World War II, broadcasting on The Army Hour and Armed Forces Radio.
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After the war, Allen called Yankee games exclusively. By this time, road games were added to the broadcast schedule. Before long Allen and the Yankees were fused in the public consciousness, an association strengthened by the team's frequent World Series appearances. Allen eventually called 22 World Series on radio or television, including all but one in the 17-year stretch between 1947 and 1963, and also called 24 All-Star Games. Interestingly, Allen's play-by-play of the 1948 World Series alongside Boston Braves announcer Jim Britt occurred after neither Cleveland Indians announcer was selected by MLB commissioner Happy Chandler; Jack Graney was ineligible due to having been a former player, and Jimmy Dudley was passed over due to a lack of experience.
Mel Allen. After the war, Allen called Yankee games exclusively. By this time, road games were added to the broadcast schedule. Before long Allen and the Yankees were fused in the public consciousness, an association strengthened by the team's frequent World Series appearances. Allen eventually called 22 World Series on radio or television, including all but one in the 17-year stretch between 1947 and 1963, and also called 24 All-Star Games. Interestingly, Allen's play-by-play of the 1948 World Series alongside Boston Braves announcer Jim Britt occurred after neither Cleveland Indians announcer was selected by MLB commissioner Happy Chandler; Jack Graney was ineligible due to having been a former player, and Jimmy Dudley was passed over due to a lack of experience.
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In 1952, Allen was one of the first three celebrities spoofed in the just-created Mad satirical comic book. In the second issue, Allen, Giant manager Leo Durocher and Hall of Fame Yankee catcher Yogi Berra were all caricatured in a baseball story, "Hex!", illustrated by Jack Davis. His likeness was also licensed by Standard Comics for a two-issue "Mel Allen's Sports Comics" series between 1949 and 1950.
Mel Allen. In 1952, Allen was one of the first three celebrities spoofed in the just-created Mad satirical comic book. In the second issue, Allen, Giant manager Leo Durocher and Hall of Fame Yankee catcher Yogi Berra were all caricatured in a baseball story, "Hex!", illustrated by Jack Davis. His likeness was also licensed by Standard Comics for a two-issue "Mel Allen's Sports Comics" series between 1949 and 1950.
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After Russ Hodges departed from the Yankee booth to become the longtime voice of the New York (and starting in 1958, San Francisco) Giants, the young Curt Gowdy replaced him as Allen's broadcast partner in 1949 & 1950, having been brought in from Oklahoma City after winning a national audition. Gowdy, originally from Wyoming, credited Mel Allen's mentoring as a big factor in his own success as a broadcaster and became the voice of the Boston Red Sox from 1951 to 1965. Red Barber, the former Brooklyn Dodgers announcer who had served as Allen's crosstown rival and frequent World Series broadcast partner, joined the Yankees' booth in 1954 and teamed with Allen until the latter's dismissal a decade later.
Mel Allen. After Russ Hodges departed from the Yankee booth to become the longtime voice of the New York (and starting in 1958, San Francisco) Giants, the young Curt Gowdy replaced him as Allen's broadcast partner in 1949 & 1950, having been brought in from Oklahoma City after winning a national audition. Gowdy, originally from Wyoming, credited Mel Allen's mentoring as a big factor in his own success as a broadcaster and became the voice of the Boston Red Sox from 1951 to 1965. Red Barber, the former Brooklyn Dodgers announcer who had served as Allen's crosstown rival and frequent World Series broadcast partner, joined the Yankees' booth in 1954 and teamed with Allen until the latter's dismissal a decade later.
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Allen called the second half of Game 7 of the 1960 World Series, as broadcasting duties were split between Allen and Pittsburgh broadcaster Bob Prince. Bill Mazeroski hit a walk-off home run off Ralph Terry to win the fall classic for the Pittsburgh Pirates. It was the only walk-off home run ever to occur in a Game 7 of a World Series. Allen lost his voice late in the fourth and last game of the 1963 World Series, in which the Dodgers swept the Yankees in four games and their longtime announcer, Vin Scully, paired with Allen on the national telecast, spontaneously took over from him for the end of the game after he could no longer talk, telling him soothingly, "That's all right, Mel." (Scully had announced the first half of the game, and Allen had begun to announce the second half.)
