title: Jam Master Jay

text: He first started playing at parks and later played at bars. He also began throwing small parties around the area. Once he got a pair of Technics 1200s, he improved rapidly, since he was able to practice at night with headphones on when he was supposed to be sleeping.


title: Jam Master Jay

text: Mizell became a DJ because he "just wanted to be a part of the band". Prior to joining Run-D.M.C., he played bass and drums in several garage bands. In 1982, he joined Joseph "Run" Simmons and Darryl "D.M.C." McDaniels just after they graduated from high school and agreed to DJ for them because he wanted to be part of the band. On Run-D.M.C's album "Raising Hell", Mizell played keyboards, bass, and live drums in addition to his turntable work. Mizell remained in his childhood neighborhood in Hollis, Queens his entire life.


title: Jam Master Jay

text: In 1989, Mizell established Jam Master Jay Records. The label is most known for signing 50 Cent and Onyx. Jam Master Jay Records folded after Jason Mizell was murdered on October 30, 2002.


title: Jam Master Jay

text: Mizell's legacy includes the Scratch DJ Academy in Manhattan. Founded in 2002, the year of his death, the academy was created to "provide unparalleled education and access to the art form of the DJ and producer."


title: Jam Master Jay

text: Jam Master Jay was related to the Mizell Brothers, a popular production team for Gary Bartz, Johnny "Hammond" Smith, and others.


title: Jam Master Jay

text: On consecutive Christmas holidays, Mizell survived a car accident and a gunshot wound to the leg, respectively. The car accident occurred in the early morning hours of December 26, 1987, in the West Village of Manhattan.


title: Jam Master Jay

text: Jam Master Jay was the father of three sons: Jason Mizell Jr. (who performs as DJ Jam Master J'Son), Jesse Mizell, and TJ Mizell (also a DJ), and a daughter, Tyra Myricks (born August 1992).


title: Jam Master Jay

text: On Wednesday, October 30, 2002, at 7:30 pm, Mizell was fatally shot in New York City in his recording studio on Merrick Boulevard in Jamaica, Queens. Another person in the room, 25-year-old Urieco Rincon, was shot in the ankle and survived. Following Mizell's death, several artists expressed their grief for the loss in the hip hop community and remembered him for his influence on music and the genre. Mizell was buried at Ferncliff Cemetery and Mausoleum in Hartsdale, New York.


title: Jam Master Jay

text: In 2003, Kenneth McGriff, a convicted drug dealer and longtime friend of Murder Inc. Records founders Irving "Irv Gotti" Lorenzo and his older brother Christopher, were investigated for targeting Mizell because the DJ defied an industry blacklist of rapper 50 Cent that was imposed because of "Ghetto Qu'ran", a song 50 Cent wrote about McGriff's drug history.


title: Jam Master Jay

text: In December 2003, "Playboy" magazine published an article by investigative journalist Frank Owen, "The Last Days of Jam Master Jay", which traced the murder to a drug deal gone bad. Owen said he uncovered evidence Mizell, not normally involved in crime as an adult, had turned to cocaine distribution to pay mounting bills. Mizell owed substantial debts to the Internal Revenue Service, among others, after his music career stalled in the late 1990s. According to Owen, several sources indicated Mizell traveled to Washington, D.C., on July 31, 2002, to obtain of cocaine valued at about a quarter-million dollars from a trafficker known as "Uncle". Mizell reportedly agreed to pay for the drugs in about a week. However, Mizell failed to repay Uncle, who allegedly arranged to have Mizell murdered.


title: Jam Master Jay

text: In April 2007, federal prosecutors named Ronald Washington as an accomplice in the murder. Washington also is a suspect in the 1995 murder of Randy "Stretch" Walker, a former close associate of rapper Tupac Shakur, who was also murdered. According to court papers filed by the prosecution, Washington allegedly "pointed his gun at those present in the studio, ordered them to get on the ground and provided cover for his associate to shoot and kill Jason Mizell." However, he was never convicted.


title: Jam Master Jay

text: In 2018, Netflix released a documentary analyzing the circumstances of his murder. "", the third episode of Netflix's "ReMastered" music documentary series, interviews several of Mizell's friends, family members and acquaintances who share stories they have heard regarding suspects in his murder. The documentary does not come to a conclusion regarding who the murderer(s) are. Also in 2018, former prosecutor Marcia Clark featured Jam Master Jay's murder in an episode of her series "Marcia Clark Investigates The First 48" on A&E where she examined several scenarios and suspects for the murder. She spoke to former Run DMC road manager Darren "Big D" Jordan, who denied allegations of involvement made against him by Ronald Washington. Clark further interviewed Owen, who stood by his 2003 article as largely accurate and stated he did not know who shot Mizell but believed the murder was facilitated by Mizell's close friend Ronald Washington.


title: Jam Master Jay

text: In 2020, Ronald Washington and Karl Jordan Jr. were indicted for Mizell's murder. The indictment alleges that Mizell had recently acquired of cocaine from a distributor based in Maryland. Mizell, Washington, and Jordan had an agreement to sell the cocaine on consignment, but Mizell cut the two men out after a dispute. Washington had been considered a suspect very early in the investigation, and Jordan had been charged in August 2003 with attempted murder after shooting Mizell's nephew, Rodney Jones, in the leg.


title: Jam Master Jay

text: Washington and Jordan Jr. pleaded not guilty. In November 2021, it was announced that federal prosecutors would not seek the death penalty if they are convicted, and that prosecutors would instead seek life imprisonment without the possibility of parole. In October 2022, the trial was scheduled to begin on February 20, 2023. Prosecutors assert that Jordan Jr. admitted to the crime in a conversation.


title: El Greco

text: Domḗnikos Theotokópoulos ( ; 1 October 1541 7 April 1614), most widely known as El Greco ("The Greek"), was a Greek painter, sculptor and architect of the Spanish Renaissance. "El Greco" was a nickname, and the artist normally signed his paintings with his full birth name in Greek letters, (), often adding the word (), which means Cretan.


title: El Greco

text: El Greco was born in the Kingdom of Candia (modern Crete), which was at that time part of the Republic of Venice, Italy, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, as other Greek artists had done. In 1570, he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance taken from a number of great artists of the time, notably Tintoretto. In 1577, he moved to Toledo, Spain, where he lived and worked until his death. In Toledo, El Greco received several major commissions and produced his best-known paintings, such as "View of Toledo" and "Opening of the Fifth Seal".


title: El Greco

text: El Greco's dramatic and expressionistic style was met with puzzlement by his contemporaries but found appreciation by the 20th century. El Greco is regarded as a precursor of both Expressionism and Cubism, while his personality and works were a source of inspiration for poets and writers such as Rainer Maria Rilke and Nikos Kazantzakis. El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, marrying Byzantine traditions with those of Western painting.


title: El Greco

text: Born in 1541, in either the village of Fodele or Candia (the Venetian name of Chandax, present day Heraklion) on Crete, El Greco was descended from a prosperous urban family, which had probably been driven out of Chania to Candia after an uprising against the Catholic Venetians between 1526 and 1528. El Greco's father, Geṓrgios Theotokópoulos ( 1556), was a merchant and tax collector. Almost nothing is known about his mother or his first wife, except that they were also Greek. His second wife was a Spaniard.


title: El Greco

text: El Greco's older brother, Manoússos Theotokópoulos (1531–1604), was a wealthy merchant and spent the last years of his life (1603–1604) in El Greco's Toledo home.


title: El Greco

text: El Greco received his initial training as an icon painter of the Cretan school, a leading center of post-Byzantine art. In addition to painting, he probably studied the classics of ancient Greece, and perhaps the Latin classics also; he left a "working library" of 130 volumes at his death, including the Bible in Greek and an annotated Vasari book. Candia was a center for artistic activity where Eastern and Western cultures co-existed harmoniously, where around two hundred painters were active during the 16th century, and had organized a painters' guild, based on the Italian model. In 1563, at the age of twenty-two, El Greco was described in a document as a "master" ("maestro Domenigo"), meaning he was already a master of the guild and presumably operating his own workshop. Three years later, in June 1566, as a witness to a contract, he signed his name in Greek as ("Master Ménegos Theotokópoulos, painter").


title: El Greco

text: Most scholars believe that the Theotokópoulos "family was almost certainly Greek Orthodox", although some Catholic sources still claim him from birth. Like many Orthodox emigrants to Catholic areas of Europe, some assert that he may have transferred to Catholicism after his arrival, and possibly practiced as a Catholic in Spain, where he described himself as a "devout Catholic" in his will. The extensive archival research conducted since the early 1960s by scholars, such as Nikolaos Panayotakis, Pandelis Prevelakis and Maria Constantoudaki, indicates strongly that El Greco's family and ancestors were Greek Orthodox. One of his uncles was an Orthodox priest, and his name is not mentioned in the Catholic archival baptismal records on Crete. Prevelakis goes even further, expressing his doubt that El Greco was ever a practicing Roman Catholic.


title: El Greco

text: Important for his early biography, El Greco, still in Crete, painted his "Dormition of the Virgin" near the end of his Cretan period, probably before 1567. Three other signed works of "Domḗnicos" are attributed to El Greco ("Modena Triptych", "St. Luke Painting the Virgin and Child", and "The Adoration of the Magi").


title: El Greco

text: It was natural for the young El Greco to pursue his career in Venice, Crete having been a possession of the Republic of Venice since 1211. Though the exact year is not clear, most scholars agree that El Greco went to Venice around 1567. Knowledge of El Greco's years in Italy is limited. He lived in Venice until 1570 and, according to a letter written by his much older friend, the greatest miniaturist of the age, Giulio Clovio, was a "disciple" of Titian, who was by then in his eighties but still vigorous. This may mean he worked in Titian's large studio, or not. Clovio characterized El Greco as "a rare talent in painting".


title: El Greco

text: In 1570, El Greco moved to Rome, where he executed a series of works strongly marked by his Venetian apprenticeship. It is unknown how long he remained in Rome, though he may have returned to Venice () before he left for Spain. In Rome, on the recommendation of Giulio Clovio, El Greco was received as a guest at the Palazzo Farnese, which Cardinal Alessandro Farnese had made a center of the artistic and intellectual life of the city. There he came into contact with the intellectual elite of the city, including the Roman scholar Fulvio Orsini, whose collection would later include seven paintings by the artist ("View of Mt. Sinai" and a portrait of Clovio are among them).


