title: WrestleMania 2

text: Hulk Hogan continued his WWF World Heavyweight Championship reign. In addition to Savage, his top competition during 1986 included "Adorable Adrian" Adonis, Hercules Hernandez, Kamala and, in his biggest feud of the year, Paul Orndorff. A storyline was developed focusing on the friendship between Hogan and Orndorff with Adrian Adonis eventually starting trouble between the two causing Orndorff to turn against Hogan. Bundy, meanwhile, would team with Big John Studd on occasion (and begin his feud with The Machines). He would also challenge Hogan on-and-off for the World Heavyweight Championship during the next year and a half, until leaving the WWF in early 1988.


title: WrestleMania 2

text: Following his battle royal win, André the Giant's career was at a crossroads. Not yet evident to fans, he was beginning to suffer the health effects of his terminal illness known as acromegaly, a syndrome resulting from an excessive production of growth hormone that led to his gigantic size. Because of his health, a planned tour of Japan and accepted a starring role in the movie "The Princess Bride", André took a brief hiatus from the ring. To explain his absence, a storyline was devised to have André no-show for a tag team match pitting him and a partner of his choosing against long-time rivals Big John Studd and King Kong Bundy. André would then be suspended at the insistence of manager Bobby Heenan. André would return but compete under a mask as part of a new team called The Machines. Studd and Bundy insisted—but were never able to prove—that André and "The Giant Machine" were the same person.


title: WrestleMania 2

text: WrestleMania 2 marked the last major pay-per-view appearance for Roddy Piper during his initial heel run. Shortly before the event, he taped four weeks worth of "Piper's Pit" segments that would air on the WWF's syndicated programs in April, and then took a four-month hiatus from the ring.


title: WrestleMania 2

text: When Piper returned to the WWF in August, he became a face and began a violent feud with Adonis, who had in the meantime started his own "Piper's Pit"-type talk show called "The Flower Shop". Jesse "the Body" Ventura also took a leave of absence after WrestleMania 2; like Piper, he filmed several weeks worth of his talk show segment, "The Body Shop", to air in the coming weeks. Afterward, The Magnificent Muraco would be the fill-in host of the segment until the final installment, aired August 30, 1986. In late August, Ventura returned for television tapings of the first "WWF Superstars of Wrestling", continuing his role as a heel-favoring color commentator.


title: Coriolanus

text: Coriolanus ( or ) is a tragedy by William Shakespeare, believed to have been written between 1605 and 1608. The play is based on the life of the legendary Roman leader Caius Marcius Coriolanus. Shakespeare worked on it during the same years he wrote "Antony and Cleopatra", making them the last two tragedies written by him.


title: Coriolanus

text: Coriolanus is the name given to a Roman general after his military feats against the Volscians at Corioli. Following his success he seeks to be consul, but his disdain for the plebeians and the mutual hostility of the tribunes lead to his banishment from Rome. He presents himself to the Volscians, then leads them against Rome.


title: Coriolanus

text: The play opens in Rome shortly after the expulsion of the Tarquin kings. There are riots in progress, after stores of grain are withheld from ordinary citizens. The rioters are particularly angry at Caius Marcius, a brilliant Roman general whom they blame for the loss of their grain. The rioters encounter a patrician named Menenius Agrippa, as well as Caius Marcius himself. Menenius tries to calm the rioters, while Marcius is openly contemptuous, and says that the plebeians were not worthy of the grain because of their lack of military service. Two of the tribunes of Rome, Brutus and Sicinius, privately denounce Marcius. He leaves Rome after news arrives that a Volscian army is in the field.


title: Coriolanus

text: The commander of the Volscian army, Tullus Aufidius, has fought Marcius on several occasions and considers him a blood enemy. The Roman army is commanded by Cominius, with Marcius as his deputy. While Cominius takes his soldiers to meet Aufidius' army, Marcius leads a rally against the Volscian city of Corioli. The siege of Corioli is initially unsuccessful, but Marcius is able to force open the gates of the city, and the Romans conquer it. Even though he is exhausted from the fighting, Marcius marches quickly to join Cominius and fights the other Volscian force. Marcius and Aufidius meet in single combat, which ends only when Aufidius' own soldiers drag him away from the battle.


title: Coriolanus

text: In recognition of his great courage, Cominius gives Caius Marcius the agnomen, or "official nickname", of "Coriolanus". When they return to Rome, Coriolanus's mother Volumnia encourages her son to run for consul. Coriolanus is hesitant to do this, but he bows to his mother's wishes. He effortlessly wins the support of the Roman Senate, and seems at first to have won over the plebeians as well. However, Brutus and Sicinius scheme to defeat Coriolanus and instigate another riot in opposition to his becoming consul. Faced with this opposition, Coriolanus flies into a rage and rails against the concept of popular rule. He compares allowing plebeians to have power over the patricians to allowing "crows to peck the eagles". The two tribunes condemn Coriolanus as a traitor for his words and order him to be banished. Coriolanus retorts that it is he who banishes Rome from his presence.


title: Coriolanus

text: After being exiled from Rome, Coriolanus makes his way to the Volscian capital of Antium, and asks Aufidius's help to wreak revenge upon Rome for banishing him. Moved by his plight and honoured to fight alongside the great general, Aufidius and his superiors embrace Coriolanus, and allow him to lead a new assault on Rome.


title: Coriolanus

text: Rome, in its panic, tries desperately to persuade Coriolanus to halt his crusade for vengeance, but both Cominius and Menenius fail. Finally, Volumnia is sent to meet her son, along with Coriolanus's wife Virgilia and their child, and the chaste gentlewoman Valeria. Volumnia succeeds in dissuading her son from destroying Rome, urging him instead to clear his name by reconciling the Volscians with the Romans and creating peace.


title: Coriolanus

text: Coriolanus concludes a peace treaty between the Volscians and the Romans. When he returns to the Volscian capital, conspirators, organised by Aufidius, kill him for his betrayal.


title: Coriolanus

text: "Coriolanus" is largely based on the "Life of Coriolanus" in Thomas North's translation of Plutarch's "The Lives of the Noble Grecians and Romans" (1579). The wording of Menenius's speech about the body politic is derived from William Camden's "Remaines of a Greater Worke Concerning Britaine" (1605), where Pope Adrian IV compares a well-run government to a body in which "all parts performed their functions, only the stomach lay idle and consumed all"; the fable is also alluded to in John of Salisbury's "Policraticus" (Camden's source) and William Averell's "A Marvailous Combat of Contrarieties" (1588).


title: Coriolanus

text: Other sources have been suggested, but are less certain. Shakespeare might also have drawn on Livy's "Ab Urbe condita", as translated by Philemon Holland, and possibly a digest of Livy by Lucius Annaeus Florus; both of these were commonly used texts in Elizabethan schools. Machiavelli's "Discourses on Livy" were available in manuscript translations, and could also have been used by Shakespeare. He might also have made use of Plutarch's original source, the "Roman Antiquities of Dionysius of Halicarnassus", as well as on his own knowledge of Roman custom and law.


title: Coriolanus

text: Most scholars date "Coriolanus" to the period 1605–10, with 1608–09 being considered the most likely, although the available evidence does not permit great certainty.


title: Coriolanus

text: The earliest date for the play rests on the fact that Menenius's fable of the belly is derived from William Camden's "Remaines", published in 1605. The later date derives from the fact that several other texts from 1610 or thereabouts seem to allude to "Coriolanus", including Ben Jonson's "Epicoene", Robert Armin's "Phantasma" and John Fletcher's "The Woman's Prize, or the Tamer Tamed".


title: Coriolanus

text: Some scholars note evidence that may narrow down the dating to the period 1607–09. One line may be inspired by George Chapman's translation of the "Iliad" (late 1608). References to "the coal of fire upon the ice" (I.i) and to squabbles over ownership of channels of water (III.i) could be inspired by Thomas Dekker's description of the freezing of the Thames in 1607–08 and Hugh Myddleton's project to bring water to London by channels in 1608–09 respectively. Another possible connection with 1608 is that the surviving text of the play is divided into acts; this suggests that it could have been written for the indoor Blackfriars Theatre, at which Shakespeare's company began to perform in 1608, although the act-breaks could instead have been introduced later.


title: Coriolanus

text: The play's themes of popular discontent with government have been connected by scholars with the Midland Revolt, a series of peasant riots in 1607 that would have affected Shakespeare as an owner of land in Stratford-upon-Avon; and the debates over the charter for the City of London, which Shakespeare would have been aware of, as it affected the legal status of the area surrounding the Blackfriars Theatre. The riots in the Midlands were caused by hunger because of the enclosure of common land.


title: Coriolanus

text: For these reasons, R.B. Parker suggests "late 1608 ... to early 1609" as the likeliest date of composition, while Lee Bliss suggests composition by late 1608, and the first public performances in "late December 1609 or February 1610". Parker acknowledges that the evidence is "scanty ... and mostly inferential".


title: Coriolanus

text: The play was first published in the First Folio of 1623. Elements of the text, such as the uncommonly detailed stage directions, lead some Shakespeare scholars to believe the text was prepared from a theatrical prompt book.


title: Coriolanus

text: A. C. Bradley described this play as "built on the grand scale," like "King Lear" and "Macbeth," but it differs from those two masterpieces in an important way. The warrior Coriolanus is perhaps the most opaque of Shakespeare's tragic heroes, rarely pausing to soliloquise or reveal the motives behind his proud isolation from Roman society. In this way, he is less like the effervescent and reflective Shakespearean heroes/heroines such as Macbeth, Hamlet, Lear and Cleopatra, and more like figures from ancient classical literature such as Achilles, Odysseus, and Aeneas—or, to turn to literary creations from Shakespeare's time, the Marlovian conqueror Tamburlaine, whose militaristic pride finds its parallel in Coriolanus. Readers and playgoers have often found him an unsympathetic character, as his caustic pride is strangely, almost delicately balanced at times by a reluctance to be praised by his compatriots and an unwillingness to exploit and slander for political gain. His dislike of being praised might be seen as an expression of his pride; all he cares about is his own self-image, whereas acceptance of praise might imply that his value is affected by others' opinion of him. The play is less frequently produced than the other tragedies of the later period, and is not so universally regarded as great. (Bradley, for instance, declined to number it among his famous four in the landmark critical work "Shakespearean Tragedy.") In his book "Shakespeare's Language", Frank Kermode described "Coriolanus" as "probably the most fiercely and ingeniously planned and expressed of all the tragedies".


title: Coriolanus

text: T. S. Eliot famously proclaimed "Coriolanus" superior to "Hamlet" in "The Sacred Wood", in which he calls the former play, along with "Antony and Cleopatra", the Bard's greatest tragic achievement. Eliot wrote a two-part poem about Coriolanus, "Coriolan" (an alternative spelling of Coriolanus); he also alluded to "Coriolanus" in a passage from his own "The Waste Land" when he wrote, "Revive for a moment a broken Coriolanus."