Mel Allen. Allen called the second half of Game 7 of the 1960 World Series, as broadcasting duties were split between Allen and Pittsburgh broadcaster Bob Prince. Bill Mazeroski hit a walk-off home run off Ralph Terry to win the fall classic for the Pittsburgh Pirates. It was the only walk-off home run ever to occur in a Game 7 of a World Series. Allen lost his voice late in the fourth and last game of the 1963 World Series, in which the Dodgers swept the Yankees in four games and their longtime announcer, Vin Scully, paired with Allen on the national telecast, spontaneously took over from him for the end of the game after he could no longer talk, telling him soothingly, "That's all right, Mel." (Scully had announced the first half of the game, and Allen had begun to announce the second half.)
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Among Allen's many catchphrases were "Hello there, everybody!" to start a game, "How a-bout that?!" on outstanding Yankee plays, "There's a drive, hit deep to right. That ball is go-ing, go-ing, gonnne!!" for Yankee home runs, for full counts, "Three and two. What'll he do?" and after a robust Yankee swing and miss, "He took a good cut!" Other sports Allen called a number of college football bowl games, including 14 Rose Bowls, two Orange Bowls, and two Sugar Bowls. In the National Football League, Allen served as play-by-play announcer for the Washington Redskins in 1952 and 1953 and for the New York Giants on WCBS-AM in 1960, with some of the Giants' broadcasts also carried nationally by the CBS Radio Network. He also did radio play-by-play for the Miami Dolphins' and for the Miami Hurricanes.
Mel Allen. Among Allen's many catchphrases were "Hello there, everybody!" to start a game, "How a-bout that?!" on outstanding Yankee plays, "There's a drive, hit deep to right. That ball is go-ing, go-ing, gonnne!!" for Yankee home runs, for full counts, "Three and two. What'll he do?" and after a robust Yankee swing and miss, "He took a good cut!" Other sports Allen called a number of college football bowl games, including 14 Rose Bowls, two Orange Bowls, and two Sugar Bowls. In the National Football League, Allen served as play-by-play announcer for the Washington Redskins in 1952 and 1953 and for the New York Giants on WCBS-AM in 1960, with some of the Giants' broadcasts also carried nationally by the CBS Radio Network. He also did radio play-by-play for the Miami Dolphins' and for the Miami Hurricanes.
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Allen hosted Jackpot Bowling on NBC in 1959 after Leo Durocher had left to return to major league baseball coaching, but his lack of bowling knowledge made him an unpopular host and Bud Palmer replaced him as the show's host in April. Non-sports work In the early 1940s, Allen hosted Thirty Minutes to Play on CBS radio. The program featured "interviews of sports and musical personalities." In the early 1940s Mel Allen announced a few Glenn Miller radio programs as well. In 1947, Allen was a disc jockey on 1010 WINS in New York City, with a 2-5 p.m. program daily. An ad for the station in Broadcasting called the show "the initial step in our plans for bloc [sic] programming." In the early 1960s, Allen hosted the three-hour Saturday morning segment of the weekend NBC Radio program Monitor. He also contributed sportscasts to the program until the late 1960s. Allen also provided voiceover narration for Fox Movietone newsreels for many years.
Mel Allen. Allen hosted Jackpot Bowling on NBC in 1959 after Leo Durocher had left to return to major league baseball coaching, but his lack of bowling knowledge made him an unpopular host and Bud Palmer replaced him as the show's host in April. Non-sports work In the early 1940s, Allen hosted Thirty Minutes to Play on CBS radio. The program featured "interviews of sports and musical personalities." In the early 1940s Mel Allen announced a few Glenn Miller radio programs as well. In 1947, Allen was a disc jockey on 1010 WINS in New York City, with a 2-5 p.m. program daily. An ad for the station in Broadcasting called the show "the initial step in our plans for bloc [sic] programming." In the early 1960s, Allen hosted the three-hour Saturday morning segment of the weekend NBC Radio program Monitor. He also contributed sportscasts to the program until the late 1960s. Allen also provided voiceover narration for Fox Movietone newsreels for many years.
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Allen appeared in a cameo role in the 1988 comedy film The Naked Gun: From the Files of Police Squad!. In 1994, he voiced the stadium announcer for the Broadway revival of Damn Yankees, as himself. Fired by the Yankees On September 21, 1964—prior to the start of the World Series—the Yankees informed Allen that his contract with the team would not be renewed for 1965. In those days, the main announcers for both Series participants always called the World Series on NBC television. Although Allen was thus technically eligible to call the 1964 World Series, Baseball Commissioner Ford Frick honored the Yankees' request to have retired Yankee star shortstop Phil Rizzuto, Allen's sidekick in the radio booth, join the Series crew instead. It would be one of only four Yankee World Series going back to 1938 that Allen had not broadcast, and the first since 1943 (which he'd missed due to his Army service).