title: El Greco

text: Unlike other Cretan artists who had moved to Venice, El Greco substantially altered his style and sought to distinguish himself by inventing new and unusual interpretations of traditional religious subject matter. His works painted in Italy were influenced by the Venetian Renaissance style of the period, with agile, elongated figures reminiscent of Tintoretto and a chromatic framework that connects him to Titian. The Venetian painters also taught him to organize his multi-figured compositions in landscapes vibrant with atmospheric light. Clovio reports visiting El Greco on a summer's day while the artist was still in Rome. El Greco was sitting in a darkened room, because he found the darkness more conducive to thought than the light of the day, which disturbed his "inner light". As a result of his stay in Rome, his works were enriched with elements such as violent perspective vanishing points or strange attitudes struck by the figures with their repeated twisting and turning and tempestuous gestures; all elements of Mannerism.


title: El Greco

text: By the time El Greco arrived in Rome, Michelangelo and Raphael were dead, but their example continued to be paramount, and somewhat overwhelming for young painters. El Greco was determined to make his own mark in Rome defending his personal artistic views, ideas and style. He singled out Correggio and Parmigianino for particular praise, but he did not hesitate to dismiss Michelangelo's "Last Judgment" in the Sistine Chapel; he extended an offer to Pope Pius V to paint over the whole work in accord with the new and stricter Catholic thinking. When he was later asked what he thought about Michelangelo, El Greco replied that "he was a good man, but he did not know how to paint". And thus we are confronted by a paradox: El Greco is said to have reacted most strongly or even condemned Michelangelo, but found it impossible to withstand his influence. Michelangelo's influence can be seen in later El Greco works such as the "Allegory of the Holy League". By painting portraits of Michelangelo, Titian, Clovio and, presumably, Raphael in one of his works ("The Purification of the Temple"), El Greco not only expressed his gratitude but also advanced the claim to rival these masters. As his own commentaries indicate, El Greco viewed Titian, Michelangelo and Raphael as models to emulate. In his 17th century "Chronicles", Giulio Mancini included El Greco among the painters who had initiated, in various ways, a re-evaluation of Michelangelo's teachings.


title: El Greco

text: Because of his unconventional artistic beliefs (such as his dismissal of Michelangelo's technique) and personality, El Greco soon acquired enemies in Rome. Architect and writer Pirro Ligorio called him a "foolish foreigner", and newly discovered archival material reveals a skirmish with Farnese, who obliged the young artist to leave his palace. On 6 July 1572, El Greco officially complained about this event. A few months later, on 18 September 1572, he paid his dues to the Guild of Saint Luke in Rome as a miniature painter. At the end of that year, El Greco opened his own workshop and hired as assistants the painters Lattanzio Bonastri de Lucignano and Francisco Preboste.


title: El Greco

text: In 1577, El Greco migrated to Madrid, then to Toledo, where he produced his mature works. At the time, Toledo was the religious capital of Spain and a populous city with "an illustrious past, a prosperous present and an uncertain future". In Rome, El Greco had earned the respect of some intellectuals, but was also facing the hostility of certain art critics. During the 1570s the huge monastery-palace of El Escorial was still under construction and Philip II of Spain was experiencing difficulties in finding good artists for the many large paintings required to decorate it. Titian was dead, and Tintoretto, Veronese and Anthonis Mor all refused to come to Spain. Philip had to rely on the lesser talent of Juan Fernández de Navarrete, of whose "gravedad y decoro" ("seriousness and decorum") the king approved. When Fernández died in 1579, the moment was ideal for El Greco to move to Toledo.


title: El Greco

text: Through Clovio and Orsini, El Greco met Benito Arias Montano, a Spanish humanist and agent of Philip; Pedro Chacón, a clergyman; and Luis de Castilla, son of Diego de Castilla, the dean of the Cathedral of Toledo. El Greco's friendship with Castilla would secure his first large commissions in Toledo. He arrived in Toledo by July 1577, and signed contracts for a group of paintings that was to adorn the church of Santo Domingo el Antiguo in Toledo and for the renowned . By September 1579 he had completed nine paintings for Santo Domingo, including "The Trinity" and "The Assumption of the Virgin". These works would establish the painter's reputation in Toledo.


title: El Greco

text: El Greco did not plan to settle permanently in Toledo, since his final aim was to win the favor of Philip and make his mark in his court. Indeed, he did manage to secure two important commissions from the monarch: "Allegory of the Holy League" and "Martyrdom of St. Maurice". However, the king did not like these works and placed the St Maurice altarpiece in the chapter-house rather than the intended chapel. He gave no further commissions to El Greco. The exact reasons for the king's dissatisfaction remain unclear. Some scholars have suggested that Philip did not like the inclusion of living persons in a religious scene; some others that El Greco's works violated a basic rule of the Counter-Reformation, namely that in the image the content was paramount rather than the style. Philip took a close interest in his artistic commissions, and had very decided tastes; a long sought-after sculpted Crucifixion by Benvenuto Cellini also failed to please when it arrived, and was likewise exiled to a less prominent place. Philip's next experiment, with Federico Zuccari was even less successful. In any case, Philip's dissatisfaction ended any hopes of royal patronage El Greco may have had.


title: El Greco

text: Lacking the favor of the king, El Greco was obliged to remain in Toledo, where he had been received in 1577 as a great painter. According to Hortensio Félix Paravicino, a 17th-century Spanish preacher and poet, "Crete gave him life and the painter's craft, Toledo a better homeland, where through Death he began to achieve eternal life." In 1585, he appears to have hired an assistant, Italian painter Francisco Preboste, and to have established a workshop capable of producing altar frames and statues as well as paintings. On 12 March 1586 he obtained the commission for "The Burial of the Count of Orgaz", now his best-known work.


title: El Greco

text: The decade 1597 to 1607 was a period of intense activity for El Greco. During these years he received several major commissions, and his workshop created pictorial and sculptural ensembles for a variety of religious institutions. Among his major commissions of this period were three altars for the Chapel of San José in Toledo (1597–1599); three paintings (1596–1600) for the Colegio de Doña María de Aragon, an Augustinian monastery in Madrid, and the high altar, four lateral altars, and the painting "St. Ildefonso" for the Capilla Mayor of the Hospital de la Caridad (Hospital of Charity) at Illescas (1603–1605). The minutes of the commission of "The Virgin of the Immaculate Conception" (1607–1613), which were composed by the personnel of the municipality, describe El Greco as "one of the greatest men in both this kingdom and outside it".


title: El Greco

text: Between 1607 and 1608 El Greco was involved in a protracted legal dispute with the authorities of the Hospital of Charity at Illescas concerning payment for his work, which included painting, sculpture and architecture; this and other legal disputes contributed to the economic difficulties he experienced towards the end of his life. In 1608, he received his last major commission at the Hospital of Saint John the Baptist in Toledo.


title: El Greco

text: El Greco made Toledo his home. Surviving contracts mention him as the tenant from 1585 onwards of a complex consisting of three apartments and twenty-four rooms which belonged to the Marquis de Villena. It was in these apartments, which also served as his workshop, that he spent the rest of his life, painting and studying. He lived in considerable style, sometimes employing musicians to play whilst he dined. It is not confirmed whether he lived with his Spanish female companion, Jerónima de Las Cuevas, whom he probably never married. She was the mother of his only son, Jorge Manuel, born in 1578, who also became a painter, assisted his father, and continued to repeat his compositions for many years after he inherited the studio. In 1604, Jorge Manuel and Alfonsa de los Morales gave birth to El Greco's grandson, Gabriel, who was baptized by Gregorio Angulo, governor of Toledo and a personal friend of the artist.


title: El Greco

text: During the course of the execution of a commission for the Hospital de Tavera, El Greco fell seriously ill, and died a month later, on 7 April 1614. A few days earlier, on 31 March, he had directed that his son should have the power to make his will. Two Greeks, friends of the painter, witnessed this last will and testament (El Greco never lost touch with his Greek origins). He was buried in the Church of Santo Domingo el Antiguo, aged 73.


title: El Greco

text: The primacy of imagination and intuition over the subjective character of creation was a fundamental principle of El Greco's style. El Greco discarded classicist criteria such as measure and proportion. He believed that grace is the supreme quest of art, but the painter achieves grace only by managing to solve the most complex problems with ease.


title: El Greco

text: El Greco regarded color as the most important and the most ungovernable element of painting, and declared that color had primacy over form. Francisco Pacheco, a painter and theoretician who visited El Greco in 1611, wrote that the painter liked "the colors crude and unmixed in great blots as a boastful display of his dexterity" and that "he believed in constant repainting and retouching in order to make the broad masses tell flat as in nature".


title: El Greco

text: Art historian Max Dvořák was the first scholar to connect El Greco's art with Mannerism and Antinaturalism. Modern scholars characterize El Greco's theory as "typically Mannerist" and pinpoint its sources in the Neoplatonism of the Renaissance. Jonathan Brown believes that El Greco created a sophisticated form of art; according to Nicholas Penny "once in Spain, El Greco was able to create a style of his own—one that disavowed most of the descriptive ambitions of painting".


title: El Greco

text: In his mature works El Greco demonstrated a characteristic tendency to dramatize rather than to describe. The strong spiritual emotion transfers from painting directly to the audience. According to Pacheco, El Greco's perturbed, violent and at times seemingly careless-in-execution art was due to a studied effort to acquire a freedom of style. El Greco's preference for exceptionally tall and slender figures and elongated compositions, which served both his expressive purposes and aesthetic principles, led him to disregard the laws of nature and elongate his compositions to ever greater extents, particularly when they were destined for altarpieces. The anatomy of the human body becomes even more otherworldly in El Greco's mature works; for "The Virgin of the Immaculate Conception" El Greco asked to lengthen the altarpiece itself by another "because in this way the form will be perfect and not reduced, which is the worst thing that can happen to a figure". A significant innovation of El Greco's mature works is the interweaving between form and space; a reciprocal relationship is developed between the two which completely unifies the painting surface. This interweaving would re-emerge three centuries later in the works of Cézanne and Picasso.


title: El Greco

text: Another characteristic of El Greco's mature style is the use of light. As Jonathan Brown notes, "each figure seems to carry its own light within or reflects the light that emanates from an unseen source". Fernando Marias and Agustín Bustamante García, the scholars who transcribed El Greco's handwritten notes, connect the power that the painter gives to light with the ideas underlying Christian Neo-Platonism.


title: El Greco

text: Modern scholarly research emphasizes the importance of Toledo for the complete development of El Greco's mature style and stresses the painter's ability to adjust his style in accordance with his surroundings. Harold Wethey asserts that "although Greek by descent and Italian by artistic preparation, the artist became so immersed in the religious environment of Spain that he became the most vital visual representative of Spanish mysticism". He believes that in El Greco's mature works "the devotional intensity of mood reflects the religious spirit of Roman Catholic Spain in the period of the Counter-Reformation".


title: El Greco

text: El Greco also excelled as a portraitist, able not only to record a sitter's features but also to convey their character. His portraits are fewer in number than his religious paintings, but are of equally high quality. Wethey says that "by such simple means, the artist created a memorable characterization that places him in the highest rank as a portraitist, along with Titian and Rembrandt".


