title: Warren Spahn

text: Spahn maintained that "A pitcher needs two pitches — one they're looking for, and one to cross 'em up." He was thus able to maintain his position as one of the game's top pitchers until his 19th season in the sport. This was exemplified by his start on July 2, 1963. Facing the San Francisco Giants, the 42-year-old Spahn became locked into a storied pitchers' duel with 25-year-old Juan Marichal. The score was still 0–0 after more than four hours when Willie Mays hit a game-winning solo home run off Spahn with one out in the bottom of the 16th inning. Marichal's manager, Alvin Dark, visited the mound in the 9th, 10th, 11th, 13th, and 14th innings, and was talked out of removing Marichal each time. During the 14th-inning visit, Marichal told Dark, "Do you see that man pitching for the other side? Do you know that man is 42 years old? I'm only 25. If that man is on the mound, nobody is going to take me out of here." Marichal ended up throwing 227 pitches in the complete game 1–0 win, while Spahn threw 201 in the loss, allowing nine hits and one walk. Hall of Famer Carl Hubbell, who was in attendance that night, said of Spahn, "He ought to will his body to medical science."


title: Warren Spahn

text: Spahn threw his first no-hitter against the Philadelphia Phillies on September 16, 1960, when he was 39. He pitched his second no-hitter the following year on April 28, 1961, against the Giants. By the last two seasons of his career, Spahn was the oldest active player in baseball. He lost this distinction for a single day: September 25, 1965, when 58-year-old Satchel Paige pitched three innings.


title: Warren Spahn

text: Spahn's seemingly ageless ability caused Stan Musial to quip, "[Spahn] will never get into the Hall of Fame. He won't stop pitching."


title: Warren Spahn

text: Following the 1964 season, after 25 years with the franchise, Spahn was sold by the Braves to the New York Mets. Braves manager Bobby Bragan predicted, "Spahnie won't win six games with the Mets." Spahn took on the dual role of pitcher and pitching coach. Spahn won four and lost 12 at which point the Mets put Spahn on waivers. He was put on waivers on July 15, 1965, and released on July 22, 1965. He signed with the San Francisco Giants, with whom he appeared in his final major league game on October 1, 1965, at the age of 44. With the Mets and Giants combined, he won seven games for the season—his last in the major leagues. His number would be retired by the Braves later that year.


title: Warren Spahn

text: In a 22-season major league career, Spahn posted a 363–245 win–loss record with 2,583 strikeouts and a 3.09 ERA in innings pitched, including 63 shutouts and 382 complete games. His 363 career win total ranks sixth overall in major league history; it is also the most by a pitcher who played his entire career in the post-1920 live-ball era. Spahn still holds the major league record for most career wins by a left-handed pitcher. His 63 career shutouts is the highest total in the live-ball era and sixth highest overall.


title: Warren Spahn

text: His 2,583 career strikeouts were the most by a left-handed pitcher in Major League Baseball history until he was later on surpassed by Mickey Lolich in . For several decades, Spahn's Hall of Fame plaque contained a typographical error, crediting him with 2,853 strikeouts.


title: Warren Spahn

text: Spahn managed the Tulsa Oilers for five seasons, winning 372 games from 1967 to 1971. His 1968 club won the Pacific Coast League championship. He also coached for the Mexico City Tigers, and pitched a handful of games there. He was a pitching coach with the Cleveland Indians, in the minor leagues for the California Angels, and for six years, with Japan's Hiroshima Toyo Carp.


title: Warren Spahn

text: For many years he owned and ran the large Diamond Star Ranch south of Hartshorne, Oklahoma before retiring to live near a golf course in Broken Arrow.


title: Warren Spahn

text: Spahn died of natural causes, at his home in Broken Arrow, Oklahoma. He is interred in the Elmwood Cemetery in Hartshorne. After his death, a street was named after him in Buffalo, New York that connects Abbott Road with Seneca Street, through Cazenovia Park, in the heart of South Buffalo. The street is near South Park High School, Spahn's alma mater.


title: Warren Spahn

text: A few months before his death, Spahn attended the unveiling of a statue outside Atlanta's Turner Field. When the Braves vacated Turner Field to move into their current home of Truist Park, the statue was moved, and now stands outside that ballpark. The statue depicts Spahn in the middle of one of his leg kicks. The statue was created by Shan Gray, who has sculpted numerous other statues of athletes which stand in Oklahoma, including two others of Spahn. One resides at the Oklahoma Sports Hall of Fame located at the Oklahoma City Bricktown Ballpark and the other is located in Hartshorne, Oklahoma at the Hartshorne Event Center.