Mel Allen. Allen appeared in a cameo role in the 1988 comedy film The Naked Gun: From the Files of Police Squad!. In 1994, he voiced the stadium announcer for the Broadway revival of Damn Yankees, as himself. Fired by the Yankees On September 21, 1964—prior to the start of the World Series—the Yankees informed Allen that his contract with the team would not be renewed for 1965. In those days, the main announcers for both Series participants always called the World Series on NBC television. Although Allen was thus technically eligible to call the 1964 World Series, Baseball Commissioner Ford Frick honored the Yankees' request to have retired Yankee star shortstop Phil Rizzuto, Allen's sidekick in the radio booth, join the Series crew instead. It would be one of only four Yankee World Series going back to 1938 that Allen had not broadcast, and the first since 1943 (which he'd missed due to his Army service).
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On December 17, 1964, after much media speculation and many letters to the Yankees from fans disgruntled by Allen's absence from the Series, the Yankees issued a terse press release announcing Allen's firing; he was replaced by Joe Garagiola. NBC and Movietone dropped him soon afterward. To this day, the Yankees have never given an explanation for the sudden firing, and rumors abounded. Depending on the rumor, Allen was either homosexual, an alcoholic, a drug addict, or had a nervous breakdown.
Mel Allen. On December 17, 1964, after much media speculation and many letters to the Yankees from fans disgruntled by Allen's absence from the Series, the Yankees issued a terse press release announcing Allen's firing; he was replaced by Joe Garagiola. NBC and Movietone dropped him soon afterward. To this day, the Yankees have never given an explanation for the sudden firing, and rumors abounded. Depending on the rumor, Allen was either homosexual, an alcoholic, a drug addict, or had a nervous breakdown.
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Years later, Allen told author Curt Smith that the Yankees had fired him under pressure from the team's longtime sponsor, Ballantine Beer. According to Allen, he was fired as a cost-cutting move by Ballantine, which had been experiencing poor sales for years (it would eventually be sold in 1969). Smith, in his book Voices of Summer, also indicated that the medications Allen took to see him through his busy schedule may have affected his on-air performance. (Stephen Borelli, another biographer, has also pointed out that Allen's heavy workload did not allow him time to take care of his health.)
Mel Allen. Years later, Allen told author Curt Smith that the Yankees had fired him under pressure from the team's longtime sponsor, Ballantine Beer. According to Allen, he was fired as a cost-cutting move by Ballantine, which had been experiencing poor sales for years (it would eventually be sold in 1969). Smith, in his book Voices of Summer, also indicated that the medications Allen took to see him through his busy schedule may have affected his on-air performance. (Stephen Borelli, another biographer, has also pointed out that Allen's heavy workload did not allow him time to take care of his health.)
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Allen became Merle Harmon's partner for Milwaukee Braves games in 1965, and worked Cleveland Indians games on television in 1968. But he would not commit to either team full-time, nor to the Oakland Athletics, who also wanted to hire him after the team's move from Kansas City. Despite the firing in 1964, Allen remained loyal to the Yankees for the remainder of his life, and to this day—years after his death—he is still popularly known as "the Voice of the Yankees." The Yankees eventually brought Allen back to emcee special Yankee Stadium ceremonies, including Old-Timers' Day, which Allen had originally handled when he was lead announcer. Although Yankee broadcaster Frank Messer, who joined the club in 1968, replaced him as emcee for Old-Timers' Day and other special events like Mickey Mantle Day, the Yankees continued to invite Allen to call the actual exhibition game between the Old Timers, and to take part in players' number-retirement ceremonies.
Mel Allen. Allen became Merle Harmon's partner for Milwaukee Braves games in 1965, and worked Cleveland Indians games on television in 1968. But he would not commit to either team full-time, nor to the Oakland Athletics, who also wanted to hire him after the team's move from Kansas City. Despite the firing in 1964, Allen remained loyal to the Yankees for the remainder of his life, and to this day—years after his death—he is still popularly known as "the Voice of the Yankees." The Yankees eventually brought Allen back to emcee special Yankee Stadium ceremonies, including Old-Timers' Day, which Allen had originally handled when he was lead announcer. Although Yankee broadcaster Frank Messer, who joined the club in 1968, replaced him as emcee for Old-Timers' Day and other special events like Mickey Mantle Day, the Yankees continued to invite Allen to call the actual exhibition game between the Old Timers, and to take part in players' number-retirement ceremonies.