title: El Greco

text: El Greco painted many of his paintings on fine canvas and employed a viscous oil medium. He painted with the usual pigments of his period such as azurite, lead-tin-yellow, vermilion, madder lake, ochres and red lead, but he seldom used the expensive natural ultramarine.


title: El Greco

text: Since the beginning of the 20th century, scholars have debated whether El Greco's style had Byzantine origins. Certain art historians had asserted that El Greco's roots were firmly in the Byzantine tradition, and that his most individual characteristics derive directly from the art of his ancestors, while others had argued that Byzantine art could not be related to El Greco's later work.


title: El Greco

text: The discovery of the "Dormition of the Virgin" on Syros, an authentic and signed work from the painter's Cretan period, and the extensive archival research in the early 1960s, contributed to the rekindling and reassessment of these theories. Although following many conventions of the Byzantine icon, aspects of the style certainly show Venetian influence, and the composition, showing the death of Mary, combines the different doctrines of the Orthodox Dormition of the Virgin and the Catholic Assumption of the Virgin. Significant scholarly works of the second half of the 20th century devoted to El Greco reappraise many of the interpretations of his work, including his supposed Byzantinism. Based on the notes written in El Greco's own hand, on his unique style, and on the fact that El Greco signed his name in Greek characters, they see an organic continuity between Byzantine painting and his art. According to Marina Lambraki-Plaka "far from the influence of Italy, in a neutral place which was intellectually similar to his birthplace, Candia, the Byzantine elements of his education emerged and played a catalytic role in the new conception of the image which is presented to us in his mature work". In making this judgement, Lambraki-Plaka disagrees with Oxford University professors Cyril Mango and Elizabeth Jeffreys, who assert that "despite claims to the contrary, the only Byzantine element of his famous paintings was his signature in Greek lettering". Nikos Hadjinikolaou states that from 1570 El Greco's painting is "neither Byzantine nor post-Byzantine but Western European. The works he produced in Italy belong to the history of the Italian art, and those he produced in Spain to the history of Spanish art".


title: El Greco

text: The English art historian David Davies seeks the roots of El Greco's style in the intellectual sources of his Greek-Christian education and in the world of his recollections from the liturgical and ceremonial aspect of the Orthodox Church. Davies believes that the religious climate of the Counter-Reformation and the aesthetics of Mannerism acted as catalysts to activate his individual technique. He asserts that the philosophies of Platonism and ancient Neo-Platonism, the works of Plotinus and Pseudo-Dionysius the Areopagite, the texts of the Church fathers and the liturgy offer the keys to the understanding of El Greco's style. Summarizing the ensuing scholarly debate on this issue, José Álvarez Lopera, curator at the Museo del Prado, Madrid, concludes that the presence of "Byzantine memories" is obvious in El Greco's mature works, though there are still some obscure issues concerning his Byzantine origins needing further illumination.


title: El Greco

text: El Greco was highly esteemed as an architect and sculptor during his lifetime. He usually designed complete altar compositions, working as architect and sculptor as well as painter—at, for instance, the Hospital de la Caridad. There he decorated the chapel of the hospital, but the wooden altar and the sculptures he created have in all probability perished. For the master designed the original altar of gilded wood which has been destroyed, but his small sculptured group of the "Miracle of St. Ildefonso" still survives on the lower center of the frame.


title: El Greco

text: His most important architectural achievement was the church and Monastery of Santo Domingo el Antiguo, for which he also executed sculptures and paintings. El Greco is regarded as a painter who incorporated architecture in his painting. He is also credited with the architectural frames to his own paintings in Toledo. Pacheco characterized him as "a writer of painting, sculpture and architecture".


title: El Greco

text: In the marginalia that El Greco inscribed in his copy of Daniele Barbaro's translation of Vitruvius' , he refuted Vitruvius' attachment to archaeological remains, canonical proportions, perspective and mathematics. He also saw Vitruvius' manner of distorting proportions in order to compensate for distance from the eye as responsible for creating monstrous forms. El Greco was averse to the very idea of rules in architecture; he believed above all in the freedom of invention and defended novelty, variety, and complexity. These ideas were, however, far too extreme for the architectural circles of his era and had no immediate resonance.


title: El Greco

text: El Greco was disdained by the immediate generations after his death because his work was opposed in many respects to the principles of the early baroque style which came to the fore near the beginning of the 17th century and soon supplanted the last surviving traits of the 16th-century Mannerism. El Greco was deemed incomprehensible and had no important followers. Only his son and a few unknown painters produced weak copies of his works. Late 17th- and early 18th-century Spanish commentators praised his skill but criticized his antinaturalistic style and his complex iconography. Some of these commentators, such as Antonio Palomino and Juan Agustín Ceán Bermúdez, described his mature work as "contemptible", "ridiculous" and "worthy of scorn". The views of Palomino and Bermúdez were frequently repeated in Spanish historiography, adorned with terms such as "strange", "queer", "original", "eccentric" and "odd". The phrase "sunk in eccentricity", often encountered in such texts, in time developed into "madness".


title: El Greco

text: With the arrival of Romantic sentiments in the late 18th century, El Greco's works were examined anew. To French writer Théophile Gautier, El Greco was the precursor of the European Romantic movement in all its craving for the strange and the extreme. Gautier regarded El Greco as the ideal romantic hero (the "gifted", the "misunderstood", the "mad"), and was the first who explicitly expressed his admiration for El Greco's later technique. French art critics Zacharie Astruc and Paul Lefort helped to promote a widespread revival of interest in his painting. In the 1890s, Spanish painters living in Paris adopted him as their guide and mentor. However, in the popular English-speaking imagination he remained the man who "painted horrors in the Escorial" in the words of Ephraim Chambers' "Cyclopaedia" in 1899.


title: El Greco

text: In 1908, Spanish art historian Manuel Bartolomé Cossío published the first comprehensive catalogue of El Greco's works; in this book El Greco was presented as the founder of the Spanish School. The same year Julius Meier-Graefe, a scholar of French Impressionism, traveled in Spain, expecting to study Velásquez, but instead becoming fascinated by El Greco; he recorded his experiences in "Spanische Reise" ("Spanish Journey", published in English in 1926), the book which widely established El Greco as a great painter of the past "outside a somewhat narrow circle". In El Greco's work, Meier-Graefe found foreshadowing of modernity. These are the words Meier-Graefe used to describe El Greco's impact on the artistic movements of his time:


title: El Greco

text: To the English artist and critic Roger Fry in 1920, El Greco was the archetypal genius who did as he thought best "with complete indifference to what effect the right expression might have on the public". Fry described El Greco as "an old master who is not merely modern, but actually appears a good many steps ahead of us, turning back to show us the way".


title: El Greco

text: During the same period, other researchers developed alternative, more radical theories. The ophthalmologists August Goldschmidt and Germán Beritens argued that El Greco painted such elongated human figures because he had vision problems (possibly progressive astigmatism or strabismus) that made him see bodies longer than they were, and at an angle to the perpendicular; the physician Arturo Perera, however, attributed this style to the use of marijuana. Michael Kimmelman, a reviewer for "The New York Times", stated that "to Greeks [El Greco] became the quintessential Greek painter; to the Spanish, the quintessential Spaniard".


title: El Greco

text: Epitomizing the consensus of El Greco's impact, Jimmy Carter, the 39th President of the United States, said in April 1980 that El Greco was "the most extraordinary painter that ever came along back then" and that he was "maybe three or four centuries ahead of his time".


title: El Greco

text: According to Efi Foundoulaki, "painters and theoreticians from the beginning of the 20th century 'discovered' a new El Greco but in process they also discovered and revealed their own selves". His expressiveness and colors influenced Eugène Delacroix and Édouard Manet. To the Blaue Reiter group in Munich in 1912, El Greco typified that "mystical inner construction" that it was the task of their generation to rediscover. The first painter who appears to have noticed the structural code in the morphology of the mature El Greco was Paul Cézanne, one of the forerunners of Cubism. Comparative morphological analyses of the two painters revealed their common elements, such as the distortion of the human body, the reddish and (in appearance only) unworked backgrounds and the similarities in the rendering of space. According to Brown, "Cézanne and El Greco are spiritual brothers despite the centuries which separate them". Fry observed that Cézanne drew from "his great discovery of the permeation of every part of the design with a uniform and continuous plastic theme".


title: El Greco

text: The Symbolists, and Pablo Picasso during his Blue Period, drew on the cold tonality of El Greco, utilizing the anatomy of his ascetic figures. While Picasso was working on his Proto-Cubist , he visited his friend Ignacio Zuloaga in his studio in Paris and studied El Greco's "Opening of the Fifth Seal" (owned by Zuloaga since 1897). The relation between and the "Opening of the Fifth Seal" was pinpointed in the early 1980s, when the stylistic similarities and the relationship between the motifs of both works were analysed.


title: El Greco

text: The early Cubist explorations of Picasso were to uncover other aspects in the work of El Greco: structural analysis of his compositions, multi-faced refraction of form, interweaving of form and space, and special effects of highlights. Several traits of Cubism, such as distortions and the materialistic rendering of time, have their analogies in El Greco's work. According to Picasso, El Greco's structure is Cubist. On 22 February 1950, Picasso began his series of "paraphrases" of other painters' works with "The Portrait of a Painter after El Greco". Foundoulaki asserts that Picasso "completed ... the process for the activation of the painterly values of El Greco which had been started by Manet and carried on by Cézanne".


title: El Greco

text: The expressionists focused on the expressive distortions of El Greco. According to Franz Marc, one of the principal painters of the German expressionist movement, "we refer with pleasure and with steadfastness to the case of El Greco, because the glory of this painter is closely tied to the evolution of our new perceptions on art". Jackson Pollock, a major force in the abstract expressionist movement, was also influenced by El Greco. By 1943, Pollock had completed sixty drawing compositions after El Greco and owned three books on the Cretan master.


title: El Greco

text: Kysa Johnson used El Greco's paintings of the Immaculate Conception as the compositional framework for some of her works, and the master's anatomical distortions are somewhat reflected in Fritz Chesnut's portraits.


title: El Greco

text: El Greco's personality and work were a source of inspiration for poet Rainer Maria Rilke. One set of Rilke's poems ("Himmelfahrt Mariae I.II.", 1913) was based directly on El Greco's "Immaculate Conception". Greek writer Nikos Kazantzakis, who felt a great spiritual affinity for El Greco, called his autobiography "Report to Greco" and wrote a tribute to the Cretan-born artist.