title: Coriolanus

text: "Coriolanus" has the distinction of being among the few Shakespeare plays banned in a democracy in modern times. It was briefly suppressed in France in the late 1930s because of its use by the fascist element, and Slavoj Žižek noted its prohibition in Post-War Germany due to its intense militarism.


title: Coriolanus

text: Like some of Shakespeare's other plays ("All's Well That Ends Well"; "Antony and Cleopatra"; "Timon of Athens"), there is no recorded performance of "Coriolanus" prior to the Restoration. After 1660, however, its themes made it a natural choice for times of political turmoil. The first known performance was Nahum Tate's bloody 1682 adaptation at Drury Lane. Seemingly undeterred by the earlier suppression of his "Richard II", Tate offered a "Coriolanus" that was faithful to Shakespeare through four acts before becoming a Websterian bloodbath in the fifth act. A later adaptation, John Dennis's "The Invader of His Country, or The Fatal Resentment", was booed off the stage after three performances in 1719. The title and date indicate Dennis's intent, a vitriolic attack on the Jacobite 'Fifteen. (Similar intentions motivated James Thomson's 1745 version, though this bears only a very slight resemblance to Shakespeare's play. Its principal connection to Shakespeare is indirect; Thomas Sheridan's 1752 production at Smock Alley used some passages of Thomson's. David Garrick returned to Shakespeare's text in a 1754 Drury Lane production.


title: Coriolanus

text: Laurence Olivier first played the part at The Old Vic in 1937 and again at the Shakespeare Memorial Theatre in 1959. In that production, he performed Coriolanus's death scene by dropping backwards from a high platform and being suspended upside-down without the aid of wires.


title: Coriolanus

text: In 1971, the play returned to the Old Vic in a National Theatre production directed by Manfred Wekwerth and Joachim Tenschert with stage design by Karl von Appen. Anthony Hopkins played Coriolanus, with Constance Cummings as Volumnia and Anna Carteret as Virgilia.


title: Coriolanus

text: Other performances of Coriolanus include Alan Howard, Paul Scofield, Ian McKellen, Ian Richardson, Toby Stephens, Robert Ryan, Christopher Walken, Morgan Freeman, Colm Feore, Ralph Fiennes and Tom Hiddleston.


title: Coriolanus

text: In 2012, National Theatre Wales produced a composite of Shakespeare's "Coriolanus" with Bertolt Brecht's "Coriolan", entitled Coriolan/us, in a disused hangar at MOD St Athan. Directed by Mike Brookes and Mike Pearson, the production used silent disco headsets to permit the text to be heard while the dramatic action moved throughout the large space. The production was well received by critics.


title: Coriolanus

text: In December 2013, Donmar Warehouse opened their new production. It was directed by Josie Rourke, starring Tom Hiddleston in the title role, along with Mark Gatiss, Deborah Findlay, Hadley Fraser, and Birgitte Hjort Sørensen. The production received very strong reviews. Michael Billington with "The Guardian" wrote "A fast, witty, intelligent production that, in Tom Hiddleston, boasts a fine Coriolanus." He also credited Mark Gatiss as excellent as Menenius, the "humorous patrician". In "Variety", David Benedict wrote that Deborah Findlay in her commanding maternal pride, held beautifully in opposition by Birgitte Hjort Sørensen as Coriolanus's wife Virgilia. Helen Lewis, in her review of "Coriolanus", along with two other concurrently running sold-out Shakespeare productions with celebrity leads—David Tennant's "Richard II" and Jude Law's "Henry V"—concludes "if you can beg, borrow or plunder a ticket to one of these plays, let it be "Coriolanus"." The play was broadcast in cinemas in the U.K. and internationally on 30 January 2014 as part of the National Theatre Live programme.


title: Coriolanus

text: Bertolt Brecht adapted Shakespeare's play in 1952–55, as "Coriolan" for the Berliner Ensemble. He intended to make it a tragedy of the workers, not the individual, and introduce the alienation effect; his journal notes showing that he found many of his own effects already in the text, he considered staging the play with only minimal changes. The adaptation was unfinished at Brecht's death in 1956; it was completed by Manfred Wekwerth and Joachim Tenschert and staged in Frankfurt in 1962.


title: Coriolanus

text: In 1983, the "BBC Television Shakespeare" series produced a version of the play. It starred Alan Howard and was directed by Elijah Moshinsky.


title: Coriolanus

text: In 2003 the Royal Shakespeare Company performed a new staging of "Coriolanus" (along with two other plays) starring Greg Hicks at the University of Michigan. The director, David Farr, saw the play as depicting the modernization of an ancient ritualized culture, and drew on samurai influences to illustrate that view. He described it as "in essence, a modern production. The play is basically about the birth of democracy."


title: Coriolanus

text: In 2011, Ralph Fiennes directed and starred as Coriolanus with Gerard Butler as Aufidius and Vanessa Redgrave as Volumnia in a modern-day film adaptation "Coriolanus". It was released on DVD and Blu-ray in May, 2012. It has a 93% rating on the film review site Rottentomatoes.com, giving it a Certified Fresh award. Slavoj Žižek argued that unlike preceding adaptations, Fiennes' film portrayed Coriolanus without trying to rationalize his behaviour, as a raw figure for the "radical left", a figure who represents contempt for a decadent liberal democracy and the willingness to use violence to counter its latent imperialism in alliance with the oppressed, someone he compares to Che Guevara (who justified himself as a revolutionary killing machine).


title: Coriolanus

text: While the title character's name's pronunciation in classical Latin has the a pronounced "[aː]" in the IPA, in English the a is usually pronounced "[eɪ]." Ken Ludwig's "Moon Over Buffalo" contains a joke dependent upon this pronunciation, and the parody "The Complete Wrks of Wllm Shkspr (Abridged)" refers to it as "the anus play". Shakespeare pronunciation guides list both pronunciations as acceptable.


title: Coriolanus

text: Cole Porter's song "Brush Up Your Shakespeare" from the musical "Kiss Me, Kate" includes the lines: "If she says your behavior is heinous,/Kick her right in the Coriolanus."


title: Coriolanus

text: Based on "Coriolanus", and written in blank verse, "Complots of Mischief" is a satirical critique of those who dismiss conspiracy theories. Written by philosopher Charles Pigden, it was published in "Conspiracy Theories: The Philosophical Debate" (Ashgate 2006).


title: Logic Pro

text: Logic Pro is a digital audio workstation (DAW) and MIDI sequencer software application for the macOS platform. It was originally created in the early 1990s as Notator Logic, or Logic, by German software developer C-Lab which later went by Emagic. Apple acquired Emagic in 2002 and renamed Logic to Logic Pro. It is the second most popular DAW – after Ableton Live – according to a survey conducted in 2015.


title: Logic Pro

text: A consumer-level version based on the same interface and audio engine but with reduced features, called Logic Express, was also available at a reduced cost. Apple's GarageBand comes free with all new Macintosh computers and iOS devices and is another application built on Logic's audio engine. On December 8, 2011, the boxed version of Logic Pro was discontinued, along with Logic Express, and as with all other Apple software for Macs, Logic Pro is now only available through the Mac App Store.


title: Logic Pro

text: Logic Pro provides software instruments, audio effects and recording facilities for music synthesis. It also supports Apple Loops – royalty-free, professionally recorded instrument loops. Logic Pro and Express once shared many functions and the same interface. Logic Express was limited to two-channel stereo mixdown, while Logic Pro can handle multichannel surround sound. Logic Express only handled up to 255 audio tracks, depending on system performance (CPU and hard disk throughput and seek time), while, as of version 10.4.5, Logic Pro can handle up to 1000.


title: Logic Pro

text: Logic Pro can work with MIDI keyboards and control surfaces for input and processing, and for MIDI output. It features real-time scoring in musical notation, supporting guitar tablature, chord abbreviations and drum notation. Advanced MIDI editing is possible through Logic Pro's MIDI Transform Window, where velocity, pitch, pitch-bends, note length, humanize, and precise note positioning can be edited.


title: Logic Pro

text: The software instruments included in Logic Pro X include: Drum Kit Designer, Drum Machine Designer, ES, ES2, EFM1, ES E, ES M, ES P, EVOC 20 PolySynth, Sampler, Quick Sampler, Step Sequencer, Klopfgeist, Retro Synth, Sculpture, Ultrabeat, Vintage B3, Vintage Clav, Vintage Electric Piano. These instruments produce sound in various ways, through subtractive synthesis (ES, ES2, ES E, ES M, ES P, Retro Synth), frequency modulation synthesis (EFM1), wavetable synthesis (ES2, Retro Synth), vocoding (EVOC 20 PolySynth), sampling (Sampler, Quick Sampler, Drum Kit Designer), and component modeling techniques (Ultrabeat, Vintage B3, Vintage Clav, and Vintage Electric Piano, Sculpture). As of version 10.2, Logic Pro X also includes Alchemy, a sample-manipulation synthesizer that was previously developed by Camel Audio. The software instruments are activated by MIDI information that can be input via a MIDI instrument or drawn into the MIDI editor.


title: Logic Pro

text: Audio effects include amp and guitar pedal emulators, delay effects, distortion effects, dynamics processors, equalization filters, filter effects, imaging processors, metering tools, modulation effects, pitch effects, and reverb effects. Among Logic's reverb plugins is Space Designer, which uses convolution reverb to simulate the acoustics of audio played in different environments, such as rooms of varying size, or emulate the echoes that might be heard on high mountains.


title: Logic Pro

text: The application features distributed processing abilities (in 32-bit mode), which can function across an Ethernet LAN. One machine runs the Logic Pro app, while the other machines on the network run the Logic node app. Logic will then offload the effects and synth processing to the other machines on the network. If the network is fast enough (i.e., on the order of gigabit Ethernet), this can work in near real-time, depending on buffer settings and CPU loads. This allows users to combine the power of several Macintosh computers to process Logic Pro's built-in software instruments and plug-ins, and 3rd party processing plug-ins. As of version 10.0.7, Logic can access 24 processing threads, which aligns with the capabilities of Apple's flagship 12-core Mac Pro.


title: Logic Pro

text: In 1987, C-Lab released Gerhard Lengeling's MIDI sequencer program for the Atari ST platform called "Creator". From version 2.0 onwards, released in 1988, a version with added musical notation capabilities was also available, called "Notator", made with the help of Chris Adam. A later bundled multitasking utility called Soft Link rebranded the packages as "Creator SL" and "Notator SL".


title: Logic Pro

text: In the United States, its main rivals at the time included Performer and Vision, whereas in Europe its main rivals were Steinberg's Pro 24 and later Cubase. Most MIDI sequencers presented a song as a linear set of tracks. However, Notator and Vision were pattern-based sequencers: songs were built by recording patterns (which might represent for example Intro, Verse, Chorus, Middle-8, Outro) with up to 16 tracks each, then assembling an Arrangement of these patterns, with up to 4 patterns playing simultaneously at any one time in the song. This more closely resembled working principles of hardware sequencers of the 1970s and 1980s.