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Return to the Yankees Allen was brought back to the Yankees' on-air team in 1976 as a pre/post-game host for the cable telecasts with John Sterling, and also started calling play-by-play again. He announced Yankees cable telecasts on SportsChannel New York (now MSG Plus) with Phil Rizzuto, Bill White, Frank Messer, and occasionally, Fran Healy. Allen remained with the Yankees' play-by-play crew until 1985 and made occasional appearances on Yankee telecasts and commercials into the late 1980s. In 1990, Allen called play-by-play for a WPIX Yankees game to officially make him baseball's first seven-decade announcer. Among the memorable moments Allen called in his latter stretch were Yankee outfielder Reggie Jackson's 400th home run in 1980, and Yankee pitcher Dave Righetti's no-hitter on July 4, 1983. This Week in Baseball
Mel Allen. Return to the Yankees Allen was brought back to the Yankees' on-air team in 1976 as a pre/post-game host for the cable telecasts with John Sterling, and also started calling play-by-play again. He announced Yankees cable telecasts on SportsChannel New York (now MSG Plus) with Phil Rizzuto, Bill White, Frank Messer, and occasionally, Fran Healy. Allen remained with the Yankees' play-by-play crew until 1985 and made occasional appearances on Yankee telecasts and commercials into the late 1980s. In 1990, Allen called play-by-play for a WPIX Yankees game to officially make him baseball's first seven-decade announcer. Among the memorable moments Allen called in his latter stretch were Yankee outfielder Reggie Jackson's 400th home run in 1980, and Yankee pitcher Dave Righetti's no-hitter on July 4, 1983. This Week in Baseball
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This Week in Baseball In his later years, Allen was exposed to a new audience as the host of the syndicated highlights show This Week in Baseball, which he hosted from its inception in 1977 until his death. When FOX relaunched TWIB in 2000 (after a one-year hiatus), it used a claymation version of Allen to open and close the show until 2002. Computer games Allen recorded the play-by-play for two computer baseball games, Tony La Russa Baseball and Old Time Baseball, which were published by Stormfront Studios. The games included his signature "How about that?!" home run call. He also used the same catch-phrase during his cameo appearances in the films The Naked Gun (1988) and Needful Things (1993). Producer Don Daglow said in a 1995 interview with Computer Gaming World that
Mel Allen. This Week in Baseball In his later years, Allen was exposed to a new audience as the host of the syndicated highlights show This Week in Baseball, which he hosted from its inception in 1977 until his death. When FOX relaunched TWIB in 2000 (after a one-year hiatus), it used a claymation version of Allen to open and close the show until 2002. Computer games Allen recorded the play-by-play for two computer baseball games, Tony La Russa Baseball and Old Time Baseball, which were published by Stormfront Studios. The games included his signature "How about that?!" home run call. He also used the same catch-phrase during his cameo appearances in the films The Naked Gun (1988) and Needful Things (1993). Producer Don Daglow said in a 1995 interview with Computer Gaming World that
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Producer Don Daglow said in a 1995 interview with Computer Gaming World that Awards The National Sportscasters and Sportswriters Association inducted Allen into its Hall of Fame in 1972. In 1978, he was one of the first two winners of the Baseball Hall of Fame's Ford C. Frick Award for broadcasting, along with Red Barber. In 1985, Allen was inducted into the American Sportscasters Association Hall of Fame along with former Yankee partner (and later Red Sox and NBC Sports voice) Curt Gowdy and Chicago legend Jack Brickhouse. He was inducted into the National Radio Hall of Fame in 1988. In 2009, the American Sportscasters Association ranked Allen as the #2 greatest sportscaster of all time, second only to Vin Scully.
Mel Allen. Producer Don Daglow said in a 1995 interview with Computer Gaming World that Awards The National Sportscasters and Sportswriters Association inducted Allen into its Hall of Fame in 1972. In 1978, he was one of the first two winners of the Baseball Hall of Fame's Ford C. Frick Award for broadcasting, along with Red Barber. In 1985, Allen was inducted into the American Sportscasters Association Hall of Fame along with former Yankee partner (and later Red Sox and NBC Sports voice) Curt Gowdy and Chicago legend Jack Brickhouse. He was inducted into the National Radio Hall of Fame in 1988. In 2009, the American Sportscasters Association ranked Allen as the #2 greatest sportscaster of all time, second only to Vin Scully.