title: El Greco

text: In 1998, the Greek electronic composer and artist Vangelis published "El Greco", a symphonic album inspired by the artist. This album is an expansion of an earlier album by Vangelis, ("A Tribute to El Greco", ). The life of the Cretan-born artist is the subject of the film "El Greco" of Greek, Spanish and British production. Directed by Ioannis Smaragdis, the film began shooting in October 2006 on the island of Crete and debuted on the screen one year later; British actor Nick Ashdon was cast to play El Greco.


title: El Greco

text: The exact number of El Greco's works has been a hotly contested issue. In 1937, a highly influential study by art historian Rodolfo Pallucchini had the effect of greatly increasing the number of works accepted to be by El Greco. Pallucchini attributed to El Greco a small triptych in the Galleria Estense at Modena on the basis of a signature on the painting on the back of the central panel on the Modena triptych ("", Created by the hand of Doménikos). There was consensus that the triptych was indeed an early work of El Greco and, therefore, Pallucchini's publication became the yardstick for attributions to the artist. Nevertheless, Wethey denied that the Modena triptych had any connection at all with the artist and, in 1962, produced a reactive catalogue with a greatly reduced corpus of materials. Whereas art historian José Camón Aznar had attributed between 787 and 829 paintings to the Cretan master, Wethey reduced the number to 285 authentic works and Halldor Sœhner, a German researcher of Spanish art, recognized only 137. Wethey and other scholars rejected the notion that Crete took any part in his formation and supported the elimination of a series of works from El Greco's .


title: El Greco

text: Since 1962, the discovery of the "Dormition" and the extensive archival research has gradually convinced scholars that Wethey's assessments were not entirely correct, and that his catalogue decisions may have distorted the perception of the whole nature of El Greco's origins, development and . The discovery of the "Dormition" led to the attribution of three other signed works of "Doménicos" to El Greco ("Modena Triptych", "St. Luke Painting the Virgin and Child", and "The Adoration of the Magi") and then to the acceptance of more works as authentic—some signed, some not (such as "The Passion of Christ (Pietà with Angels)" painted in 1566),—which were brought into the group of early works of El Greco. El Greco is now seen as an artist with a formative training on Crete; a series of works illuminate his early style, some painted while he was still on Crete, some from his period in Venice, and some from his subsequent stay in Rome. Even Wethey accepted that "he [El Greco] probably had painted the little and much disputed triptych in the Galleria Estense at Modena before he left Crete". Nevertheless, disputes over the exact number of El Greco's authentic works remain unresolved, and the status of Wethey's catalogue is at the center of these disagreements.


title: El Greco

text: A few sculptures, including "Epimetheus and Pandora", have been attributed to El Greco. This doubtful attribution is based on the testimony of Pacheco (he saw in El Greco's studio a series of figurines, but these may have been merely models). There are also four drawings among the surviving works of El Greco; three of them are preparatory works for the altarpiece of Santo Domingo el Antiguo and the fourth is a study for one of his paintings, "The Crucifixion".


title: El Greco

text: In 2010 the heirs of the Baron Mor Lipot Herzog, a Jewish Hungarian art collector who had been looted by the Nazis, filed a restitution claim for El Greco's "The Agony in the Garden". In 2015, the El Greco "Portrait of a Gentleman," which had been looted by the Nazis from the collection of the German Jewish art collector Julius Priester in 1944, was returned to his heirs after it surfaced at an auction with a fake provenance. According to Anne Webber, co-chair of the Commission for Looted Art in Europe, the painting’s provenance had been "scrubbed".


title: Puerto Ricans

text: Puerto Ricans (; or boricuas) are the people of Puerto Rico, the inhabitants, and citizens of the Commonwealth of Puerto Rico and their descendants.


title: Puerto Ricans

text: The culture held in common by most Puerto Ricans is referred to as a Western culture largely derived from the traditions of Spain, and more specifically Andalusia and the Canary Islands. Puerto Rico has also received immigration from other parts of Spain such as Catalonia as well as from other European countries such as France, Ireland, Italy and Germany. Puerto Rico has also been influenced by African culture, with many Puerto Ricans partially descended from Africans, though Afro-Puerto Ricans of unmixed African descent are only a significant minority. Also present in today's Puerto Ricans are traces (about 10-15%) of the aboriginal Taino natives that inhabited the island at the time of the European colonizers in 1493. Recent studies in population genetics have concluded that Puerto Rican gene pool is on average predominantly European, with a significant Sub-Saharan African, North African Guanche, and Indigenous American substrate, the latter two originating in the aboriginal people of the Canary Islands and Puerto Rico's pre-Columbian Taíno inhabitants, respectively.


title: Puerto Ricans

text: The population of Puerto Ricans and descendants is estimated to be between 8 and 10 million worldwide, with most living on the islands of Puerto Rico and in the United States mainland. Within the United States, Puerto Ricans are present in all states of the Union, and the states with the largest populations of Puerto Ricans relative to the national population of Puerto Ricans in the United States at large are the states of New York, Florida, New Jersey, and Pennsylvania, with large populations also in Massachusetts, Connecticut, California, Illinois, and Texas.


title: Puerto Ricans

text: For 2009, the American Community Survey estimates give a total of 3,859,026 Puerto Ricans classified as "Native" Puerto Ricans. It also gives a total of 3,644,515 (91.9%) of the population being born in Puerto Rico and 201,310 (5.1%) born in the United States. The total population born outside Puerto Rico is 322,773 (8.1%). Of the 108,262 who were foreign born outside the United States (2.7% of Puerto Ricans), 92.9% were born in Latin America, 3.8% in Europe, 2.7% in Asia, 0.2% in Northern America, and 0.1% in Africa and Oceania each.


title: Puerto Ricans

text: The original inhabitants of Puerto Rico are the Taíno, who called the island "Borikén"; however, as in other parts of the Americas, the native people soon diminished in number after the arrival of Spanish settlers. Besides miscegenation, the negative impact on the numbers of Amerindian people, especially in Puerto Rico, was almost entirely the result of Old World diseases that the Amerindians had no natural/bodily defenses against, including measles, chicken pox, mumps, influenza, and even the common cold. In fact, it was estimated that the majority of all the Amerindian inhabitants of the New World died out due to contact and contamination with those Old World diseases, while those that survived were further reduced through deaths by warfare with each other and with Europeans.


title: Puerto Ricans

text: Thousands of Spanish settlers also immigrated to Puerto Rico from the Canary Islands during the 18th and 19th centuries, so many so that whole Puerto Rican villages and towns were founded by Canarian immigrants, and their descendants would later form a majority of the population on the island.


title: Puerto Ricans

text: In 1791, the slaves in Saint-Domingue (Haiti), revolted against their French masters. Many of the French escaped to Puerto Rico via what is now the Dominican Republic and settled in the west coast of the island, especially in Mayagüez. Some Puerto Ricans are of British heritage, most notably Scottish people and English people who came to reside there in the 17th and 18th centuries.


title: Puerto Ricans

text: When Spain revived the Royal Decree of Graces of 1815 with the intention of attracting non-Hispanics to settle in the island, thousands of Corsicans (though the island was French since 1768 the population spoke an Italian dialect similar to Tuscan Italian) during the 19th century immigrated to Puerto Rico, along with German immigrants as well as Irish immigrants who were affected by the Great Famine of the 1840s, immigrated to Puerto Rico. They were followed by smaller waves from other European countries and China.


title: Puerto Ricans

text: During the early 20th century Jews began to settle in Puerto Rico. The first large group of Jews to settle in Puerto Rico were European refugees fleeing German–occupied Europe in the 1930s and 1940s. The second influx of Jews to the island came in the 1950s, when thousands of Cuban Jews fled Cuba after Fidel Castro came to power.


title: Puerto Ricans

text: The native Taino population began to dwindle, with the arrival of the Spanish in the 16th century, through disease and intermarriage. Many Spaniard men took Taino and West African wives and in the first centuries of the Spanish colonial period the island was overwhelmingly racially mixed. "By 1530 there were 14 native women married to Spaniards, not to mention Spaniards with concubines." Under Spanish rule, mass immigration shifted the ethnic make-up of the island, as a result of the Royal Decree of Graces of 1815. Puerto Rico went from being two-thirds black and mulatto in the beginning of the 19th century, to being nearly 80% white by the middle of the 20th century. This was compounded by more flexible attitudes to race under Spanish rule, as epitomized by the "Regla del Sacar". Under Spanish rule, Puerto Rico had laws such as "Regla del Sacar" or "Gracias al Sacar", which allowed persons of mixed ancestry to pay a fee to be classified as white, which was the opposite of "one-drop rule" in US society after the American Civil War.


title: Puerto Ricans

text: Studies have shown that the racial ancestry mixture of the average Puerto Rican (regardless of racial self-identity) is about 64% European, 21% African, and 15% Native Taino, with European ancestry strongest on the west side of the island and West African ancestry strongest on the east side, and the levels of Taino ancestry (which, according to some research, ranges from about 5%-35%) generally highest in the southwest of the island.


title: Puerto Ricans

text: A study of a sample of 96 healthy self-identified White Puerto Ricans and self-identified Black Puerto Ricans in the U.S. showed that, although all carried a contribution from all 3 ancestral populations (European, African, and Amerindian), the proportions showed significant variation. Depending on individuals, although often correlating with their self-identified race, African ancestry ranged from less than 10% to over 50%, while European ancestry ranged from under 20% to over 80%. Amerindian ancestry showed less fluctuation, generally hovering between 5% and 20% irrespective of self-identified race.


title: Puerto Ricans

text: In the 1899 census, one year after the United States invaded and took control of the island, 61.8% of the people were identified as White. In the 2010 United States Census the total of Puerto Ricans that self-identified as White was 75.8% or 2,825,100 out of the 3,725,789 people living in Puerto Rico. down from 80.5% in the 2000 Census.


title: Puerto Ricans

text: The European ancestry of Puerto Ricans comes primarily from one source: Spaniards (including Canarians, Catalans, Castilians, Galicians, Asturians, Andalusians, and Basques).


title: Puerto Ricans

text: The Canarian cultural influence in Puerto Rico is one of the most important components in which many villages were founded from these immigrants, which started from 1493 to 1890 and beyond. Many Spaniards, especially Canarians, chose Puerto Rico because of its Hispanic ties and relative proximity in comparison with other former Spanish colonies. They searched for security and stability in an environment similar to that of the Canary Islands and Puerto Rico was the most suitable. This began as a temporary exile which became a permanent relocation and the last significant wave of Spanish or European migration to Puerto Rico.


title: Puerto Ricans

text: Other sources of European populations are Corsicans, French, Italians, Portuguese (especially Azoreans), Greeks, Germans, Irish, Scots, Maltese, Dutch, English, and Danes.