title: Logic Pro

text: When it was released, Notator was widely regarded by both musicians and the music press as one of the most powerful and intuitive sequencing and notation programs available on any platform. After the later introduction of competitor Steinberg's Cubase, however, track-based sequencing prevailed over pattern-based, resulting in the eventual greater integration and hybridization of the two methods in later versions of both Cubase and Logic. As Phil Hartnoll of Orbital said about a later version of Creator, "Cubase is much better for arranging: you can get an overall picture so much easier. They tried, with C-LAB, with that block arrangement, but I do like to be able to see an overview."


title: Logic Pro

text: Notable users of Creator included Coldcut, Fatboy Slim, The Future Sound of London, LFO, Clint Mansell, Nightmares on Wax, The Orb, Orbital, and System 7.


title: Logic Pro

text: The C-Lab programmers left that company to form Emagic, and in 1993 released a new program, "Notator Logic", which attempted to fuse both track- and pattern-based operation (but looked much more like track-based sequencers than Notator). While rich in features, early versions of Logic on the Atari lacked the intuitiveness and immediacy of either Cubase or Notator, and never achieved the same success. However, by this time the Atari was becoming obsolete, and part of the reason why "Notator Logic" had been written from scratch with an object oriented GUI (though it shared the same nomenclature as its predecessor) was to make it easier to port to other platforms. The "Notator" prefix was dropped from the product name and the software became known as simply "Logic".


title: Logic Pro

text: As later versions of the software became available for Mac OS and Windows platforms, and acquired ever more sophisticated functions (especially in audio processing) to take advantage of increased computing power, Logic, together with the rise of the PC, gained popularity again.


title: Logic Pro

text: Apple acquired Emagic in July 2002. The announcement included the news that development of the Windows version would no longer continue. This announcement caused controversy in the recording industry with an estimated 70,000 users having invested in the Windows route not wishing to reinvest in a complete new system. Despite much speculation in various Pro Audio forums however, exactly how many users may have abandoned Logic upon its acquisition by Apple, or abandoned the Windows platform for the Mac version, remains unknown, but Apple Pro Apps revenue has steadily increased since Apple's acquisition of Emagic, (roughly $2 billion a year as of Q1 2014).


title: Logic Pro

text: "Logic 5" featured significant improvements in user interface, and increased compatibility with more types of computers, operating systems, and a wide range of audio interfaces. Logic 5.5.1 was the last version to be released for Windows. From Logic 6 onwards, the software would only be exclusively available on Mac OS.


title: Logic Pro

text: With "Logic 6", Emagic added the availability of separately packaged software products that were closely integrated add-ons developed specifically for use with Logic, including software instruments, the EXS sampler and audio processing plug-ins. The Logic 6 package also included the stand-alone program Waveburner, for burning redbook audio CD standard-compliant CDR masters for replication, however, that application was considered a free bonus feature; it was not advertised as part of the package and did not include printed documentation. PDF documentation was included on the installer disc.


title: Logic Pro

text: In March 2004 Apple released "Logic Pro 6", which consolidated over 20 different Emagic products, including all instrument and effect plug-ins, Waveburner Pro (CD Authoring application), and Pro Tools TDM support, into a single product package. Apple also released a scaled down version of Logic called Logic Express, replacing two previous versions that filled that position called Logic Silver and Logic Gold. Apple began promoting Logic Pro as one of its flagship software ‘Pro’ applications for the Macintosh platform.


title: Logic Pro

text: "Logic Pro 7" was released September 29, 2004. Most notably, Apple modified the interface of Logic 7 to look more like a product that was developed by Apple.


title: Logic Pro

text: Additions to Logic Pro 7 included: the integration of Apple Loops, Distributed Audio Processing (a technology for combining the power of multiple computers on a network), 3 new instruments including Sculpture (a sound modeling synth) and Ultrabeat (a drum synth and sequencer), and 9 new effect plug-ins including Guitar Amp Pro (guitar amp simulator), and a linear phase corrected version of their 6 channel parametric equalizer. In total, Logic Pro 7 now included 70 effect plug-ins and 34 instrument plug-ins.


title: Logic Pro

text: Pro-Tools TDM compatibility, which had been a feature of Logic since version 3.5, was not supported by Logic 7.2 on Intel-based Mac computers; TDM support returned with the release of Logic 8.


title: Logic Pro

text: On September 12, 2007, Apple released the Logic Studio suite that included "Logic Pro 8". Logic Pro was no longer a separate product, although a limited version Logic Express 8 was released on the same day, and remained a separate product.


title: Logic Pro

text: Significant changes were made for Logic 8. Logic Pro 8 was now mainly Cocoa code, but still included some Carbon Libraries. Alongside changes such as the new processing plug-in (Delay Designer), Apple included features such as Quick Swipe Comping, similar to Soundtrack Pro 2, and multi-take management.


title: Logic Pro

text: Apple also made changes to ease of use. These include the discontinuation of the XSKey dongle, and a streamlined interface. Each plug-in used in the channel strip opens in a new window when double-clicked. Many of the features found in Logic 7 have been consolidated into one screen. Other additions to the new interface included consolidated arrange windows, dual channel strips, built in browsers (like that in GarageBand) and production templates.


title: Logic Pro

text: On July 23, 2009, "Logic Pro 9" was announced. A major new feature included "Flex Time", Apple's take on "elastic" audio, which allows audio to be quantized. A version of the pedalboard from GarageBand was included, together with a new virtual guitar amplifier where the modeled components could be combined in different ways. There were also a number of improvements to audio editing, fulfilled user requests such as "bounce in place" and selective track and channel strip import, as well as an expanded content library including one more Jam Pack. Some of the bundled software, including MainStage 2 and Soundtrack Pro 3, was also improved. Logic Pro 9 is Universal Binary, although not officially supported for use on PowerPC computers. SoundDiver, which had been quietly bundled with previous versions, was dropped, eliminating support for arguably the world's most popular synthesizer editor/librarian. As Apple has bundled so many software instruments with Logic, it is not likely that we'll see the return of integration with external synthesizer hardware to the Logic platform.


title: Logic Pro

text: On January 12, 2010, Apple released Logic Pro 9.1, an Intel only release, thereby officially discontinuing Logic for the PowerPC platform. Logic Pro 9.1 had the option of running in 64-bit mode, which allowed the application to address more memory than in the past. Says Apple "With 64-bit mode, the application memory is not limited to 4GB as with 32-bit applications, so there is essentially no practical limit by today's standards." Third party plug-ins that are 32-bit were still compatible, but would run from a 'wrapper' inside Logic Pro itself.


title: Logic Pro

text: On December 9, 2011, Apple announced that Logic Pro Studio 9 would no longer be available on DVD, and would only be sold via the Mac App Store. The price was reduced from $499 to $199.99 for the Logic Pro app, and $29.99 for MainStage. The download was just over 400MB, and 19GB of optional loops were available as in-app downloads.


title: Logic Pro

text: This version of Logic Pro Studio 9 no longer allowed users to access any microtunings in Scala format other than those provided with the software by Apple.


title: Logic Pro

text: Released as successor to Logic Pro 9 on July 16, 2013, "Logic Pro X" (10.0.0) included a new, single-window customizable interface, with a design in line with Final Cut Pro X, as well as new features. New tools in this release are "Drummer", a virtual session player that automatically plays along with your song in a wide variety of drumming styles and techniques, and "Flex Pitch", a Flex Time equivalent for pitch editing in audio recordings. Also, a new "Smart Controls" feature allows users to map parameters from an array of plugins to a single, convenient control interface. Redesigned keyboards and synths were included, together with new stomp boxes, bass amp and drum kit designers, and a chord arpeggiator. A completely rebuilt sound and loop library was introduced, along with a new Patch architecture. Logic Pro X also improved track organization by allowing users to group multiple tracks into 'folder' like categories (e.g., acoustics, synthesizers, vocals, percussion, etc.). In addition to this organization, Logic Pro X allowed individuals to trigger 'solo,' 'mute,' and 'volume' controls for each group. Further improvements were made to score editing, exporting (now compatible with MusicXML format), and this version introduced MIDI plug-in compatibility. Coinciding with the release of Logic Pro X was the release of a companion iPad app called Logic Remote, which allows wireless control of Logic Pro X, including "Touch Instruments" for playing and recording software instruments as well as tools for navigating, making basic edits and mixing.


title: Logic Pro

text: Since this release, Logic Pro X runs in 64-bit mode only and no longer works with 32-bit plug-ins. Logic Pro X is capable of transferring most data from previous projects saved in Logic Pro 5 and later, though the transfer to 64-bit only means older 32-bit plugins will no longer work.


title: Logic Pro

text: Logic 10.4 introduced a new reverb called ChromaVerb, and new functionality such as Smart Tempo, as well as the option to undo mixer actions. In addition, version 10.4 introduced support for version 2 of the ARA (Audio Random Access) standard.


title: Logic Pro

text: 10.5 was released in May 2020. It features Live Loops, Sampler, Quick Sampler, Remix FX, new drag-and-drop workflows, Drum Synth, and Step Sequencer. Sampler and Quick Sampler replaced the EXS24 as Logic Pro X's flagship sampling plugin. 10.5 also came with a demo project for Billie Eilish's hit song Ocean Eyes available for all Logic Pro X users to download.


title: Logic Pro

text: In November 2020, Logic Pro X was renamed "Logic Pro", coinciding with the release of macOS 11 Big Sur.


title: Logic Pro

text: In October 2021, Apple released Logic Pro 10.7 coinciding with the release of Apple's new M1 Pro and M1 Max chips for its latest MacBook Pro 2021 lineup. Logic Pro 10.7 supports audio production mixing in Dolby Atmos and surround sound format. This version also included two more demo projects. These were two versions of the original multitrack project of Lil Nas X's "Montero (Call Me by Your Name)," one version in stereo and another in Dolby Atmos.


title: Herpes labialis

text: Herpes labialis, commonly known as cold sores or fever blisters, is a type of infection by the herpes simplex virus that affects primarily the lip. Symptoms typically include a burning pain followed by small blisters or sores. The first attack may also be accompanied by fever, sore throat, and enlarged lymph nodes. The rash usually heals within ten days, but the virus remains dormant in the trigeminal ganglion. The virus may periodically reactivate to create another outbreak of sores in the mouth or lip.


title: Herpes labialis

text: The cause is usually herpes simplex virus type 1 (HSV-1) and occasionally herpes simplex virus type 2 (HSV-2). The infection is typically spread between people by direct non-sexual contact. Attacks can be triggered by sunlight, fever, psychological stress, or a menstrual period. Direct contact with the genitals can result in genital herpes. Diagnosis is usually based on symptoms but can be confirmed with specific testing.