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Death and legacy Allen died of heart failure at age 83 on June 16, 1996; he had undergone open-heart surgery in 1989. His one-week vacation to New York had turned into 60 years; he had settled in New York after landing a job at CBS Radio and lived there and southwestern Connecticut for the rest of his life. He was buried at Temple Beth El Cemetery in Stamford, Connecticut. On July 25, 1998, the Yankees dedicated a plaque in his memory at Monument Park at Yankee Stadium. The plaque calls him "A Yankee institution, a national treasure" and includes his much-spoken line "How about that?!" Film roles The Babe Ruth Story (1948) - New York Yankees Radio Announcer The Flamingo Kid (1984) - Himself (voice) The Naked Gun (1988) - The Baseball Announcer #4 Born on the Fourth of July (1989) - Himself (voice) Needful Things (1993) - Baseball Announcer References External links Mel Allen Ford C. Frick Award biography at the National Baseball Hall of Fame
Mel Allen. Death and legacy Allen died of heart failure at age 83 on June 16, 1996; he had undergone open-heart surgery in 1989. His one-week vacation to New York had turned into 60 years; he had settled in New York after landing a job at CBS Radio and lived there and southwestern Connecticut for the rest of his life. He was buried at Temple Beth El Cemetery in Stamford, Connecticut. On July 25, 1998, the Yankees dedicated a plaque in his memory at Monument Park at Yankee Stadium. The plaque calls him "A Yankee institution, a national treasure" and includes his much-spoken line "How about that?!" Film roles The Babe Ruth Story (1948) - New York Yankees Radio Announcer The Flamingo Kid (1984) - Himself (voice) The Naked Gun (1988) - The Baseball Announcer #4 Born on the Fourth of July (1989) - Himself (voice) Needful Things (1993) - Baseball Announcer References External links Mel Allen Ford C. Frick Award biography at the National Baseball Hall of Fame
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References External links Mel Allen Ford C. Frick Award biography at the National Baseball Hall of Fame A guide to the Mel Allen papers, photographs, etc. at University Libraries Division of Special Collections, The University of Alabama
Mel Allen. References External links Mel Allen Ford C. Frick Award biography at the National Baseball Hall of Fame A guide to the Mel Allen papers, photographs, etc. at University Libraries Division of Special Collections, The University of Alabama
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1913 births 1996 deaths Alabama Crimson Tide football announcers United States Army personnel of World War II American Football League announcers American game show hosts American radio sports announcers American television sports announcers Bowling broadcasters Burials in Connecticut Cleveland Indians announcers College basketball announcers in the United States College football announcers Ford C. Frick Award recipients International Jewish Sports Hall of Fame inductees Jewish American baseball people Major League Baseball broadcasters Miami Dolphins announcers Miami Hurricanes football announcers Milwaukee Braves announcers National Football League announcers New York Giants announcers New York Giants (NL) announcers New York Yankees announcers Military personnel from Birmingham, Alabama Sportspeople from Birmingham, Alabama University of Alabama alumni University of Alabama School of Law alumni Washington Redskins announcers 20th-century American Jews
Mel Allen. 1913 births 1996 deaths Alabama Crimson Tide football announcers United States Army personnel of World War II American Football League announcers American game show hosts American radio sports announcers American television sports announcers Bowling broadcasters Burials in Connecticut Cleveland Indians announcers College basketball announcers in the United States College football announcers Ford C. Frick Award recipients International Jewish Sports Hall of Fame inductees Jewish American baseball people Major League Baseball broadcasters Miami Dolphins announcers Miami Hurricanes football announcers Milwaukee Braves announcers National Football League announcers New York Giants announcers New York Giants (NL) announcers New York Yankees announcers Military personnel from Birmingham, Alabama Sportspeople from Birmingham, Alabama University of Alabama alumni University of Alabama School of Law alumni Washington Redskins announcers 20th-century American Jews
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Ransom
Ransom is the practice of holding a prisoner or item to extort money or property to secure their release, or the sum of money involved in such a practice. When ransom means "payment", the word comes via Old French rançon from Latin redemptio = "buying back": compare "redemption". Ransom cases Julius Caesar was captured by pirates near the island of Pharmacusa, and held until someone paid 50 talents to free him. In Europe during the Middle Ages, ransom became an important custom of chivalric warfare. An important knight, especially nobility or royalty, was worth a significant sum of money if captured, but nothing if he was killed. For this reason, the practice of ransom contributed to the development of heraldry, which allowed knights to advertise their identities, and by implication their ransom value, and made them less likely to be killed out of hand. Examples include Richard the Lion Heart and Bertrand du Guesclin.