title: Puerto Ricans

text: In the 2010 United States Census, 12.4% of people self-identified as Black. Africans were brought by Spanish Conquistadors. The vast majority of the Africans who were brought to Puerto Rico did so as a result of the slave trade taking place from many groups in the African continent, but particularly the West Africans, the Yoruba, the Igbo, and the Kongo people.


title: Puerto Ricans

text: Indigenous people make up the third largest racial identity among Puerto Ricans, comprising 0.5% of the population. Although this self-identification may be ethno-political in nature since unmixed Tainos no longer exist as a discrete genetic population. Native American admixture in Puerto Ricans ranges between about 5% and 35%, with around 15% being the approximate average


title: Puerto Ricans

text: Puerto Rico's self-identified indigenous population therefore consist mostly of indigenous-identified persons (oftentimes with predominant Indigenous ancestry, but not always) from within the genetically mestizo population of mixed European and Amerindian ancestry, even when most other Puerto Ricans of their exact same mixture would identify either as mixed-race or even as white.


title: Puerto Ricans

text: For its 2010 census, the U.S. Census Bureau listed the following groups to constitute "Asian": Asian Indian, Bangladeshi, Bhutanese, Cambodian, Chinese, Filipino, Hmong, Indonesian, Japanese, Korean, Laotian, Malaysian, Nepalese, Pakistani, Sri Lankan, Taiwanese, Thai, Vietnamese, and Other Asian. Though, the largest groups come from China and India. These groups represented 0.2% of the population.


title: Puerto Ricans

text: People of "Some other race alone" or "Two or more races" constituted 11.1% of the population in the 2010 Census.


title: Puerto Ricans

text: Although the average Puerto Rican is of mixed-race, few actually identify as multiracial ("two or more races"); only 3.3% did so in the 2010 Census. They more often


title: Puerto Ricans

text: self-identify with their predominant heritage or phenotype. Most have significant ancestry from two or more of the founding source populations of Spaniards, Africans, and Tainos, although Spanish ancestry is predominant in a majority of the population. According to the National Geographic Genographic Project, "the average Puerto Rican individual carries 12% Native American, 65% West Eurasian (Mediterranean, Northern European and/or Middle Eastern) and 20% Sub-Saharan African DNA."


title: Puerto Ricans

text: In genetic terms, even many of those of pure Spanish origin would have North and, in some cases, West African ancestry brought from founder populations, particularly in the Canary Islands. Very few self-identified Black Puerto Ricans are of unmixed African ancestry, while a genetically unmixed Amerindian population in Puerto Rico is technically extinct despite a minuscule segment of self-identified Amerindian Puerto Ricans due to a minor Amerindian component in their ancestral mixture. Research data shows that 60% of Puerto Ricans carry maternal lineages of Native American origin and the typical Puerto Rican has between 5% and 15% Native American admixture.


title: Puerto Ricans

text: The Puerto Rico of today has come to form some of its own social customs, cultural matrix, historically rooted traditions, and its own unique pronunciation, vocabulary, and idiomatic expressions within the Spanish language, known as Puerto Rican Spanish. Even after the attempted assimilation of Puerto Rico into the United States in the early 20th century, the majority of the people of Puerto Rico feel pride in their Puerto Rican nationality, regardless of the individual's particular racial, ethnic, political, or economic background. Many Puerto Ricans are consciously aware of the rich contribution of all cultures represented on the island. This diversity can be seen in the everyday lifestyle of many Puerto Ricans such as the profound Latin, African, and Taíno influences regarding food, music, dance, and architecture.


title: Puerto Ricans

text: During the Spanish colonial period, there was significant migration from Puerto Rico to Santo Domingo (DR), Cuba, the Virgin Islands, and Venezuela, and vice versa, because migration between neighboring colonies especially under the same European power, was common. Nearly all Puerto Ricans who migrated to these areas during these times, assimilated and intermixed with the local populations. In the early days of US rule, from 1900 to the 1940s, the Puerto Rican economy was small and undeveloped, it relied heavily on agriculture. At this time, Puerto Rican migration waves were mainly to Dominican Republic, the Virgin Islands, and US cities such as Boston, Philadelphia, Baltimore, Miami, New Orleans, and most importantly metropolitan area surrounding New York City and North Jersey. Over 5,000 Puerto Ricans migrated to Hawaii from 1900 to 1901. Puerto Rican migration to the US northeast started as early as the 1890s, however it was a very, very small flow at the time. During the 1940s, Puerto Rican desire for independence slowly started to decline while desire for statehood and dependence on the US started rise, due to this more Puerto Ricans started to look at the US more favorably and take full advantage of their US citizenship, huge flows of Puerto Ricans started to arrive in the United States, particularly industrial cities in the Northeast and Midwest, coinciding with a strong decline in Puerto Ricans migrating to other countries and even other areas in the US like Baltimore, New Orleans, and Hawaii. From 1940 to 1960, the stateside Puerto Rican population rose from 69,967 to 892,513.


title: Puerto Ricans

text: In the modern day, there are about 5.9 million Puerto Ricans in the US mainland. Large concentrations can be found in the Northeast region and in Florida, in the metropolitan areas of New York, Orlando, Philadelphia, Miami, Chicago, Tampa, and Boston, among others. Though, over 95% of Puerto Ricans living outside of Puerto Rico, live in the United States (US states), there is a significant and growing number of Puerto Ricans, mainly from Puerto Rico itself but to a lesser degree stateside Puerto Ricans as well, living outside the 50 States and the US territory of Puerto Rico. Puerto Rican populations in other countries are very small, not large enough to have dominance over certain neighborhoods and cities like in Florida and the US Northeast. Unsurprisingly, Puerto Rico's neighbors have the biggest Puerto Rican communities outside Puerto Rico and the US mainland, to the west Dominican Republic with 15,763, and to the east US Virgin Islands with 10,981, 10.3% of the territory's population, second highest percentage of any US state or territory, after Puerto Rico (95.7%) and before Connecticut (8.2%). There are small numbers of Puerto Ricans in other countries like Canada, Spain, Mexico, United Kingdom, and other countries in Europe and the Caribbean/Latin America.


title: Puerto Ricans

text: Spanish and English are the official languages of the entire Commonwealth. A 1902 English-only language law was abolished on April 5, 1991. Then on January 28, 1993, the Legislative Assembly of Puerto Rico approved Law Number 1 again making Spanish and English the official languages of Puerto Rico. All official business of the U.S. District Court for the District of Puerto Rico is conducted in English. The official languages of the executive branch of government of Puerto Rico are Spanish and English, with Spanish being the primary language. English is the primary language of less than 10% of the population.


title: Puerto Ricans

text: Puerto Rican Spanish is the dominant language of business, education and daily life on the island. The US Census Bureau's 2015 update provides the following: 94.1% of adults speak Spanish, 5.8% speak only English and little to no Spanish, 78.3% do not speak English "very well", 15.8% are fully bilingual in both English and Spanish, 0.1% speak other languages.


title: Puerto Ricans

text: Public school instruction in Puerto Rico is conducted almost entirely in Spanish. There have been pilot programs in about a dozen of the over 1,400 public schools aimed at conducting instruction in English only. Objections from teaching staff are common, perhaps because many of them are not fully fluent in English. English is taught as a second language and is a compulsory subject from elementary levels to high school.


title: Puerto Ricans

text: Home to a sizeable Deaf community, the actual numbers are unknown due to unavailable source data. A 1986 estimate places the Puerto Rican deaf population to be between 8,000 and 40,000. Due to ongoing colonization from the US mainland, the larger American Sign Language (ASL) is supplanting the local Puerto Rican Sign Language (PRSL, also known as LSPR: "Lenguaje de Señas Puertorriqueño"). Although assumed to be a dialect or variant of ASL, it is currently unknown the degree of mutual intelligibility between Puerto Rican Sign Language nor whether it is even a Francosign language like ASL. Indeed, there is a hesitancy amongst Puerto Rican Deaf to even mention LSPR after heavy handed oralist education of English, Spanish, and Signed English. Today, there is much contact between ASL, PRSL, and Signed Spanish.


title: Puerto Ricans

text: The Spanish of Puerto Rico has evolved into having many idiosyncrasies in vocabulary and syntax that differentiate it from the Spanish spoken elsewhere. While the Spanish spoken in all Iberian, Mediterranean and Atlantic Spanish Maritime Provinces was brought to the island over the centuries, the most profound regional influence on the Spanish spoken in Puerto Rico has been from that spoken in the present-day Canary Islands. The Spanish of Puerto Rico also includes occasional Taíno words, typically in the context of vegetation, natural phenomena or primitive musical instruments. Similarly, words attributed to primarily West African languages were adopted in the contexts of foods, music or dances.


title: Puerto Ricans

text: There are many religious beliefs represented in the island. Religious breakdown in Puerto Rico (as of 2006) is given in the table on the right.


title: Puerto Ricans

text: The majority of Puerto Ricans in the island are Christians. Spiritists have a large secondary following. Muslims, Hindus, Jews, and Buddhists all have a small presence as well. Roman Catholicism has been the main Christian denomination among Puerto Ricans since the arrival of the Spanish in the 15th century, but the presence of Protestant, Mormon, Pentecostal, and Jehovah's Witnesses denominations has increased under U.S. sovereignty, making modern Puerto Rico an inter-denominational, multi-religious community. The Afro-Caribbean religion Santería is also practiced.


title: Puerto Ricans

text: In 1998, a news report stated that "Puerto Rico [was] no longer predominantly Catholic". Pollster Pablo Ramos wrote that the population was 38% Roman Catholic, 28% Pentecostal, and 18% were members of independent churches. However, an Associated Press article in March 2014 stated that "more than 70 percent of [Puerto Ricans] identify themselves as Catholic". The CIA World Factbook reports that 85% of the population of Puerto Rico identifies as Roman Catholic, while 15% identify as Protestant and Other.


title: Puerto Ricans

text: Puerto Ricans became citizens of the United States as a result of the passage of the Jones–Shafroth Act of 1917. Since this law was the result of Congressional legislation, and not the result of an amendment to the United States Constitution, the current U.S. citizenship of Puerto Ricans can be revoked by Congress, as they are "statutory citizens", not "14th Amendment citizens". The Jones Act established that Puerto Ricans born prior to 1899 were considered naturalized citizens of Puerto Rico, and anyone born after 1898 were U.S. citizens, unless the Puerto Rican expressed his/her intentions to remain a Spanish subject. Since 1948, it was decided by Congress that all Puerto Ricans, whether born within the United States or in Puerto Rico, were naturally born United States citizens.