title: Herpes labialis

text: Prevention includes avoiding kissing or using the personal items of a person who is infected. A zinc oxide, anesthetic, or antiviral cream appears to decrease the duration of symptoms by a small amount. Antiviral medications may also decrease the frequency of outbreaks.


title: Herpes labialis

text: About 2.5 per 1000 people are affected with outbreaks in any given year. After one episode about 33% of people develop subsequent episodes. Onset often occurs in those less than 20 years old and 80% develop antibodies for the virus by this age. In those with recurrent outbreaks, these typically happen less than three times a year. The frequency of outbreaks generally decreases over time.


title: Herpes labialis

text: Herpes infections usually show no symptoms; when symptoms do appear they typically resolve within two weeks. The main symptom of oral infection is inflammation of the mucosa of the cheek and gums—known as acute herpetic gingivostomatitis—which occurs within 5–10 days of infection. Other symptoms may also develop, including headache, nausea, dizziness and painful ulcers—sometimes confused with canker sores—fever, and sore throat.


title: Herpes labialis

text: Primary HSV infection in adolescents frequently manifests as severe pharyngitis with lesions developing on the cheek and gums. Some individuals develop difficulty in swallowing (dysphagia) and swollen lymph nodes (lymphadenopathy). Primary HSV infections in adults often results in pharyngitis similar to that observed in glandular fever (infectious mononucleosis), but gingivostomatitis is less likely.


title: Herpes labialis

text: Recurrent oral infection is more common with HSV-1 infections than with HSV-2. Symptoms typically progress in a series of eight stages:


title: Herpes labialis

text: The recurrent infection is thus often called "herpes simplex labialis". Rare reinfections occur inside the mouth ("intraoral HSV stomatitis") affecting the gums, alveolar ridge, hard palate, and the back of the tongue, possibly accompanied by "herpes labialis".


title: Herpes labialis

text: A lesion caused by herpes simplex can occur in the corner of the mouth and be mistaken for angular cheilitis of another cause. Sometimes termed "angular herpes simplex". A cold sore at the corner of the mouth behaves similarly to elsewhere on the lips. Rather than utilizing antifungal creams, angular herpes simplex is treated in the same way as a cold sore, with topical antiviral drugs.


title: Herpes labialis

text: Herpes labialis infection occurs when the herpes simplex virus comes into contact with oral mucosal tissue or abraded skin of the mouth. Infection by the type 1 strain of herpes simplex virus (HSV-1) is most common; however, cases of oral infection by the type 2 strain are increasing.


title: Herpes labialis

text: Oral HSV-2 shedding is rare, and "usually noted in the context of first episode genital herpes." In general, both types can cause oral or genital herpes.


title: Herpes labialis

text: Cold sores are the result of the virus reactivating in the body. Once HSV-1 has entered the body, it never leaves. The virus moves from the mouth to remain latent in the central nervous system. In approximately one-third of people, the virus can "wake up" or reactivate to cause disease. When reactivation occurs, the virus travels down the nerves to the skin where it may cause blisters (cold sores) around the lips or mouth area.


title: Herpes labialis

text: Cold sore outbreaks may be influenced by stress, menstruation, sunlight, sunburn, fever, dehydration, or local skin trauma. Surgical procedures such as dental or neural surgery, lip tattooing, or dermabrasion are also common triggers. HSV-1 can in rare cases be transmitted to newborn babies by family members or hospital staff who have cold sores; this can cause a severe disease called neonatal herpes simplex.


title: Herpes labialis

text: The colloquial term for this condition, "cold sore" comes from the fact that herpes labialis is often triggered by fever, for example, as may occur during an upper respiratory tract infection (i.e. a cold).


title: Herpes labialis

text: People can transfer the virus from their cold sores to other areas of the body, such as the eye, skin, or fingers; this is called "autoinoculation". Eye infection, in the form of conjunctivitis or keratitis, can happen when the eyes are rubbed after touching the lesion. Finger infection (herpetic whitlow) can occur when a child with cold sores or primary HSV-1 infection sucks their fingers.


title: Herpes labialis

text: Blood tests for herpes may differentiate between type 1 and type 2. When a person is not experiencing any symptoms, a blood test alone does not reveal the site of infection. Genital herpes infections occurred with almost equal frequency as type 1 or 2 in younger adults when samples were taken from genital lesions. Herpes in the mouth is more likely to be caused by type 1, but (see above) also can be type 2. The only way to know for certain if a positive blood test for herpes is due to infection of the mouth, genitals, or elsewhere, is to sample from lesions. This is not possible if the affected individual is asymptomatic. The body's immune system typically fight the virus.


title: Herpes labialis

text: The likelihood of the infection can be reduced through avoidance of touching an area with active infection and contact sports and frequent hand washing, use of mouth rinsing (anti-viral, anti-bacterial) products.</ref> During active infection (outbreaks with oral lesions) avoid oral-to-oral kissing and oral-genital sex without protection. HSV1 can be transmitted to uninfected partners through oral sex, resulting in genital lesions. Healthcare workers working with patients who have active lesions are advised to use gloves, eye protection, and mouth protection during physical, mucosal, and bronchoscopic procedures and examinations.


title: Herpes labialis

text: In some cases, sun exposure can lead to HSV-1 reactivation, therefore use of zinc-based sunscreen or topical and oral therapeutics such as acyclovir and valacyclovir may prove helpful. Other triggers for recurrent herpetic infection includes fever, common cold, fatigue, emotional stress, trauma, sideropenia, oral cancer therapy, immunosuppression, chemotherapy, oral and facial surgery, menstruation, and epidural morphine, and upset GI. Surgical procedures like nerve root decompression, facial dermabrasion, and ablative laser resurfacing can increase risks of reactivation by 50-70%.


title: Herpes labialis

text: Despite no cure or vaccine for the virus, a human body's immune system and specific antibodies typically fight the virus. Treatment options include no treatment, topical creams (indifferent, antiviral, and anaesthetic), and oral antiviral medications. Indifferent topical creams include zinc oxide and glycerin cream, which can have itching and burning sensation as side effects and docosanoll. Docosanol, a saturated fatty alcohol was approved by the United States Food and Drug Administration for herpes labialis in adults with properly functioning immune systems. It is comparable in effectiveness to prescription topical antiviral agents. Due to docosanol's mechanism of action, there is little risk of drug resistance. Antivirals creams include acyclovir and penciclovir, which can speed healing by as much as 10%. Oral antivirals include acyclovir, valaciclovir, and famciclovir. Famciclovir or valacyclovir, taken in pill form, can be effective using a single day, high-dose application and is more cost effective and convenient than the traditional treatment of lower doses for 5–7 days. Anaesthetic creams include lidocaine and prilocaine which has shown reduction in duration of subjective symptoms and eruptions.


title: Herpes labialis

text: Treatment recommendations vary on the severity of the symptoms and chronicity of the infection. Treatment with oral antivirals such as acyclovir in children within 72 hours of illness onset has shown to shorten duration of fever, odynophagia, and lesions, and to reduce viral shedding. For patient with mild to moderate symptoms, local anaesthetic such as lidocaine for pain without antiviral may be sufficient. However, those with occasional severe recurrences of lesions may use oral antivirals. Patients with severe cases such as those with frequent recurrences of lesions, presence of disfiguring lesions, and serious systematic complications may need chronic suppressive therapy on top of the antiviral therapies.


title: Herpes labialis

text: Mouth-rinse with combinations of ethanol and essential oils against herpes as therapeutic method is recommended by the German Society of Hospital Hygiene. Further research into virucidal effects of essential oils exists.


title: Herpes labialis

text: Herpes labialis is common throughout the world. A large survey of young adults on six continents reported that 33% of males and 28% of females had herpes labialis on two or more occasions during the year before the study. The lifetime prevalence in the United States of America is estimated at 20–45% of the adult population. Lifetime prevalence in France was reported by one study as 32% in males and 42% in females. In Germany, the prevalence was reported at 32% in people aged between 35 and 44 years, and 20% in those aged 65–74. In Jordan, another study reported a lifetime prevalence of 26%.


title: Herpes labialis

text: The term "labia" means "lip". "Herpes labialis" does not refer to the labia of the genitals, though the origin of the word is the same. When the viral infection affects both face and mouth, the broader term "orofacial herpes" is used, whereas "herpetic stomatitis" describes infection of the mouth specifically; "stomatitis" is derived from the Greek word "stoma", which means "mouth".


title: Alaska-class cruiser

text: The "Alaska" class were six very large cruisers ordered before World War II for the United States Navy, of which only two were completed and saw service late in the war. The US Navy designation for the ships of this class was 'large cruiser' (CB) and the majority of leading reference works consider them as such. However, various other works have alternately described these ships as battlecruisers despite the US Navy having never classified them as such. The Alaskas were all named after territories or insular areas of the United States, signifying their intermediate status between larger battleships and smaller heavy and light cruisers.


title: Alaska-class cruiser

text: The idea for a large cruiser class originated in the early 1930s when the U.S. Navy sought to counter the "pocket battleships" being launched by Germany. Planning for ships that eventually evolved into the "Alaska" class began in the late 1930s after the deployment of Germany's s and rumors that Japan was constructing a new large cruiser class, the B-65 cruiser. To serve as "cruiser-killers" capable of seeking out and destroying these post-treaty heavy cruisers, the class was given large guns of a new and expensive design, limited armor protection against 12-inch shells, and machinery capable of speeds of about .


title: Alaska-class cruiser

text: Of the six planned, "USS " and "USS " were the only two to be completed; a third ("USS Hawaii") which was still building at the war's end had its construction suspended on 16 April 1947 and the last three were cancelled. "Alaska" and "Guam" served with the U.S. Navy for the last year of World War II as bombardment ships and fast carrier escorts. They were decommissioned in 1947 after spending only 32 and 29 months in service, respectively.


title: Alaska-class cruiser

text: Heavy cruiser development formalized between World War I and World War II due to the terms of the Washington Naval Treaty and successor treaties and conferences, where the United States, Britain, Japan, France, and Italy agreed to limit heavy cruisers to 10,000 tons displacement with 8-inch main armament. Up until the "Alaska" class, US cruisers designed between the wars followed this pattern.


title: Alaska-class cruiser

text: The initial impetus for the "Alaska" design came from the deployments of Germany's so-called pocket battleships in the early 1930s. Though no actions were immediately taken, these thoughts were revived in the late 1930s when intelligence reports indicated Japan was planning or building "super cruisers" of the B-65 class that would be much more powerful than the current US heavy cruisers. The navy responded in 1938 when the General Board asked the Bureau of Construction and Repair to conduct a "comprehensive study of all types of naval vessels for consideration for a new and expanded building program". The US president at the time, Franklin Delano Roosevelt, may have taken a lead role in the development of the class with his desire to have a counter to raiding abilities of Japanese cruisers and German pocket battleships. While these claims are difficult to verify, others have speculated that their design was "politically motivated" rather than strategic.