Ransom. Ransom is the practice of holding a prisoner or item to extort money or property to secure their release, or the sum of money involved in such a practice. When ransom means "payment", the word comes via Old French rançon from Latin redemptio = "buying back": compare "redemption". Ransom cases Julius Caesar was captured by pirates near the island of Pharmacusa, and held until someone paid 50 talents to free him. In Europe during the Middle Ages, ransom became an important custom of chivalric warfare. An important knight, especially nobility or royalty, was worth a significant sum of money if captured, but nothing if he was killed. For this reason, the practice of ransom contributed to the development of heraldry, which allowed knights to advertise their identities, and by implication their ransom value, and made them less likely to be killed out of hand. Examples include Richard the Lion Heart and Bertrand du Guesclin.
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Ransom
In 1532, Francisco Pizarro was paid a ransom amounting to a roomful of gold by the Inca Empire before having their leader Atahualpa, his victim, executed in a ridiculous trial. The ransom payment received by Pizarro is recognized as the largest ever paid to a single individual, probably over $2 billion in today's economic markets. Modern The abduction of Charley Ross on July 1, 1874, is considered to be the first American kidnapping for ransom.
Ransom. In 1532, Francisco Pizarro was paid a ransom amounting to a roomful of gold by the Inca Empire before having their leader Atahualpa, his victim, executed in a ridiculous trial. The ransom payment received by Pizarro is recognized as the largest ever paid to a single individual, probably over $2 billion in today's economic markets. Modern The abduction of Charley Ross on July 1, 1874, is considered to be the first American kidnapping for ransom.
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Modern The abduction of Charley Ross on July 1, 1874, is considered to be the first American kidnapping for ransom. East Germany, which built the Inner German border to stop emigration, practised ransom with people. East German citizens could emigrate through the semi-secret route of being ransomed by the West German government in a process termed Freikauf (literally the buying of freedom). Between 1964 and 1989, 33,755 political prisoners were ransomed. West Germany paid over 3.4 billion DM—nearly $2.3 billion at 1990 prices—in goods and hard currency. Those ransomed were valued on a sliding scale, ranging from around 1,875 DM for a worker to around 11,250 DM for a physician. For a while, payments were made in kind using goods that were in short supply in East Germany, such as oranges, bananas, coffee, and medical drugs. The average prisoner was worth around 4,000 DM worth of goods. Ransom notes
Ransom. Modern The abduction of Charley Ross on July 1, 1874, is considered to be the first American kidnapping for ransom. East Germany, which built the Inner German border to stop emigration, practised ransom with people. East German citizens could emigrate through the semi-secret route of being ransomed by the West German government in a process termed Freikauf (literally the buying of freedom). Between 1964 and 1989, 33,755 political prisoners were ransomed. West Germany paid over 3.4 billion DM—nearly $2.3 billion at 1990 prices—in goods and hard currency. Those ransomed were valued on a sliding scale, ranging from around 1,875 DM for a worker to around 11,250 DM for a physician. For a while, payments were made in kind using goods that were in short supply in East Germany, such as oranges, bananas, coffee, and medical drugs. The average prisoner was worth around 4,000 DM worth of goods. Ransom notes
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Ransom
Ransom notes A request for ransom may be conveyed to the target of the effort by a ransom note, a written document outlining the demands of the kidnappers. In some instances, however, the note itself can be used as forensic evidence to discover the identities of unknown kidnappers, or to convict them at trial. For example, if a ransom note contains misspellings, a suspect might be asked to write a sample of text to determine if they make the same spelling errors.
Ransom. Ransom notes A request for ransom may be conveyed to the target of the effort by a ransom note, a written document outlining the demands of the kidnappers. In some instances, however, the note itself can be used as forensic evidence to discover the identities of unknown kidnappers, or to convict them at trial. For example, if a ransom note contains misspellings, a suspect might be asked to write a sample of text to determine if they make the same spelling errors.