title: Puerto Ricans

text: Puerto Ricans and other U.S. citizens residing in Puerto Rico cannot vote in presidential elections as that is a right reserved by the U.S. Constitution to admitted states and the District of Columbia through the Electoral College system. Nevertheless, both the Democratic Party and Republican Party, while not fielding candidates for public office in Puerto Rico, provide the islands with state-sized voting delegations at their presidential nominating conventions. Delegate selection processes frequently have resulted in presidential primaries being held in Puerto Rico. U.S. citizens residing in Puerto Rico do not elect U.S. representatives or senators. However, Puerto Rico is represented in the House of Representatives by an elected representative commonly known as the Resident Commissioner, who has the same duties and obligations as a representative, with the exception of being able to cast votes on the final disposition of legislation on the House floor. The Resident Commissioner is elected by Puerto Ricans to a four-year term and does serve on congressional committee. Puerto Ricans residing in the U.S. states have all rights and privileges of other U.S. citizens living in the states.


title: Puerto Ricans

text: As statutory U.S. citizens, Puerto Ricans born in Puerto Rico may enlist in the U.S. military and have been included in the compulsory draft when it has been in effect. Puerto Ricans have fully participated in all U.S. wars and military conflicts since 1898, including World War I, World War II, the Korean War, the Vietnam War, the Gulf War, the War in Afghanistan, and the Iraq War.


title: Puerto Ricans

text: Since 2007, the Puerto Rico State Department has developed a protocol to issue certificates of Puerto Rican citizenship to Puerto Ricans. In order to be eligible, applicants must have been born in Puerto Rico; born outside of Puerto Rico to a Puerto Rican-born parent; or be an American citizen with at least one year residence in Puerto Rico. The citizenship is internationally recognized by Spain, which considers Puerto Rico to be an Ibero-American nation. Therefore, Puerto Rican citizens have the ability to apply for Spanish citizenship after only two years residency in Spain (instead of the standard 10 years).


title: Puerto Ricans

text: Since 1953, the UN has been considering the political status of Puerto Rico and how to assist it in achieving "independence" or "decolonization." In 1978, the Special Committee determined that a "colonial relationship" existed between the US and Puerto Rico.


title: Puerto Ricans

text: The UN's Special Committee has referred often to Puerto Rico as a nation in its reports, because, internationally, the people of Puerto Rico are often considered to be a Caribbean nation with their own national identity.<ref name="United Nations. General Assembly. Special Committee on the Situation With Regard to the Implementation of the Declaration on the Granting of Independence to Colonial Countries and Peoples 1971 https://books.google.com/books?id=4nEyLDpKZjMC&pg=PA10 10–11"></ref> Most recently, in a June 2016 report, the Special Committee called for the United States to expedite the process to allow self-determination in Puerto Rico. More specifically, the group called on the United States to expedite a process that would allow the people of Puerto Rico to exercise fully their right to self-determination and independence. ... allow the Puerto Rican people to take decisions in a sovereign manner, and to address their urgent economic and social needs, including unemployment, marginalization, insolvency and poverty".


title: Puerto Ricans

text: Puerto Rico has held four referendums to determine whether to retain its status as a territory or to switch to some other status such as statehood. The fourth, the Puerto Rican status referendum, 2012 occurred on November 6, 2012. The result a 54% majority of the ballots cast against the continuation of the island's territorial political status, and in favor of a new status. Of votes for new status, a 61.1% majority chose statehood. This was by far the most successful referendum for statehood advocates. In all earlier referendum, votes for statehood were matched almost equally by votes for remaining an American territory, with the remainder for independence. Support for U.S. statehood has risen in each successive popular referendum.


title: Puerto Ricans

text: The fifth Puerto Rican status referendum of 2017, was held on June 11, 2017, and offered three options: "Statehood", "Independence/Free Association", and "Current Territorial Status." With 23% of registered voters casting ballots, 97% voted for statehood. Benefits of statehood would include an additional $10 billion per year in federal funds, the right to vote in presidential elections, higher Social Security and Medicare benefits, and a right for its government agencies and municipalities to file for bankruptcy. The latter is currently prohibited.


title: Puerto Ricans

text: Even with the Puerto Ricans' vote for statehood, action by the United States Congress would be necessary to implement changes to the status of Puerto Rico under the Territorial Clause of the United States Constitution.


title: Dollywood

text: Dollywood is a theme park jointly owned by entertainer Dolly Parton and Herschend Family Entertainment. It is located in the Knoxville metropolitan area in Pigeon Forge, Tennessee, near the gateway to The Great Smoky Mountains. Hosting nearly 3 million guests in a typical season from mid-March to the Christmas holidays, Dollywood is the biggest ticketed tourist attraction in Tennessee. It has won many international awards.


title: Dollywood

text: In addition to standard amusement park thrill rides, Dollywood features traditional crafts and music of the Smoky Mountain area. The park hosts a number of concerts and musical events each year, including appearances by Dolly Parton and her family as well as other national and local musical acts.


title: Dollywood

text: The theme park is the anchor of Parton's Dollywood amusement destination, which also includes the sister water park Dollywood's Splash Country, the Dollywood's DreamMore Resort and Spa, and the Dolly Parton's Stampede Dinner Attraction.


title: Dollywood

text: The park opened in early 1961 as a small tourist attraction owned by the Robbins brothers from Blowing Rock, North Carolina. Named "Rebel Railroad," it included a steam train, general store, blacksmith shop, and saloon. With a theme inspired by the centennial anniversary of the Civil War, the train ride let visitors experience "attacks" by Union soldiers, train robbers, and Indians. The train and its riders were protected by Confederates who fought off the attacks. The park was modeled after the Robbins brothers' first successful theme park, Tweetsie Railroad in Blowing Rock.


title: Dollywood

text: In 1970, Art Modell – who also owned the Cleveland Browns football team – bought Rebel Railroad and renamed it "Goldrush Junction". The park retained the railroad and added an outdoor theater, a log flume ride, and Robert F. Thomas Church.


title: Dollywood

text: In 1976, Jack and Pete Herschend bought Goldrush Junction and renamed it "Goldrush" for the 1976 season. In 1977, they renamed it "Silver Dollar City Tennessee," making it a sister park to their original Silver Dollar City in Branson, Missouri. The Herschends spent about $1 million upgrading the park upon purchase and added other improvements over the years. Also in 1977, the train ride added two new steam locomotives, the #70 and the #71, from the White Pass & Yukon Route Railroad.


title: Dollywood

text: In 1986, Dolly Parton, who grew up in the area, bought an interest in Silver Dollar City. As part of the deal, the park reopened for the 1986 season as "Dollywood". In 2010, Parton said she became involved with the operation because she "always thought that if I made it big or got successful at what I had started out to do, that I wanted to come back to my part of the country and do something great, something that would bring a lot of jobs into this area."


title: Dollywood

text: Dollywood has approximately 4,000 people on its payroll, making it the largest employer in the community. From 1986 to 2010, the park doubled in size to . On November 16, 2010, Dollywood earned the industry's most prestigious award, the Liseberg Applause Award, which Dolly Parton accepted during a ceremony at IAAPA Attractions Expo 2010 in Orlando.


title: Dollywood

text: On May 3, 1986, Silver Dollar City Tennessee reopened as Dollywood. The new Rivertown Junction area included Smoky Mountain River Rampage, a whitewater rafting ride; Back Porch Theater; Aunt Granny's Dixie Fixins' Restaurant; and Dolly's Tennessee Mountain Home, a replica of the cabin that was Parton's childhood home. Also new was "Rags to Riches: The Dolly Parton Story," a museum displaying articles and mementos from Dolly's life and career. "The Butter Churn" (a Trabant ride) was removed at the end of the season. Park attendance doubled to more than a million guests during the first season as Dollywood.


title: Dollywood

text: In 1987, the Daydream Ridge area opened and included the Mountain Slidewinder water toboggan ride, Mountain Dan's Burger House, Sweet Dreams Candy Shop, The Rainbow Factory blown glass shop, and Critter Creek Playground. In 1988, the 1,739-seat Celebrity Theater, featuring the "Showcase of Stars" celebrity concert series, was constructed adjacent to the entrance of the park. Five new children's rides were added to the Fun Country area, including a Zamperla Balloon Race. The Dollywood Foundation was established to provide books and schools supplies to the children of Sevier County. Thunder Express, a steel mine train coaster, was built adjacent to Blazing Fury in 1989. The ride was relocated to the park from Six Flags Over Mid-America. The 1989 season was the last for the National Mountain Music Festival, which was a carryover from the Silver Dollar City years.


title: Dollywood

text: In 1990, a 1924 antique Dentzel Carousel, originally built for Rocky Springs Park in Lancaster, Pennsylvania, was relocated to the park. Situated near the train depot, it took over the space previously occupied by the Silver Dollar Saloon. The 600-seat Gaslight Theater opened near the carousel. The Smoky Mountain Christmas Festival premiered in November, extending the park's operating season into December. Eagle Mountain Sanctuary, an outdoor aviary, was added in 1991 along with the Wings of America Theater, site of the Birds of Prey show, and the 300-seat Valley Theater.


title: Dollywood

text: The Showstreet area was added in 1992 and included the Showstreet Palace Theater, The Butterfly Emporium, The Backstage Restaurant, The Spotlight Bakery, Friendship Gardens, and WDLY-FM, a working radio station. To accommodate the expansion, the park's main entrance moved from Rivertown Junction to Showstreet. The Barnwood Theater was converted into Imagination Station, an interactive children's play area. Dollywood's annual attendance topped 2 million for the first time during the 1992 season.


title: Dollywood

text: In 1993, the Fun Country area was renovated and became The Country Fair with three new rides: The Wonder Wheel, a tall Ferris wheel; Twist and Shout, a scrambler ride; and Tennessee Twister, a tilt-a-whirl. The Balloon Race ride was relocated to the Daydream Ridge area to make room for the new attractions. Also new at the park was "Sunset Musicfest," a summer music festival. A year later, in 1994, the Gaslight Theater became the Heartsong Theater, named for the multi-media musical presentation that told the story of Dolly Parton's life. In 1995, the Jukebox Junction 1950's "Main Street " themed area was added and included Rockin' Roadway miniature car ride, The Pines Theater, Red's Diner, and Cas Walker's Music Store. The Sunset Musicfest did not return for the 1995 season.


title: Dollywood

text: The Dollywood Boulevard area was added in 1996 and included Thunder Road, a turbo-simulator ride based on the 1958 movie of the same name. Silver Screen Café, a 1950s cinema-themed restaurant, and Centerstage gift shop were also in the area. In 1997, the "U Pick Nick" children's show focused on themes from the Nickelodeon television network and played in Celebrity Theater. The Flooded Mine dark-ride was closed and demolished in October, and Silver Screen Cafe became DJ Platters in the Dollywood Boulevard area. Daredevil Falls, a new shoot the chutes flume ride, opened in the area formerly occupied by the Flooded Mine a year later in 1997. At the time, it was billed as "The Highest and Fastest Waterfall Ride in America" with its drop. Thunder Express was closed in September and sold to Magic Springs Theme Park in Arkansas. The antique carousel was removed at the end of the season and replaced with a new Chance Rides carousel.