title: Alaska-class cruiser

text: One historian described the design process of the "Alaska" class as "torturous" due to the numerous changes and modifications made to the ship's layouts by numerous departments and individuals. Indeed, there were at least nine different layouts, ranging from 6,000-ton anti-aircraft cruisers to "overgrown" heavy cruisers and a 38,000-ton mini-battleship that would have been armed with twelve 12-inch and sixteen 5-inch guns. The General Board, in an attempt to keep the displacement under 25,000 tons, allowed the designs to offer only limited underwater protection such that they were vulnerable, by comparison with a battleship, to torpedoes and to shells that fell short of the ship. The final design was a scaled-up that had the same machinery as the s. This ship combined a main armament of nine 12-inch guns with protection against 10-inch gunfire into a hull that was capable of .


title: Alaska-class cruiser

text: The "Alaska"s were officially funded in September 1940 along with a plethora of other ships as a part of the Two-Ocean Navy Act. Their role had been altered slightly: in addition to their surface-to-surface role, they were planned to protect carrier groups. This carrier escort capability was favored by Admiral King. Because of their bigger guns, greater size and increased speed, they would be more valuable in this role than heavy cruisers, and would provide insurance against reports that Japan was building super cruisers more powerful than the American heavy cruisers. The escort concept would also free the few existing heavy cruisers for scouting (their original purpose).


title: Alaska-class cruiser

text: Yet another drastic change was considered during the "carrier panic" in late 1941, when the US Navy realized that they needed more aircraft carriers as quickly as possible. Many hulls currently under construction were considered for conversion into carriers. At different times, they considered some or all of the light cruisers, the heavy cruisers, the "Alaska" class, and even one of the s; in the end, they chose the "Cleveland"s, resulting in the conversion of nine ships under construction at the New York Shipbuilding Corporation shipyard as the light aircraft carriers comprising the .


title: Alaska-class cruiser

text: A conversion of the "Alaska" cruisers to carriers was "particularly attractive" because of the many similarities between the design of the s and the "Alaska" class, including the same machinery. However, when "Alaska" cruisers were compared to the "Essex" carriers, converted cruisers would have had a shorter flight deck (so they could carry only 90% of the aircraft), would have been lower in the water, and could travel less at . In addition, the large cruiser design did not include the extensive underwater protections found in normal carriers due to the armor weight devoted to counter shell fire. Lastly, an "Alaska" conversion could not satisfy the navy's goal of having new aircraft carriers quickly, as the work needed to modify the ships into carriers would entail long delays. With this in mind, all planning to convert the "Alaska"s was abandoned on 7 January 1942.


title: Alaska-class cruiser

text: Of the six "Alaska"-class cruisers that were planned, only three were laid down. The first two, and , were completed by the New York Shipbuilding Corporation. Construction of , the third, was suspended on 16 April 1947 when she was 84% complete. The last three, "Philippines", "Puerto Rico", and "Samoa", were delayed since all available materials and slipways were allocated to higher priority ships, such as aircraft carriers, destroyers, and submarines. Construction had still not begun when steel shortages and a realization that these "cruiser-killers" had no more cruisers to hunt—as the fleets of Japanese cruisers had already been defeated by aircraft and submarines—made the ships "white elephants". As a result, construction of the last three members of the class never began, and they were officially cancelled on 24 June 1943.


title: Alaska-class cruiser

text: and served with the U.S. Navy during the last year of World War II, forming Cruiser Division 16 commanded by Rear Admiral Francis S. Low, USN. Similar to the fast battleships, their firepower was useful in shore bombardment, and their speed made them excellent fast carrier escorts, a role for which the two had become celebrated within the fleet by the war's end. Both "Alaska" and "Guam" protected when she was on her way to be repaired in Guam after being hit by two Japanese bombs. Afterward, "Alaska" supported the landings on Okinawa, while "Guam" went to San Pedro Bay to become the leader of a new task force, Cruiser Task Force 95, under the overall command of Vice Admiral Jesse B. Oldendorf. "Guam", joined by "Alaska", four light cruisers, and nine destroyers, led the task force into the East China and Yellow Seas to conduct raids upon shipping; however, they encountered only Chinese junks.


title: Alaska-class cruiser

text: After the war, both ships served as part of Task Force 71, the designation for the U.S. Seventh Fleet's North China Naval Force. Its mission was to support the allied occupation of the Korean peninsula. This included executing various show-the-flag operations along the western coast of Korea as well as in the Gulf of Chihli. These naval demonstrations preceded Operation Campus, the amphibious landing of U.S. Army ground forces at Jinsen, Korea, on 8 September 1945. Subsequently, both ships returned to the United States in mid-December 1945, and they were decommissioned and "mothballed" in 1947, after having spent 32 months ("Alaska") and 29 months ("Guam") in service.


title: Alaska-class cruiser

text: In 1958, the Bureau of Ships prepared two feasibility studies to explore whether "Alaska" and "Guam" could be suitably converted into guided-missile cruisers. The first study involved removing all of the guns in favor of four different missile systems. At $160 million, the cost of this proposed removal was seen as prohibitive, so a second study was initiated. The study left the forward batteries (the two 12-inch triple turrets and three of the 5-inch dual turrets) unchanged, and added a reduced version of the first plan on the stern of the ship. Even though the proposals would have cost approximately half as much as the first study's plan ($82 million), it was still seen as too expensive. As a result, both ships were stricken from the Naval Vessel Register on 1 June 1960. "Alaska" was sold for scrap on 30 June 1960, and "Guam" on 24 May 1961.


title: Alaska-class cruiser

text: The still-incomplete was considered for a conversion to be the Navy's first guided-missile cruiser; this thought lasted until 26 February 1952, when a different conversion to a "large command ship" was contemplated. In anticipation of the conversion, her classification was changed to CBC-1. This would have made her a "larger sister" to , but a year and a half later (9 October 1954) she was re-designated CB-3. "Hawaii" was stricken from the Naval Vessel Register on 9 June 1958 and was sold for scrap in 1959.


title: Alaska-class cruiser

text: The "Alaska" class, along with the Dutch Design 1047 battlecruiser and the Japanese Design B-65 cruiser, were specifically to counter the heavy cruisers being built by their naval rivals. All three have been described as "super cruisers", "large cruisers" or even "unrestricted cruisers", with some advocating that they even be considered as battlecruisers, however, they were "never" officially classified as capital ships, as that designation was reserved for true battlecruisers and battleships. Early in its development, the class used the US battlecruiser designation CC, which had been planned for the . However, the designation was changed to CB to reflect their new status, "large cruiser", and the practice of referring to them as battlecruisers was officially discouraged. The U.S. Navy then named the individual vessels after U.S. territories, rather than states (as was the tradition with battleships) or cities (for which cruisers were traditionally named), to symbolize the belief that these ships were supposed to play an intermediate role between heavy cruisers and fully-fledged battleships.


title: Alaska-class cruiser

text: The "Alaska" class certainly resembled contemporary US battleships (particularly the , , and ) in appearance, including the familiar 2-A-1 main battery and massive columnar mast. Their displacement was twice that of the newest heavy cruisers (the ), being only 5,000 tons less than the Washington Treaty's battleship standard displacement limit of 35,000 long tons (36,000 t) (unchanged through the final naval treaty, the London Treaty of 1936). They were also longer than several treaty battleships such as the and "North Carolina" class.


title: Alaska-class cruiser

text: In overall terms, the design of the "Alaska" class was scaled up from that of the (themselves the first cruisers in the US Navy to be designed without the limitations of the London Naval Treaty, and exceeding 10,000 tons standard displacement). The armor scheme of the "Alaska"s was deemed sufficient to provide protection against not only 8″ heavy cruiser shells but even the larger 11″ shells used by Germany's "pocket battleships" and -class battleships. However, they lacked the comprehensive underwater protection systems found on the larger US battleships or even on smaller, earlier battleships like the French and German "Scharnhorst" classes. Thus, the "Alaska"s were potentially as vulnerable to torpedoes as a heavy cruiser was, as well as to effects from near-misses and 'shorts'.


title: Alaska-class cruiser

text: In addition, despite being much larger than the "Baltimore" class, the secondary battery of the "Alaska"s was identical, with an improvement in light anti-aircraft battery size. Whereas the "Alaska" class carried twelve 5"/38 caliber in six twin turrets, fifty-six 40 mm, and thirty-four 20 mm guns, the "Baltimore" class carried the same number of 5"/38s, eight fewer 40 mm, and ten fewer 20 mm, considerably fewer than new U.S. battleships that had ten (save for ) 5"/38 twin mounts while older refitted U.S. battleships had eight. The dearth of anti-aircraft weaponry for a ship of its size was attributed to the amidships aircraft catapult like older US cruisers; while other modern U.S. cruisers and battleships opted for stern-mounted aircraft catapults to free up space along the central superstructure for more secondaries and anti-aircraft guns. In common with U.S. heavy cruisers, they had aircraft hangars and a single large rudder; the single rudder combined with the hull's long length gave the "Alaska"s a turning radius of , which exceeded the turning circles of larger battleships and carriers in the U.S. Navy. Author Richard Worth remarked that when they were finally completed, launched, and commissioned, they had the "size of a battleship but the capabilities of a cruiser". The "Alaska" class was similarly expensive to build and maintain as contemporary battleships, yet far less capable due to armor deficiencies, while able to put up an anti-aircraft defense comparable only to the much cheaper "Baltimore" cruisers.


title: Alaska-class cruiser

text: Despite these cruiser-like characteristics, and the U.S. Navy's insistence on their status as cruisers, the "Alaska" class has been frequently described as battlecruisers. The official navy magazine "All Hands" said "The "Guam" and her sister ship "Alaska" are the first American battle cruisers ever to be completed as such." Author Chris Knupp noted that while "other nations fulfilled the battlecruiser role by designing vessels like battleships, but stripped of armor and other features to gain speed", the United States "fulfilled the battlecruiser role by creating a larger, more powerful heavy cruiser...[whose] design already offered less armor and higher speed, but by enlarging the ship they gained the heavier firepower". The "Alaska"s percentage of armor tonnage, 28.4%, was slightly less than that of fast battleships; the British "King George V" class, the American "Iowa" class, and the battlecruiser/fast battleship all had armor percentages between 32 and 33%, whereas the "Lexington"-class battlecruiser design had a nearly identical armor percentage of 28.5%. In fact, older battlecruisers, such as (19.9%), had a significantly lower percentage. Armament-wise, they had much larger guns than contemporary heavy cruisers; while the "Baltimore" class only carried nine 8"/55 caliber Marks 12 and 15 guns,<ref name="8/55 12 and 15"></ref> the "Alaska" class carried nine 12"/50 caliber guns that were as good as, if not superior to, the old 14"/50 caliber gun used on the U.S. Navy's pre-treaty battleships.<ref name="12/50"></ref>


title: Alaska-class cruiser

text: As built, the "Alaska" class had nine 12"/50 caliber Mark 8 guns mounted in three triple (3-gun) turrets, with two turrets forward and one aft, a configuration known as "2-A-1". The previous 12" gun manufactured for the U.S. Navy was the Mark 7 version, which had been designed for and installed in the 1912 s. The Mark 8 was of considerably higher quality; in fact, it "was by far the most powerful weapon of its caliber ever placed in service". Designed in 1939, it weighed including the breech, and could sustain an average rate of fire of 2.4–3 rounds a minute. It could throw a Mark 18 armor-piercing shell at an elevation of 45°, and had a 344-shot barrel life (about 54 more than the much larger but similar 16"/50 caliber Mark 7 gun found on the "Iowa" battleships.). The "Alaska"s Mark 8 guns were the heaviest main battery of any cruiser of World War II, and as capable as the old 14"/45 caliber gun used on the U.S. Navy's pre-treaty battleships.