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Ransom
Following cases where forensic evidence pinpointed particular typewriters to typed ransom notes, kidnappers started to use pre-printed words assembled from different newspapers. In popular culture, ransom notes are often depicted as being made from words in different typefaces clipped from different sources (typically newspapers), in order to disguise the handwriting of the kidnapper, leading to the phrase ransom note effect being used to describe documents containing jarringly mixed fonts. An early use of this technique in film is in the 1952 film The Atomic City. In some instances, a person may forge a ransom note in order to falsely collect a ransom despite not having an actual connection to the kidnapper. On other occasions, a ransom note has been used as a ploy to convince family members that a person is being held for ransom when that person has actually left of their own volition or was already dead before the note was sent. Variations
Ransom. Following cases where forensic evidence pinpointed particular typewriters to typed ransom notes, kidnappers started to use pre-printed words assembled from different newspapers. In popular culture, ransom notes are often depicted as being made from words in different typefaces clipped from different sources (typically newspapers), in order to disguise the handwriting of the kidnapper, leading to the phrase ransom note effect being used to describe documents containing jarringly mixed fonts. An early use of this technique in film is in the 1952 film The Atomic City. In some instances, a person may forge a ransom note in order to falsely collect a ransom despite not having an actual connection to the kidnapper. On other occasions, a ransom note has been used as a ploy to convince family members that a person is being held for ransom when that person has actually left of their own volition or was already dead before the note was sent. Variations
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Ransom
Variations There were numerous instances in which towns paid to avoid being plundered, an example being Salzburg which, under Paris Lodron paid a ransom to Bavaria to prevent its being sacked during the Thirty Years' War. As late as the Peninsular War (1808–14), it was the belief of the English soldiers that a town taken by storm was liable to sack for three days, and they acted on their conviction at Ciudad Rodrigo, Badajoz and San Sebastian. In the early 18th century the custom was that the captain of a captured vessel gave a bond or “ransom bill,” leaving one of his crew as a hostage or “ransomer” in the hands of the captor. Frequent mention is made of the taking of French privateers which had in them ten or a dozen ransomers. The owner could be sued on his bond. Payment of ransom was banned by the Parliament of Great Britain in 1782 although this was repealed in 1864. It was generally allowed by other nations.
Ransom. Variations There were numerous instances in which towns paid to avoid being plundered, an example being Salzburg which, under Paris Lodron paid a ransom to Bavaria to prevent its being sacked during the Thirty Years' War. As late as the Peninsular War (1808–14), it was the belief of the English soldiers that a town taken by storm was liable to sack for three days, and they acted on their conviction at Ciudad Rodrigo, Badajoz and San Sebastian. In the early 18th century the custom was that the captain of a captured vessel gave a bond or “ransom bill,” leaving one of his crew as a hostage or “ransomer” in the hands of the captor. Frequent mention is made of the taking of French privateers which had in them ten or a dozen ransomers. The owner could be sued on his bond. Payment of ransom was banned by the Parliament of Great Britain in 1782 although this was repealed in 1864. It was generally allowed by other nations.
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Ransom
In the Russo-Japanese War — no mention was made of ransom, and with the disappearance of privateering, which was conducted wholly for gain, it has ceased to have any place in war at sea, but the contributions levied by invading armies might still be accurately described by the name. Although ransom is usually demanded only after the kidnapping of a person, it is not unheard of for thieves to demand ransom for the return of an inanimate object or body part. In 1987, thieves broke into the tomb of Argentinian president Juan Perón and then severed and stole his hands; they later demanded $8 million US for their return. The ransom was not paid.
Ransom. In the Russo-Japanese War — no mention was made of ransom, and with the disappearance of privateering, which was conducted wholly for gain, it has ceased to have any place in war at sea, but the contributions levied by invading armies might still be accurately described by the name. Although ransom is usually demanded only after the kidnapping of a person, it is not unheard of for thieves to demand ransom for the return of an inanimate object or body part. In 1987, thieves broke into the tomb of Argentinian president Juan Perón and then severed and stole his hands; they later demanded $8 million US for their return. The ransom was not paid.