title: Dollywood

text: In 1999, the Tennessee Tornado, a steel looping coaster, opened in the area formerly occupied by Thunder Express. Also new was the Southern Gospel Museum and Hall of Fame, while the Balloon Race ride was removed.


title: Dollywood

text: The Daydream Ridge area was renovated and became Dreamland Forest, a children's mountain-themed interactive play area in 2000. The Festival of Nations international music festival premiered a year later in April 2001. Dolly's Splash Country, a new water park opened adjacent to Dollywood's parking lot.


title: Dollywood

text: Dollywood Boulevard was renovated and became a new area, Adventures in Imagination, in 2002. Smoky Mountain Wilderness Adventure, a new simulator film, replaced Thunder Road, and a new Dolly museum called Chasing Rainbows opened in the building formerly occupied by DJ Platters. In 2003, summer children's festival KidsFest premiered, and Imagination Station was converted into Celebration Hall, a special events facility. It was also the final season for the "Showcase of Stars" celebrity concert series.


title: Dollywood

text: A new area of the park, Thunderhead Gap, opened with the Thunderhead wooden roller coaster in 2004. The construction of the new area opened up a new valley for park expansion. The Country Fair Falls log flume was demolished in November, and most of the other Country Fair rides, including the Swingamajig, Tennessee Twister, The Convoy, and The Barnstormer, were removed at the end of the season to free up space for newer rides that were added for the 2005 season. The new rides included Dizzy Disk, Amazing Flying Elephants, Lemon Twist, Shooting Star, Sky Rider, VeggieTales Sideshow Spin (children's roller coaster), Waltzing Swinger, Piggy Parade, Busy Bees, and Lucky Ducky. The National Southern Gospel & Harvest Celebration was also new in 2005.


title: Dollywood

text: In 2006, the Timber Tower ride, along with Lil' Loggers Landing, Beaver Creek, Beaver Creek Boat Float, and Lumberjack Lifts, opened in a new area adjacent to Thunderhead. The Barbeque & Bluegrass festival also premiered. The 2007 season included the addition of Mystery Mine, a Gerstlauer Eurofighter coaster with two vertical lifts hills and dark ride elements. The ride's climax featured fire effects in front of the riders, a 95-degree drop, a heartline roll, and a dive loop. The $17 million ($ in dollars) ride used an abandoned mine shaft theme. In 2008, River Battle, an interactive water raft ride, was built in a new section of the park called Wilderness Pass that connected the Timber Canyon and Craftsman's Valley areas. "Thunder Road" returned to the motion theater (Imagination Cinema) and replaced Smoky Mountain Wilderness Adventure. Della's Lye Soap shop moved from Craftsman's Valley to the Wilderness Pass area. A new exhibit housing the Wings of America show birds moved to its former location. The Polar Express 4-D Experience was shown in Imagination Cinema during the park's Smoky Mountain Christmas.


title: Dollywood

text: In 2009, Dollywood presented two new shows, "Imaginé" by Le Grand Cirque and "Sha-Kon-O-Hey! Land of Blue Smoke," which featured music written by Dolly Parton and told the story of the last family living in the Smoky Mountains at the time it became a national park. "Imaginé" headlined the park's Festival of Nations. "Thunder Road" was renamed "White Lightning" and then changed to a new attraction, "Journey to the Center of the Earth: 4-D Adventure", based on the 2008 film. In 2009, an upcharge zipline attraction called SkyZip (owned by Skyline Eco-Adventures of Maui, Hawaii) opened at Dollywood, becoming the first multi-line zip line tour inside a theme park.


title: Dollywood

text: The Adventure Mountain attraction opened at a cost of $5 million in the Wilderness Pass area in 2010. It included three distinct adventure courses, Geyser Gorge, Black Bear Cliff, and Rocky Top, that ranged from easy to expert with 100 different rope features, swinging beams, suspension bridges, flying islands, and floating stairs. Adventure trails ranged from a few inches above the ground to more than in the air. The area also included a scaled-down play area called Camp Teachittoomee for younger children. Also for the 2010 season, Dollywood brought back "Sha-Kon-O-Hey! Land of Blue Smoke" and changed its logo for the 25th anniversary.


title: Dollywood

text: In 2011, a new area called Owens Farm with a $5.5 million giant swing called Barnstormer replaced Dreamland Forest. The barnyard-themed area included a play area for younger guests. Christmas on Ice, a new ice skating Christmas show, premiered in DP's Celebrity Theater and headlined Smoky Mountain Christmas. Wild Eagle opened March 24, 2012 and was the first Bolliger & Mabillard Wing Coaster in the United States. It was also the biggest investment in Dollywood history. In 2012, the operator of SkyZip sued Dollywood, blaming the park for damaging the zip line network during its construction of Wild Eagle, but Dollywood blamed the damage on storms. Settling out of court, Dollywood took over SkyZip operations from Skyline Eco-Adventures, and closed the attraction in 2019. Timber Tower was dismantled before opening in 2012 due to a lawsuit with the ride manufacturer. Also in 2012, Dollywood dropped the VeggieTales name from Sideshow Spin and removed any mentions of the series from the ride. In December of the very same year, the park announced that Adventure Mountain would be closed permanently following the 2012 season.


title: Dollywood

text: Dollywood dedicated 2013 to encouraging families to spend time together. New shows for the season included Cirque Shanghai, Mystic India, and One World Party as part of Festival of Nations along with more than 50 new international food items. The park also introduced "Great American Summer," a new summer festival that replaced KidsFest. It included the Great American Country Show, Gazillion Bubbles, The Little Engine Playhouse, and Salute to America. Dollywood extended its hours and added a nightly fireworks show. Smoky Mountain Christmas added a new show that was Dolly Parton's version of Charles Dickens' "A Christmas Carol". Dollywood's slogan for the year was "Make Time for Happy!" Imagination Cinema became Dreamsong Theater and played Dolly's "My People", a show about Dolly's family.


title: Dollywood

text: In 2014, FireChaser Express, a dual-launch family coaster, replaced Adventure Mountain in the Wilderness Pass area of the park. Dollywood's slogan was changed to "Love Every Moment," and Smoky Mountain Christmas added a Rudolph the Red-Nosed Reindeer meet-and-greet called Holly Jolly Junction. Dollywood's DreamMore Resort and Spa opened adjacent to Dollywood's Splash Country in 2015. For the 30th anniversary of the park, the park redesigned the entrance for resort guests and added two new shows to Festival of Nations called "Rhythm of the Dance" and "Timber". Cas Walker's was demolished to make room for a new attraction, and six new shows were added to "Great American Summer" along with the revival of the Showcase of Stars concert series. Also new was Rock the Smokies, a Christian music festival, and Rudolph and friends returned to the Smoky Mountain Christmas festival.


title: Dollywood

text: In 2010, Parton said that she would like to open more Dollywood parks in the future. "We definitely want to expand with new things every year, eventually with a resort," she said. "We may eventually have Dollywoods in other parts of the country, where we can kind of be true to whatever's going on in that part of the world." On August 21, 2013, Parton announced Dollywood's DreamMore Resort and Spa, which opened on July 27, 2015.


title: Dollywood

text: Lightning Rod, a Rocky Mountain Construction wooden coaster, opened on June 13, 2016. It is the world's first launched wooden coaster as well as the fastest wooden coaster in the world. A year later, in 2017, a freefall ride called Drop Line, which replaced Timber Tower, opened along with a junior roller coaster called Whistle Punk Chaser. Two new seasonal events debuted, and Dollywood's Splash Country added the TailSpin Racer mat racer slide complex. Sideshow Spin and River Battle were removed.


title: Dollywood

text: In 2018, the former River Battle site was transformed into the Plaza at Wilderness Pass, a new open space with covered seating for relaxing and enjoying seasonal events. With the debut of the Spring Mix three-week music series, the 2018 "Season of Showstoppers" also marked the park's largest investment in entertainment in Dollywood's history. The 2018 Festival of Nations includes three headliners that are new to Dollywood: Flamenco Kings starring Los Vivancos (Pines Theater), National Dance Company of Siberia (Celebrity Theater), and Ladysmith Black Mambazo (Showstreet Palace Theater). The first Summer Celebration event includes various performances and attractions, including DRUMLine Live! in Celebrity Theater, a show that focuses on the musical styles of marching bands from Historically Black Colleges and Universities. It uses technology, including video screens and special effects, to enhance soul, R&B, country, and other types of music. Renovations included upgrades to Aunt Granny's and re-branding and renaming of two shops.


title: Dollywood

text: Work began in October 2017 on "Wildwood Grove", adding eleven new experiences to the park. Attractions include a suspended family coaster (Dragonflier), a restaurant (Till & Harvest), an indoor play area (Hidden Hollow), an outdoor splash pad (Wildwood Creek), a swinging boat ride (The Great Tree Swing), and a 50 ft tall tree with a canopy covered in butterflies (The Wildwood Tree). The $37 million 5-acre development, described as "a land built from Dolly Parton's dreams", opened May 10, 2019. It was part of a $300 million 6-year expansion project.


title: Dollywood

text: In October 2019, it was announced that the park would add its first new festival in 14 years. Dollywood's Flower & Food Festival will feature 10 to 15 feet tall topiaries based on Dolly's songs like "Coat of Many Colors", colorful photo opportunities, a rainbow sky over Showstreet, and delicious eats. The festival was to have commemorated the park's 35th season and run from 8 May to 14 June 2020, but was deferred to 7 May to 13 June 2021.


title: Dollywood

text: Dollywood filed plans in October 2019 for a new resort adjacent to Splash Country and DreamMore Resort. It is planned to feature a 310-room hotel, a 325-seat restaurant, and a conference space. The plans indicate the resort will create 100 jobs. In June 2021, Dollywood announced plans for a $500 million expansion of the complex, including more details about the planned hotel complex announced in 2019. The new resort, with the name revealed to be the HeartSong Lodge & Resort, will have 302 rooms, 5 floors of suites, a 4-story atrium with a large central fireplace, and multiple shopping and culinary experiences. HeartSong Lodge is scheduled to open in 2023, along with campgrounds, three additional resorts, and a "record-breaking" attraction for the theme park.