title: Warren Spahn

text: Spahn was selected for the all-time All-Star baseball team by "Sports Illustrated" magazine in 1991, as the left-handed pitcher. The other selections were: outfielders Ty Cobb, Babe Ruth, and Willie Mays; shortstop Cal Ripken, third baseman Mike Schmidt, second baseman Jackie Robinson, first baseman Lou Gehrig, catcher Mickey Cochrane, right-handed pitcher Christy Mathewson, relief pitcher Dennis Eckersley, and manager Casey Stengel.


title: Warren Spahn

text: Spahn was elected to the Wisconsin Athletic Hall of Fame in 1973 and became a charter member of both the Buffalo Baseball Hall of Fame in 1985, and the Greater Buffalo Sports Hall of Fame in 1991.


title: Warren Spahn

text: In 1999, Spahn was inducted into the Braves Hall of Fame. Also in 1999, editors at "The Sporting News" ranked Warren Spahn 21st on their list of "Baseball's 100 Greatest Players".


title: Warren Spahn

text: On April 4, 2009, the facilities of Broken Arrow Youth Baseball, in Spahn's longtime home of Broken Arrow, Oklahoma, were dedicated in his honor.


title: Warren Spahn

text: In their "Naked Gun" films, producers Zucker, Abrahams and Zucker sometimes included joke credits. The trio, who were Milwaukee-area natives, included Spahn in the closing credits once, with the disclaimer, "He's not in the film, but he's still our all-time favorite left-hand pitcher."


title: Warren Spahn

text: Spahn also made his acting debut with a cameo appearance as a German soldier in a 1963 episode (S2E8 "Glow Against the Sky") of the television series "Combat!"


title: Warren Spahn

text: In 2013, the Bob Feller Act of Valor Award honored Spahn as one of 37 Baseball Hall of Fame members for his service in the United States Army during World War II.


title: Pythagoras (freedman)

text: Pythagoras was a freedman of the Roman emperor Nero, whom he allegedly married in a public ceremony in which the emperor took the role of bride.


title: Pythagoras (freedman)

text: In the year 64, during the Saturnalia, Tigellinus offered a series of banquets to Nero, after a few days of which Nero performed a marriage to Pythagoras:


title: Pythagoras (freedman)

text: Suetonius tells the story of Nero's being the bride to a freedman named "Doryphorus". Both Tacitus and Dio Cassius mention only "Pythagoras". According to Champlin, it is improbable that a second such scandalous wedding occurred without being noted, and the simplest solution is that Suetonius mistook the name. Doryphorus, one of the wealthiest and most powerful of Nero's freedmen, died in the year 62 before the banquets of Tigellinus, where Nero, covered with skins of wild animals, was let loose from a cage and attacked the private parts of men and women bound to stakes, after which he was dispatched by his freedman "Doryphorus". As "doryphoros" means "spear bearer" ("Δορυφόρος") like the statue, it may be that the latinized word had just capitalized the Greek word.


title: Barnard's Star

text: Barnard's Star is a red dwarf about six light-years from Earth in the constellation of Ophiuchus. It is the fourth-nearest-known individual star to the Sun after the three components of the Alpha Centauri system, and the closest star in the northern celestial hemisphere. Its stellar mass is about 14% of the Sun's. Despite its proximity, the star has a dim apparent magnitude of +9.5 and is invisible to the unaided eye; it is much brighter in the infrared than in visible light.


title: Barnard's Star

text: The star is named after E. E. Barnard, an American astronomer who in 1916 measured its proper motion as 10.3 arcseconds per year relative to the Sun, the highest known for any star. The star had previously appeared on Harvard University photographic plates in 1888 and 1890.


title: Barnard's Star

text: Barnard's Star is among the most studied red dwarfs because of its proximity and favorable location for observation near the celestial equator. Historically, research on Barnard's Star has focused on measuring its stellar characteristics, its astrometry, and also refining the limits of possible extrasolar planets. Although Barnard's Star is ancient, it still experiences star flare events, one being observed in 1998.


title: Barnard's Star

text: From the early 1960s to the early 1970s, Peter van de Kamp argued that planets orbited Barnard's Star. His specific claims of large gas giants were refuted in the mid-1970s after much debate.