title: Alaska-class cruiser

text: The turrets were very similar to those of the "Iowa"-class battleships, but differed in several ways; for example, the "Alaska" class had a two-stage powder hoist instead of the "Iowa" class's one-stage hoist. These differences made operating the guns safer and increased the rate of fire. In addition, a "projectile rammer" was added to "Alaska" and "Guam". This machine transferred shells from storage on the ship to the rotating ring that fed the guns. However, this feature proved unsatisfactory, and it was not planned for "Hawaii" or any subsequent ships.


title: Alaska-class cruiser

text: Because "Alaska" and "Guam" were the only two ships to mount these guns, only ten turrets were made during the war (three for each ship including "Hawaii" and one spare). They cost $1,550,000 each and were the most expensive heavy guns purchased by the U.S. Navy in World War II.


title: Alaska-class cruiser

text: The secondary battery of the "Alaska" class was composed of twelve dual-purpose (anti-air and anti-ship) 5"/38 caliber guns in twin mounts, with four offset on each side of the superstructure (two on each beam) and two centerline turrets fore and aft. The 5"/38 was originally intended for use on only destroyers built in the 1930s, but by 1934 and into World War II it was being installed on almost all of the U.S.'s major warships, including aircraft carriers, battleships, and heavy and light cruisers.<ref name="5/38"></ref>


title: Alaska-class cruiser

text: Medium anti-aircraft armament (a key component of area air defence within a Task Group) on the "Alaska"-class ships was 56 x 40mm Bofors guns and for close-in air defence they carried 34 × 20 mm guns. These numbers may be compared with; 48 × 40 mm and 24 × 20 mm on the smaller "Baltimore"-class heavy cruisers, 60 x 40 mm and 36 x 20 mm on the larger battleship "North Carolina" at the end of the war, and 80 × 40 mm and 49 × 20 mm on the even larger "Iowa"-class battleships.


title: Alexander Scriabin

text: Alexander Nikolayevich Scriabin (; ; – ) was a Russian composer and virtuoso pianist. Before 1903, Scriabin was greatly influenced by the music of Frédéric Chopin and composed in a relatively tonal, late Romantic idiom. Later, and independently of his influential contemporary, Arnold Schoenberg, Scriabin developed a much more dissonant musical language that had transcended usual tonality but was not atonal, which accorded with his personal brand of metaphysics. Scriabin found significant appeal in the concept of Gesamtkunstwerk as well as synesthesia, and associated colours with the various harmonic tones of his scale, while his colour-coded circle of fifths was also inspired by theosophy. He is often considered the main Russian Symbolist composer and a major representative of the Russian Silver Age.


title: Alexander Scriabin

text: Scriabin was an innovator as well as one of the most controversial composer-pianists of the early 20th century. The "Great Soviet Encyclopedia" said of him, "no composer has had more scorn heaped on him or greater love bestowed." Leo Tolstoy described Scriabin's music as "a sincere expression of genius." Scriabin's oeuvre exerted a salient influence on the music world over time, and inspired composers such as Igor Stravinsky, Sergei Prokofiev, and Karol Szymanowski. But Scriabin's importance in the Russian and then Soviet musical scene, and internationally, drastically declined after his death. According to his biographer Faubion Bowers, "No one was more famous during their lifetime, and few were more quickly ignored after death." Nevertheless, his musical aesthetics have been reevaluated since the 1970s, and his ten published sonatas for piano and other works have been increasingly championed, garnering significant acclaim in recent years.


title: Alexander Scriabin

text: Scriabin was born in Moscow into a Russian noble family on Christmas Day, 1871, according to the Julian Calendar. His father, Nikolai Aleksandrovich Scriabin, then a student at the Moscow State University, belonged to a modest noble family founded by Scriabin's great-grandfather Ivan Alekseevich Scriabin, a soldier from Tula who had a brilliant military career and was granted hereditary nobility in 1819. Alexander's paternal grandmother, Elizaveta Ivanovna Podchertkova, daughter of a captain lieutenant, came from a wealthy noble house of the Novgorod Governorate. His mother, Lyubov Petrovna Scriabina (née Schetinina), was a concert pianist and a former student of Theodor Leschetizky. She belonged to an ancient dynasty that traced its history back to Rurik; its founder, Semyon Feodorovich Yaroslavskiy, nicknamed Schetina (from the Russian "schetina" meaning "stubble"), was the great-grandson of Vasili, Prince of Yaroslavl. She died of tuberculosis when Alexander was only a year old.


title: Alexander Scriabin

text: After her death, Nikolai Scriabin completed tuition in the Turkish language in St. Petersburg's Institute of Oriental Languages and left for Turkey. Like all his relatives, he followed a military path and served as a military attaché in the status of Active State Councillor; he was appointed an honorary consul in Lausanne during his later years. Alexander's father left the infant Sasha (as he was known) with his grandmother, great-aunt, and aunt. Scriabin's father later remarried, giving Scriabin a number of half-brothers and sisters. His aunt Lyubov (his father's unmarried sister) was an amateur pianist who documented Sasha's early life until he met his first wife. As a child, Scriabin was frequently exposed to piano playing; anecdotal references describe him demanding that his aunt play for him.


title: Alexander Scriabin

text: Apparently precocious, Scriabin began building pianos after becoming fascinated with piano mechanisms. He sometimes gave houseguests pianos he had built. Lyubov portrays Scriabin as very shy and unsociable with his peers, but appreciative of adult attention. According to one anecdote, Scriabin tried to conduct an orchestra composed of local children, an attempt that ended in frustration and tears. He performed his own plays and operas with puppets to willing audiences. He studied the piano from an early age, taking lessons with Nikolai Zverev, a strict disciplinarian, who was also the teacher of Sergei Rachmaninoff and other piano prodigies, though Scriabin was not a pensioner like Rachmaninoff.


title: Alexander Scriabin

text: In 1882, Scriabin enlisted in the Second Moscow Cadet Corps. As a student, he became friends with the actor Leonid Limontov, who in his memoirs recalls his reluctance to become friends with Scriabin, who was the smallest and weakest among all the boys and sometimes teased due to his stature. But Scriabin won his peers' approval at a concert where he performed on the piano. He ranked generally first in his class academically, but was exempt from drilling due to his physique and given time each day to practice piano.


title: Alexander Scriabin

text: Scriabin later studied at the Moscow Conservatory with Anton Arensky, Sergei Taneyev, and Vasily Safonov. He became a noted pianist despite his small hands, which could barely stretch to a ninth. Feeling challenged by Josef Lhévinne, he damaged his right hand while practicing Franz Liszt's "Réminiscences de Don Juan" and Mily Balakirev's "Islamey". His doctor said he would never recover, and he wrote his first large-scale masterpiece, his Piano Sonata No. 1 in F minor, as a "cry against God, against fate." It was the third sonata he wrote, but the first to which he gave an opus number (his second was condensed and released as the "Allegro Appassionato", Op. 4). He eventually regained the use of his hand.


title: Alexander Scriabin

text: In 1892 he graduated with the Little Gold Medal in piano performance, but did not complete a composition degree because of strong personality and musical differences with Arensky (whose faculty signature is the only one absent from Scriabin's graduation certificate) and an unwillingness to compose pieces in forms that did not interest him.


title: Alexander Scriabin

text: In 1894, Scriabin made his debut as a pianist in St. Petersburg, performing his own works to positive reviews. The same year, Mitrofan Belyayev agreed to pay Scriabin to compose for his publishing company (he published works by notable composers such as Nikolai Rimsky-Korsakov and Alexander Glazunov). In August 1897, Scriabin married the pianist Vera Ivanovna Isakovich, and then toured in Russia and abroad, culminating in a successful 1898 concert in Paris. That year he became a teacher at the Moscow Conservatory and began to establish his reputation as a composer. During this period he composed his cycle of études, Op. 8, several sets of preludes, his first three piano sonatas, and his only piano concerto, among other works, mostly for piano.


title: Alexander Scriabin

text: For five years, Scriabin was based in Moscow, during which time his old teacher Safonov conducted the first two of Scriabin's symphonies.


title: Alexander Scriabin

text: According to later reports, between 1901 and 1903 Scriabin envisioned writing an opera. He expounded its ideas in the course of normal conversation. The work would center around a nameless hero, a philosopher-musician-poet. Among other things, he would declare: "I am the apotheosis of world creation. I am the aim of aims, the end of ends." The Poem Op. 32 No. 2 and the "Poème tragique" Op. 34 were originally conceived as arias in the opera.


title: Alexander Scriabin

text: By the winter of 1904, Scriabin and his wife had relocated to Switzerland, where he began work on his Symphony No. 3. While living in Switzerland, Scriabin was separated legally from his wife, with whom he had had four children. The work was performed in Paris during 1905, where Scriabin was accompanied by Tatiana Fyodorovna Schloezer—a former pupil and the niece of Paul de Schlözer. With Schloezer, he had other children, including a son, Julian Scriabin, a precocious composer of several piano works who drowned in the Dnieper River at Kiev in 1919 at the age of 11.


title: Alexander Scriabin

text: With a wealthy sponsor's financial assistance, Scriabin spent several years travelling in Switzerland, Italy, France, Belgium and the United States, working on more orchestral pieces, including several symphonies. He also began to compose "poems" for the piano, a form with which he is particularly associated. While in New York City, in 1907, he became acquainted with the Canadian composer Alfred La Liberté, who became a personal friend and disciple.


title: Alexander Scriabin

text: In 1907, Scriabin settled in Paris with his family and was involved with a series of concerts organized by the impresario Sergei Diaghilev, who was actively promoting Russian music in the West at the time. He subsequently relocated to Brussels (rue de la Réforme 45) with his family.