title: Dollywood

text: During the 2022 offseason, a few changes were made to better the park and provide more space and improve efficiency. The Silver Dollar Mine tunnel, connecting the lower section of Craftsman’s Valley and The Village, was removed. The area now provides a more open space for guests to walk through and also allow a chance to relax and enjoy the views of the passing Dollywood Express. Also, the parking complex was renovated to better utilize the lots at both Dollywood and Dollywood’s Splash Country to provide a more efficient experience for guests as they enter the property. The principle change being the swapping of the guest traffic lanes with the tram lanes, which removes previous points of intersection between the two. The multi-property parking complex now employs a one-way circuit which eliminates the two-way traffic pattern of the old parking lot layout. Also, the addition of two extra parking toll booths (four attendants), as well as more staging lanes for the toll booths, will result in a reduction of time spent waiting to enter the property. Other projects throughout the Dollywood theme park property include the renovation of Iron Horse Pizza (formerly known as Victoria’s Pizza) to include greater production capacity and more seating space for guests. The Emporium also received a complete makeover, providing a modern shopping experience as guests look to find unique Dollywood keepsakes. Also, as guests have continued to ask for more room to provide spacing in the park, two buildings were removed to allow for wider walkways —the former Eagle Shop (part of the second phase of the Craftsman’s Valley widening project) and the former Christmas Cottage in Rivertown Junction.


title: Dollywood

text: On August 5th, 2022, it was announced that a new rollercoaster named Big Bear Mountain was under construction and is set to open in Spring 2023. It will also be the longest in the park yet.


title: Dollywood

text: Dollywood is organized into 11 themed areas: Showstreet, Rivertown Junction, Craftsman's Valley, The Village, Country Fair, Timber Canyon, Wilderness Pass, Jukebox Junction, Owens Farm, Adventures in Imagination and Wilwood Grove reflect the historical eras and culture of East Tennessee, while Owens Farm and Adventures in Imagination explore Dolly Parton's life and imagination. Many attractions focus on the history and culture of the Southern Appalachian region.


title: Dollywood

text: Attractions include Dolly's Tennessee Mountain Home, Back Porch Theater, and Smoky Mountain River Rampage whitewater rafting ride.


title: Dollywood

text: Attractions include Dollywood Grist Mill, Valley Theater, Eagle Mountain Sanctuary, Wings of America Theater, Robert F. Thomas Chapel, Calico Falls Schoolhouse, Tennessee Tornado coaster, Blazing Fury coaster, Daredevil Falls flume ride, and craft exhibits.


title: Dollywood

text: Attractions include the narrow gauge Dollywood Express steam train, Heartsong Theater, Village Carousel.


title: Dollywood

text: Rides include Dizzy Disk, The Amazing Flying Elephants, Lemon Twist, Shooting Star, Sky Rider, The Waltzing Swinger, Piggy Parade, Busy Bees, Lucky Ducky, Dolly's Demolition Derby, and The Scrambler.


title: Dollywood

text: Attractions include the Mystery Mine coaster, the Thunderhead coaster, Drop Line, Whistle Punk Chaser, and Lumberjack Lifts.


title: Dollywood

text: Attractions include the Rockin' Roadway car ride and Pines Theater. Also featured is Lightning Rod a launched roller coaster.


title: Dollywood

text: Attractions include Barnstormer, a barn and plane styled giant swing attraction. It also includes soft play areas and a splash pad.


title: Dollywood

text: Attractions include Dolly Parton's My People! show at Dreamsong Theater and the Chasing Rainbows Museum.


title: Dollywood

text: Attractions include the SkyZip zip line attraction, The Plaza at Wilderness Pass, Wild Eagle – America's first winged coaster – and FireChaser Express, a dual-launch coaster that launches forward and backward.


title: Dollywood

text: Opened in 2019; attractions include Dragonflier, a suspended family coaster; Big Bear Mountain, a family launched coaster; The Mad Mockingbird, a flying scooter ride; The Wildwood Tree, a lighted tree; and Till & Harvest Food Hall, a Smoky Mountains-inspired restaurant.


title: Dollywood

text: In 2017, Dollywood won Golden Ticket awards from Amusement Today for Friendliest Park, Best Christmas Event, Best Food and Best Show.


title: Dollywood

text: In 2018, Dollywood received a Golden Ticket award from "Amusement Today –" a leading trade publication for the amusement park industry – in the Best Food category, marking the park's fourth win in seven years. In addition to three dinner show options, more than 25 vendors serve meals and snacks, ranging from barbecue ribs, pizza, corn dogs, and pork rinds to cinnamon bread, funnel cakes, cotton candy, and banana pudding made using Dolly's recipe. The park also received Golden Tickets for Best Shows, Friendliest Park, and Best Christmas Event and was ranked the third best park in the world.


title: Dollywood

text: In the 2018 "USA Today" 10Best Readers' Choice Awards – awards voted on by the general public – Dollywood was ranked as the sixth Best Amusement Park in the U.S. Additionally, Dollywood's DreamMore Resort and Spa was ranked first in the Best Amusement Park Hotel category, and Aunt Granny's Restaurant was ranked first in the Best Amusement Park Restaurant category. DreamMore focuses on the themes of family and storytelling and has a zero-entry (beach-style) pool, transportation to the park, and a splash pad. Aunt Granny's opened the first year the park operated as Dollywood. It uses an all-you-can-eat buffet format with comfort foods like chicken and dumplings, tacos, and steaks along with a salad bar and health-conscious choices.


title: Dollywood

text: Dreamland Drive-In was ranked third in the Best Amusement Park Entertainment category, and Dollywood's Splash Country was ranked sixth in the Best Outdoor Water Park category.


title: Dollywood

text: In 2019, Dollywood won Golden Ticket awards for Best Kids' Area, Best Guest Experience, and Best Christmas Event of 2018.


title: Dollywood

text: In 2021, Dollywood's Smoky Mountain Christmas won the Golden Ticket Award for Best Christmas Event for the 13th straight year. In June of 2022, Tripadvisor named Dollywood the number one theme park in the U.S.


title: Frère Jacques

text: "Frère Jacques" (, ), also known in English as "Brother John", is a nursery rhyme of French origin. The rhyme is traditionally sung in a round.


title: Frère Jacques

text: The song is about a friar who has overslept and is urged to wake up and sound the bell for the matins, the midnight or very early morning prayers for which a monk would be expected to wake.


title: Frère Jacques

text: The song concerns a monk's duty to ring the bell for "matines". Frère Jacques has apparently overslept, it is time to ring the bells for matins, and someone wakes him up with this song. The traditional English translation preserves the scansion, but alters the meaning such that Brother John is being awakened by the bells.


title: Frère Jacques

text: In English, the word "friar" is derived from the Old French word (Modern French ; "brother" in English), as French was still widely used in official circles in England during the 13th century when the four great orders of Friars started. The French word "frère" in turn comes from the Latin word (which also means "brother").


title: Frère Jacques

text: The French name "Jacques" would not ordinarily be translated to "John", which is "Jean" in French. The name Jacques, instead, corresponds to the English names "James" or "Jacob", which derive from the Latin "Iacobus" and the Greek Ἰακώβος (Septuagintal Greek Ἰακώβ), referring to the Biblical Patriarch Jacob and the apostles known in English as James.


title: Frère Jacques

text: A possible connection between "Frère Jacques" and the 17th century lithotomist Frère Jacques Beaulieu (also known as Frère Jacques Baulot), as claimed by Irvine Loudon and many others, was explored by J. P. Ganem and C. C. Carson without finding any evidence for a connection.


title: Frère Jacques

text: Francesca Draughon and Raymond Knapp argue that "Frère Jacques" was originally a song to taunt Jews or Protestants or Martin Luther.


title: Frère Jacques

text: Martine David and A. Marie Delrieu suggest that "Frère Jacques" might have been created to mock the Dominican friars, known in France as the Jacobin order, for their sloth and comfortable lifestyles.


title: Frère Jacques

text: In a review of a book about Kozma Prutkov, professor of Russian at Vassar College, Richard Gregg, notes it has been claimed that "Frère Jacques" was derived from a Russian seminary song about a "Father Theofil".


title: Frère Jacques

text: AllMusic states that the earliest version of the melody is on a French manuscript circa 1780 (manuscript 300 in the manuscript collection of the Bibliothèque Nationale in Paris). The manuscript is titled "Recueil de Timbres de Vaudevilles", and the Bibliothèque Nationale estimates that it was written between 1775 and 1785. The "Frère Jacques" melody is labelled "Frère Blaise" in this manuscript.


title: Frère Jacques

text: Sheet music collector James Fuld (1916–2008) states that the tune was first published in 1811, and that the words and music were published together in Paris in 1869. An earlier publication in 1825 included the words together with a description of the melody in solfège, but not in musical notation. The words and music appear together in "Recreations de l'enfance: Recueil de Rondes avec Jeux et de Petites Chansons pour Faire Jouer, Danser et Chanter les Enfants avec un Accompagnement de Piano Très-Facile" by Charles Lebouc, which was first published in 1860 by Rouart, Lerolle & Cie. in Paris. This book was very popular and it was republished several times, so many editions exist.


title: Frère Jacques

text: French musicologist Sylvie Bouissou has found some evidence that composer Jean-Philippe Rameau had written the music. A manuscript at the French National Library contains "Frère Jacques" among 86 canons, with Rameau listed as author.


title: Frère Jacques

text: In 1926, the tune was used in a patriotic anthem written by officers of the Whampoa Military Academy, "Revolution of the Citizens" ().


title: Frère Jacques

text: "Frère Jacques" bears resemblance to the piece "Toccate d'intavolatura, No.14, Capriccio Fra Jacopino sopra L'Aria Di Ruggiero" composed by Girolamo Frescobaldi, which was first published around 1615—"Fra Jacopino" is one potential Italian translation for "Frère Jacques". Edward Kilenyi pointed out that "Fra Jacopino" shares the same "Frère Jacques"-like melody as "Chanson de Lambert", a French song dating from 1650, and a Hungarian folk tune.


title: Frère Jacques

text: The "Frère Jacques" tune is one of the most basic repeating canons along with the melody of "Three Blind Mice". It is also simple enough to have spread easily from place to place. For example, Barbara Mittler in a conference abstract points out that the melody of "Frère Jacques" is so thoroughly assimilated into Chinese culture that it might be widely regarded as a Chinese folksong in China called "Two tigers".


title: Meng'er Zhang

text: Meng'er Zhang (; born April 22, 1987) is a Chinese actress best known for portraying Xu Xialing in the 2021 Marvel Cinematic Universe (MCU) film "Shang-Chi and the Legend of the Ten Rings".


title: Meng'er Zhang

text: Zhang is the daughter of an actor and a stage designer. She grew up heavily devoted to theatre arts in order to follow in her mother's footsteps. Prior to becoming a professional actress, she starred in stage and musical productions in Nanjing, where she was born and raised, and Shanghai. In 2009, she graduated from Nanjing University of the Arts with a bachelors degree. She attended the East 15 Acting School in Essex and the Russian Institute of Theatre Arts in Moscow.