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Ransom
The practice of towing vehicles and charging towing fees for the vehicles' release is often euphemised or referred to as ransoming, especially by opponents of towing. In Scotland, booting vehicles on private property is outlawed as extortion. In England, the clamping of vehicles is theoretically the Common law offence of 'holding property to ransom'. Warring international military groups have demanded ransom for any personnel they can capture from their opposition or their opposition's supporters. Ransom paid to these groups can encourage more hostage-taking. See also Bail Hostage Weregild References
Ransom. The practice of towing vehicles and charging towing fees for the vehicles' release is often euphemised or referred to as ransoming, especially by opponents of towing. In Scotland, booting vehicles on private property is outlawed as extortion. In England, the clamping of vehicles is theoretically the Common law offence of 'holding property to ransom'. Warring international military groups have demanded ransom for any personnel they can capture from their opposition or their opposition's supporters. Ransom paid to these groups can encourage more hostage-taking. See also Bail Hostage Weregild References
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Brodmann area 18
Human Brodmann area 18, or BA18, is part of the occipital cortex in the human brain. It accounts for the bulk of the volume of the occipital lobe. It is known as a "Visual Association Area" or V2 and is a first stage in processing or feature extraction of retinotopic images from V1. This area is also known as parastriate area 18. It is a subdivision of the cytoarchitecturally defined occipital region of cerebral cortex. In the human it is located in parts of the cuneus, the lingual gyrus and the lateral occipital gyrus (H) of the occipital lobe. It is bounded on one side by the Brodmann area 17, from which it is distinguished by absence of a band of Gennari, and on the other by the peristriate area 19 (Brodmann-1909).
Brodmann area 18. Human Brodmann area 18, or BA18, is part of the occipital cortex in the human brain. It accounts for the bulk of the volume of the occipital lobe. It is known as a "Visual Association Area" or V2 and is a first stage in processing or feature extraction of retinotopic images from V1. This area is also known as parastriate area 18. It is a subdivision of the cytoarchitecturally defined occipital region of cerebral cortex. In the human it is located in parts of the cuneus, the lingual gyrus and the lateral occipital gyrus (H) of the occipital lobe. It is bounded on one side by the Brodmann area 17, from which it is distinguished by absence of a band of Gennari, and on the other by the peristriate area 19 (Brodmann-1909).
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Brodmann area 18
Guenon Brodmann area 18 is a subdivision of the cerebral cortex of the guenon defined on the basis of cytoarchitecture. It is topographically and cytoarchitecturally homologous to parastriate area 18 of the human (Brodmann-1909). Distinctive features (Brodmann-1905): a wide, dense internal granular cell layer (IV); a distinct sublayer 3b of closely packed large pyramidal cells positioned in the external pyramidal layer (III) directly above layer IV; an almost cell-free, narrow internal pyramidal layer (V) with no larger ganglion cells; a very narrow, dense multiform layer (VI) composed of small polymorphic cells that form a distinct boundary with the underlying subcortical white matter. Like area 17 of Brodmann-1905, area 18 is relatively thin, with the three deep layers thin relative to the three outer layers, and has distinct boundaries between layers, abundance of granule cells, narrow layer VI, and sharp boundary between cortex and subcortical white matter.
Brodmann area 18. Guenon Brodmann area 18 is a subdivision of the cerebral cortex of the guenon defined on the basis of cytoarchitecture. It is topographically and cytoarchitecturally homologous to parastriate area 18 of the human (Brodmann-1909). Distinctive features (Brodmann-1905): a wide, dense internal granular cell layer (IV); a distinct sublayer 3b of closely packed large pyramidal cells positioned in the external pyramidal layer (III) directly above layer IV; an almost cell-free, narrow internal pyramidal layer (V) with no larger ganglion cells; a very narrow, dense multiform layer (VI) composed of small polymorphic cells that form a distinct boundary with the underlying subcortical white matter. Like area 17 of Brodmann-1905, area 18 is relatively thin, with the three deep layers thin relative to the three outer layers, and has distinct boundaries between layers, abundance of granule cells, narrow layer VI, and sharp boundary between cortex and subcortical white matter.
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Brodmann area 18
See also Brodmann area List of regions in the human brain External links For Neuroanatomy of the parastriate area 18 visit BrainInfo For Neuroanatomy of Brodmann area 18 visit BrainInfo 18 Occipital lobe
Brodmann area 18. See also Brodmann area List of regions in the human brain External links For Neuroanatomy of the parastriate area 18 visit BrainInfo For Neuroanatomy of Brodmann area 18 visit BrainInfo 18 Occipital lobe
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