title: Alexander Scriabin

text: In 1909, Scriabin permanently returned to Russia, where he continued to compose, working on increasingly grandiose projects. For some time before his death he had planned a multimedia work, to be performed in the Himalaya Mountains, that would cause a so-called "armageddon", "a grandiose religious synthesis of all arts which would herald the birth of a new world." Scriabin left only sketches for this piece, "Mysterium", although a preliminary part, "L'acte préalable" ("Prefatory Action"), was eventually made into a performable version by Alexander Nemtin. Part of that unfinished piece was performed with the title "Prefatory Action" by Vladimir Ashkenazy in Berlin with Aleksei Lyubimov at the piano. Nemtin eventually completed a second portion ("Mankind") and a third ("Transfiguration"), and Ashkenazy recorded his entire two-and-a-half-hour completion with the Deutsches Symphonie-Orchester Berlin for Decca. Several late pieces published during Scriabin's lifetime are believed to have been intended for "Mysterium", such as the Two Dances Op. 73.


title: Alexander Scriabin

text: Scriabin gave his last concert on 2 April 1915 in St. Petersburg, performing a large programme of his own works. He received rave reviews from music critics, who called his playing "most inspiring and affecting", and wrote, "his eyes flashed fire and his face radiated happiness". Scriabin himself wrote that during his performance of his Third Sonata, "I completely forgot I was playing in a hall with people around me. This happens very rarely to me on the platform."


title: Alexander Scriabin

text: Scriabin returned triumphantly to his Moscow apartment on 4 April. He noticed a resurgence of a little pimple on his right upper lip. He had mentioned the pimple as early as 1914 while in London. His temperature rose, and he took to bed and cancelled his Moscow concert for 11 April. The pimple became a pustule, then a carbuncle and a furuncle. Scriabin's doctor remarked that the sore looked "like purple fire". His temperature shot up to and he was now bedridden. Incisions were made on 12 April, but the sore had already begun to poison his blood, and he became delirious. Bowers writes: "intractably and inexplicably, a simple spot had grown into a terminal ailment." On 14 April 1915, at age 43 and at the height of his career, Scriabin died in his Moscow apartment.


title: Alexander Scriabin

text: Rather than seeking musical versatility, Scriabin was happy to write almost exclusively for solo piano and for orchestra. His earliest piano pieces resemble Frédéric Chopin's and include music in many genres that Chopin employed, such as the étude, the prelude, the nocturne, and the mazurka. Scriabin's music rapidly evolved over the course of his life. The mid- and late-period pieces use very unusual harmonies and textures.


title: Alexander Scriabin

text: The development of Scriabin's style can be traced in his ten piano sonatas: the earliest are composed in a fairly conventional late-Romantic manner and reveal the influence of Chopin and sometimes Franz Liszt, but the later ones are very different, the last five lacking a key signature. Many passages in them can be said to be tonally vague, though from 1903 through 1908, "tonal unity was almost imperceptibly replaced by harmonic unity."


title: Alexander Scriabin

text: Scriabin's first period is usually considered to last from his earliest pieces to his Second Symphony Op. 29. The works from this period adhere to the romantic tradition, employing common-practice harmonic language. But Scriabin's voice is present from the very beginning, in this case by his fondness for the dominant function and added tone chords.


title: Alexander Scriabin

text: Scriabin's early harmonic language was especially fond of the 13th dominant chord, usually with the 7th, 3rd, and 13th spelled in fourths. This voicing can also be seen in several of Chopin's works. According to Peter Sabbagh, this voicing was the main generating source of the later Mystic chord. More importantly, Scriabin was fond of simultaneously combining two or more different dominant-seventh enhancements, such as 9ths, altered 5ths, and raised 11ths. But despite these tendencies, slightly more dissonant than usual for the time, all these dominant chords were treated according to the traditional rules: the added tones resolved to the corresponding adjacent notes, and the whole chord was treated as a dominant, fitting inside tonality and diatonic, functional harmony.


title: Alexander Scriabin

text: This period begins with Scriabin's Fourth Piano Sonata Op. 30, and ends around his Fifth Sonata Op. 53 and the "Poem of Ecstasy" Op. 54. During this period, Scriabin's music becomes more chromatic and dissonant, yet still mostly adheres to functional tonality. As dominant chords are more and more extended, they gradually lose their tensive function. Scriabin wanted his music to have a radiant, shining feeling, and attempted this by raising the number of chord tones. During this time, complex forms like the mystic chord are hinted at, but still show their roots in Chopinesque harmony.


title: Alexander Scriabin

text: At first, the added dissonances resolve conventionally according to voice leading, but the focus slowly shifts to a system in which chord coloring is most important. Later on, fewer dissonances in the dominant chords are resolved. According to Sabbanagh, "the dissonances are frozen, solidified in a color-like effect in the chord"; the added notes become part of it.


title: Alexander Scriabin

text: According to Samson, while the sonata form of Scriabin's Sonata No. 5 has some meaning to the work's tonal structure, in his Sonata No. 6 and Sonata No. 7 formal tensions are created by the absence of harmonic contrast and "between the cumulative momentum of the music, usually achieved by textural rather than harmonic means, and the formal constraints of the tripartite mould". He also argues that the "Poem of Ecstasy" and "Vers la flamme" "find a much happier co-operation of 'form' and 'content and that later sonatas, such as No. 9, employ a more flexible sonata form.


title: Alexander Scriabin

text: According to Claude Herdon, in Scriabin's late music "tonality has been attenuated to the point of virtual extinction, although dominant sevenths, which are among the strongest indicators of tonality, preponderate. The progression of their roots in minor thirds or diminished fifths [...] dissipate the suggested tonality."


title: Alexander Scriabin

text: Varvara Dernova writes, "The tonic continued to exist, and, if necessary, the composer could employ it [...] but in the great majority of cases, he preferred the concept of a tonic in distant perspective, so to speak, rather than the actually sounding tonic [...] The relationship of the tonic and dominant functions in Scriabin's work is changed radically; for the dominant actually appears and has a varied structure, while the tonic exists only as if in the imagination of the composer, the performer, and the listener."


title: Alexander Scriabin

text: Most of the music of this period is built on the acoustic and octatonic scales, as well as the nine-note scale resulting from their combination.


title: Alexander Scriabin

text: Scriabin was interested in Friedrich Nietzsche's Übermensch theory, and later became interested in theosophy. Both influenced his music and musical thought. During 1909–10 he lived in Brussels, becoming interested in Jean Delville's Theosophist philosophy and continuing his reading of Helena Blavatsky.


title: Alexander Scriabin

text: Theosophist and composer Dane Rudhyar wrote that Scriabin was "the one great pioneer of the new music of a reborn Western civilization, the father of the future musician", and an antidote to "the Latin reactionaries and their apostle, Stravinsky" and the "rule-ordained" music of "Schoenberg's group." Scriabin developed his own very personal and abstract mysticism based on the role of the artist in relation to perception and life affirmation. His ideas on reality seem similar to Platonic and Aristotelian theory, though much less coherent. The main sources of his philosophy can be found in his numerous unpublished notebooks, in one of which he wrote "I am God". The notebooks contain complex and technical diagrams explaining his metaphysics. Scriabin also used poetry to express his philosophical notions, though arguably much of his philosophical thought was translated into music, the most recognizable example being the Ninth Sonata ("the Black Mass").


title: Alexander Scriabin

text: Though Scriabin's late works are often considered to be influenced by synesthesia, an involuntary condition wherein one experiences sensation in one sense in response to stimulus in another, it is doubted that Scriabin actually experienced this. His colour system, unlike most synesthetic "experience", accords with the circle of fifths, which tends to prove it was mostly a conceptual system based on Sir Isaac Newton's "Opticks".


title: Alexander Scriabin

text: Scriabin did not, for his theory, recognize a difference between major and a minor tonality with the same tonic, such as C minor and C major. Indeed, influenced by theosophy, he developed his system of synesthesia toward what would have been a pioneering multimedia performance: his unrealized magnum opus "Mysterium" was to have been a weeklong performance including music, scent, dance, and light in the foothills of the Himalayas that was somehow to bring about the world's dissolution in bliss.


title: Alexander Scriabin

text: In his autobiographical "Recollections," Sergei Rachmaninoff recorded a conversation he had had with Scriabin and Nikolai Rimsky-Korsakov about Scriabin's association of colour and music. Rachmaninoff was surprised to find that Rimsky-Korsakov agreed with Scriabin about associations of musical keys with colors; himself skeptical, Rachmaninoff made the obvious objection that the two composers did not always agree on the colours involved. Both maintained that D major is golden-brown, but Scriabin linked E-flat major with red-purple, while Rimsky-Korsakov favored blue. Rimsky-Korsakov protested that a passage in Rachmaninoff's opera "The Miserly Knight" accorded with their claim: the scene in which the Old Baron opens treasure chests to reveal gold and jewels glittering in torchlight is in D major. Scriabin told Rachmaninoff, "your intuition has unconsciously followed the laws whose very existence you have tried to deny."


title: Alexander Scriabin

text: Scriabin wrote only a small number of orchestral works, but they are among his most famous, and some are performed frequently. They include a piano concerto (1896), and five symphonic works: three numbered symphonies, "The Poem of Ecstasy" (1908), and "" (1910), which includes a part for a machine known as a "clavier à lumières", also known as a "Luce" (Italian for "light"), a colour organ designed specifically for the performance of Scriabin's tone poem. It was played like a piano, but projected coloured light on a screen in the concert hall rather than sound. Most performances of the piece (including the premiere) have omitted this light element, although a performance in New York City in 1915 projected colours onto a screen. It has been erroneously claimed that this performance used the "colour-organ" invented by English painter A. Wallace Rimington; in fact, it was a novel construction supervised personally and built in New York specifically for the performance by Preston S. Miller, the president of the Illuminating Engineering Society.


title: Alexander Scriabin

text: On 22 November 1969, the work was fully realized, making use of the composer's color score as well as newly developed laser technology on loan from Yale's Physics Department, by John Mauceri and the Yale Symphony Orchestra and designed by Richard N. Gould, who projected the colors into the auditorium reflected by Mylar vests worn by the audience. The Yale Symphony repeated the presentation in 1971 and brought the work to Paris that year for what was perhaps its Paris premiere at the Théâtre des Champs Élysées. The piece was reprised at Yale again in 2010 (, who, with Justin Townsend, wrote "Scriabin and the Possible").


title: Alexander Scriabin

text: Scriabin's original colour keyboard, with its associated turntable of coloured lamps, is preserved in his apartment near the Arbat in Moscow, which is now a museum dedicated to his life and works.


title: Alexander Scriabin

text: Scriabin himself made recordings of 19 of his own works, using 20 piano rolls, six for the Welte-Mignon, and 14 for Ludwig Hupfeld of Leipzig. The Welte rolls were recorded in February 1910 in Moscow, and have been replayed and published on CD. Those recorded for Hupfeld include the piano sonatas Op. 19 and 23. While this indirect evidence of Scriabin's pianism prompted a mixed critical reception, close analysis of the recordings within the context of the limitations of the particular piano roll technology can shed light on the free style he favoured for his own works, characterized by extemporary variations in tempo, rhythm, articulation, dynamics, and sometimes even the notes.


title: Alexander Scriabin

text: Pianists who have performed Scriabin to particular critical acclaim include Vladimir Sofronitsky, Vladimir Horowitz and Sviatoslav Richter. Sofronitsky never met Scriabin, as his parents forbade him to attend a concert due to illness. Sofronitsky said he never forgave them, but he married Scriabin's daughter Elena. According to Horowitz, when he played for Scriabin as an 11-year-old, Scriabin responded enthusiastically and encouraged him to pursue a full musical and artistic education. When Rachmaninoff performed Scriabin's music, Scriabin criticized his pianism and his admirers as earthbound.


title: Alexander Scriabin

text: Surveys of the solo piano works have been recorded by Gordon Fergus-Thompson, Pervez Mody, Maria Lettberg, Joseph Villa, and Michael Ponti. The complete published sonatas have also been recorded by Dmitri Alexeev, Vladimir Ashkenazy, Robert Taub, Håkon Austbø, Boris Berman, Bernd Glemser, Marc-André Hamelin, Yakov Kasman, Ruth Laredo, John Ogdon, Garrick Ohlsson, Roberto Szidon, Anatol Ugorski, Mikhail Voskresensky, and Igor Zhukov, among others.


title: Alexander Scriabin

text: Other prominent performers of Scriabin's piano music include Samuil Feinberg, Elena Bekman-Shcherbina, Nikolai Demidenko, Marta Deyanova, Sergio Fiorentino, Andrei Gavrilov, Emil Gilels, Glenn Gould, Andrej Hoteev, Evgeny Kissin, Anton Kuerti, Elena Kuschnerova, Piers Lane, Eric Le Van, Alexander Melnikov, Stanislav Neuhaus, Artur Pizarro, Mikhail Pletnev, Jonathan Powell, Burkard Schliessmann, Grigory Sokolov, Alexander Satz, Yevgeny Sudbin, Matthijs Verschoor, Arcadi Volodos, Roger Woodward, Evgeny Zarafiants and Margarita Shevchenko.


title: Alexander Scriabin

text: In 2015, German-Australian pianist Stefan Ammer, as a part of "The Scriabin Project Concert Series", joined his pupils Mekhla Kumar, Konstantin Shamray and Ashley Hribar to honour Scriabin at various venues in Australia.


title: Alexander Scriabin

text: Scriabin's funeral, on 16 April 1915, was attended by so many people that tickets had to be issued. Rachmaninoff, a pallbearer, subsequently embarked on a grand tour of Russia, performing only Scriabin's music for the family's benefit. It was the first time Rachmaninoff had publicly performed piano music other than his own. Sergei Prokofiev admired Scriabin, and his "Visions fugitives" bears great likeness to Scriabin's tone and style. Another admirer was the English composer Kaikhosru Sorabji, who promoted Scriabin even during the years when his popularity had decreased greatly. Aaron Copland praised Scriabin's thematic material as "truly individual, truly inspired", but criticized Scriabin for putting "this really new body of feeling into the strait-jacket of the old classical sonata-form, recapitulation and all", calling this "one of the most extraordinary mistakes in all music."


title: Alexander Scriabin

text: The work of Nikolai Roslavets, unlike Prokofiev's and Stravinsky's, is often seen as a direct extension of Scriabin's. But unlike Scriabin's, Roslavets's music was not explained with mysticism and eventually was given theoretical explication by the composer. Roslavets was not alone in his innovative extension of Scriabin's musical language, as quite a few Soviet composers and pianists, such as Samuil Feinberg, Sergei Protopopov, Nikolai Myaskovsky, and Alexander Mosolov followed this legacy until Stalinist politics quelled it in favor of Socialist Realism.


title: Alexander Scriabin

text: Scriabin's music was greatly disparaged in the West during the 1930s. In the UK Sir Adrian Boult refused to play the Scriabin selections chosen by the BBC programmer Edward Clark, calling it "evil music", and even banned Scriabin's music from broadcasts in the 1930s. In 1935, Gerald Abraham called Scriabin a "sad pathological case, erotic and egotistic to the point of mania". At the same time, the pianist Edward Mitchell, who compiled a catalogue of Scriabin's piano music in 1927, was championing his music in recitals and regarded him as "the greatest composer since Beethoven".


title: Alexander Scriabin

text: Scriabin's music has since undergone a total rehabilitation and can be heard in major concert halls worldwide. In 2009, Roger Scruton called Scriabin "one of the greatest of modern composers".


title: Alexander Scriabin

text: Scriabin was the uncle of Metropolitan Anthony Bloom of Sourozh, a renowned bishop in the Russian Orthodox Church who directed the Russian Orthodox diocese in Great Britain between 1957 and 2003. Scriabin was not a relative of Soviet Minister of Foreign Affairs Vyacheslav Molotov, whose birth name was Vyacheslav Skryabin. In his memoirs published by Felix Chuyev under the Russian title "Молотов, Полудержавный властелин", Molotov explains that his brother Nikolay Skryabin, who was also a composer, had adopted the name Nikolay Nolinsky in order not to be confused with Alexander Scriabin.


title: Alexander Scriabin

text: Scriabin's second wife, Tatiana Fyodorovna Schlözer, was the niece of the pianist and composer Paul de Schlözer. Her brother was the music critic Boris de Schlözer. Scriabin had seven children in total: from his first marriage Rimma (Rima), Elena, Maria and Lev, and from his second Ariadna, Julian and Marina. Rimma died of intestinal issues in 1905 at age seven. Elena Scriabina became the first wife of the pianist Vladimir Sofronitsky after her father's death; Sofronitsky never met the composer. Maria Skryabina (1901–1989) became an actress at the Second Moscow Art Theatre and the wife of director Vladimir Tatarinov. Lev also died at age seven, in 1910. At this point, relations with Scriabin's first wife had significantly deteriorated, and Scriabin did not meet her at the funeral.


title: Alexander Scriabin

text: Scriabin's daughter Ariadna Scriabina (1906–1944) became a hero of the French Resistance, and was posthumously awarded the Croix de Guerre and the Médaille de la Résistance. Her third marriage was to the poet and WWII Resistance fighter David Knut, after which she converted to Judaism and took the name Sarah. She co-founded the Zionist resistance movement Armée Juive and was responsible for communications between the command in Toulouse and the partisan forces in the Tarn district and for taking weapons to the partisans, which resulted in her death when she was ambushed by the French Militia.


title: Alexander Scriabin

text: Ariadna Scriabina's daughter (by her first marriage to French composer David Lazarus), Betty Knut-Lazarus, became a famous teenage heroine of the French Resistance, personally winning the Silver Star from George S. Patton, as well as the French Croix de Guerre. After the war she became an active member of the Zionist Lehi (Stern Gang), undertaking special operations for the militant group, and she was imprisoned in 1947 for launching a terrorist letter bomb campaign against British targets and planting explosives on British ships that had been trying to prevent Jewish immigrants from travelling to Mandatory Palestine. Regarded as a heroine in France, she was released prematurely but imprisoned a year later in Israel for alleged involvement in the killing of Folke Bernadotte. The charges were later dropped. After her release from prison, she settled at age 23 in Beersheba, Israel, where she had three children and founded a nightclub that became Beersheba's cultural centre. She died at age 38.


title: Alexander Scriabin

text: In total, three of Ariadna Scriabina's children immigrated to Israel after the war, where her son Eli (born 1935) became a sailor in the Israeli Navy and a noted classical guitarist, while her son Joseph (Yossi, born 1943) served in the Israeli special forces, before becoming a poet, publishing many poems dedicated to his mother. One of her great-grandsons, via Betty (Elizabeth) Lazarus, Elisha Abas, is an Israeli concert pianist.


title: Alexander Scriabin

text: Julian Scriabin, a child prodigy, was a composer and pianist, but died by drowning at age 11 in Ukraine.


title: Vadim Nemkov

text: Vadim Aleksandrovich Nemkov (; born 20 June 1992) is a Russian professional mixed martial artist and a four-time Combat Sambo World Champion. He currently competes in the Light Heavyweight division of Bellator, where he is the current Bellator Light Heavyweight Champion. As of May 10, 2022, he was #2 in the Bellator men's pound-for-pound rankings. Nemkov is the younger brother of Viktor Nemkov and is a protégé of the MMA Heavyweight and Sambo master Fedor Emelianenko. He is currently ranked as the #1 Light Heavyweight in the world by Sherdog.com.


title: Vadim Nemkov

text: Born June 20, 1992 in Belgorod. In his youth, together with Viktor, he often visited Stary Oskol. Vadim preferred sports sambo and went under the tutelage of Voronov. Starting with winning the bronze medal in 2013 in the World Sambo Championships 100 kg class, he has won four times between 2014 and 2019.


title: Vadim Nemkov

text: The athlete received his higher education at the Belgorod State Technological University. V. G. Shukhov. Then he served in the army.


title: Vadim Nemkov

text: Between June 2013 and August 2015 Nemkov accumulated a 4–0 record in Russian regional promotions, winning all 4 fights via stoppage.


title: Vadim Nemkov

text: In November 2015, the Japanese fight promotion–and successor to Pride Fighting Championships–Rizin Fighting Federation announced the brackets for a Heavyweight Grand Prix to be held on December 29 and 31. It was announced Nemkov would make his Rizin debut against Goran Reljic. He won the bout by knockout in the first round, advancing to the semi-finals 2 days later. In the semi-finals on December 31, Nemkov faced Jiří Procházka, losing via retirement due to being too exhausted at the end of the first (10 minute) round.


title: Vadim Nemkov

text: Nemkov returned to face Karl Albrektsson on April 16, 2016 at Rizin 1. He lost the fight via split-decision.


title: Vadim Nemkov

text: After a fight in Russia for Fight Nights Global, Nemkov again competed in Rizin against Alison Vicente on December 29, 2016 at | . He won the fight via TKO in the first round.


title: Vadim Nemkov

text: On June 17, 2016, Nemkov fought Mikołaj Różanski on the card in St. Petersburg, Russia. He won the fight via TKO in the first round.


title: Vadim Nemkov

text: On August 25, 2017, Nemkov made his Bellator debut against Philipe Lins at Bellator 182. He won the fight by knockout in the first round.


title: Vadim Nemkov

text: In his second bout for the promotion, Nemkov faced former Bellator Light Heavyweight champion Liam McGeary at Bellator 194 on February 16, 2017. He won the fight via TKO due to leg kicks in the third round.


title: Vadim Nemkov

text: Nemkov again faced a former Bellator Light Heavyweight champion in Phil Davis on November 15, 2018 at Bellator 209. He won the closely contested bout via split decision.


title: Vadim Nemkov

text: In the beginning of 2019, Nemkov signed a new, multi-fight contract with Bellator MMA. As the first fight of the contract, Nemkov faced former Bellator middleweight champion Rafael Carvalho at Bellator 230 on October 12, 2019. Nemkov won the bout via submission in the second round.