title: Barnard's Star

text: In November 2018, a candidate super-Earth planetary companion known as Barnard's Star b was reported to orbit Barnard's Star. It was believed to have a minimum of (Earth masses) and orbit at . However, work presented in July 2021 cast doubts upon the existence of this planet.


title: Barnard's Star

text: In 2016, the International Astronomical Union organized a Working Group on Star Names (WGSN) to catalogue and standardize proper names for stars. The WGSN approved the name "Barnard's Star" for this star on 1 February 2017 and it is now included in the List of IAU-approved Star Names.


title: Barnard's Star

text: Barnard's Star is a red dwarf of the dim spectral type M4, and it is too faint to see without a telescope. Its apparent magnitude is 9.5.


title: Barnard's Star

text: At 7–12 billion years of age, Barnard's Star is considerably older than the Sun, which is 4.5 billion years old, and it might be among the oldest stars in the Milky Way galaxy. Barnard's Star has lost a great deal of rotational energy, and the periodic slight changes in its brightness indicate that it rotates once in 130 days (the Sun rotates in 25). Given its age, Barnard's Star was long assumed to be quiescent in terms of stellar activity. In 1998, astronomers observed an intense stellar flare, showing that Barnard's Star is a flare star. Barnard's Star has the variable star designation V2500 Ophiuchi. In 2003, Barnard's Star presented the first detectable change in the radial velocity of a star caused by its motion. Further variability in the radial velocity of Barnard's Star was attributed to its stellar activity.


title: Barnard's Star

text: The proper motion of Barnard's Star corresponds to a relative lateral speed of 90km/s. The 10.3 arcseconds it travels in a year amount to a quarter of a degree in a human lifetime, roughly half the angular diameter of the full Moon.


title: Barnard's Star

text: The radial velocity of Barnard's Star towards the Sun is measured from its blueshift to be −110km/s. Combined with its proper motion, this gives a space velocity (actual velocity relative to the Sun) of −142.6 ± 0.2km/s. Barnard's Star will make its closest approach to the Sun around 11,800 CE, when it will approach to within about 3.75 light-years.


title: Barnard's Star

text: Proxima Centauri is the closest star to the Sun at a position currently 4.24 light-years distant from it. However, despite Barnard's Star's even closer pass to the Sun in 11,800 CE, it will still not then be the nearest star, since by that time Proxima Centauri will have moved to a yet-nearer proximity to the Sun. At the time of the star's closest pass by the Sun, Barnard's Star will still be too dim to be seen with the naked eye, since its apparent magnitude will only have increased by one magnitude to about 8.5 by then, still being 2.5 magnitudes short of visibility to the naked eye.


title: Barnard's Star

text: Barnard's Star has a mass of about 0.14 solar masses (), and a radius 0.2 times that of the Sun. Thus, although Barnard's Star has roughly 150 times the mass of Jupiter (), its radius is only roughly 2 times larger, due to its much higher density. Its effective temperature is 3,100 kelvin, and it has a visual luminosity of 0.0004 solar luminosities. Barnard's Star is so faint that if it were at the same distance from Earth as the Sun is, it would appear only 100 times brighter than a full moon, comparable to the brightness of the Sun at 80 astronomical units.


title: Barnard's Star

text: Barnard's Star has 10–32% of the solar metallicity. Metallicity is the proportion of stellar mass made up of elements heavier than helium and helps classify stars relative to the galactic population. Barnard's Star seems to be typical of the old, red dwarf population II stars, yet these are also generally metal-poor halo stars. While sub-solar, Barnard's Star's metallicity is higher than that of a halo star and is in keeping with the low end of the metal-rich disk star range; this, plus its high space motion, have led to the designation "intermediate population II star", between a halo and disk star. Although some recently published scientific papers have given much higher estimates for the metallicity of the star, very close to the Sun's level, between 75 and 125% of the solar metallicity.


title: Barnard's Star

text: In November 2018 an international team of astronomers announced the detection of a candidate super-Earth orbiting in relatively close proximity to Barnard's Star. Led by Ignasi Ribas of Spain their work, conducted over two decades of observation, provided strong evidence of the planet's existence. However, the existence of the planet was questioned in 2021, because the radial velocity signal with the planetary orbital period apparently vanished in newer data.


title: Barnard's Star

text: Dubbed Barnard's Star b, the planet was found near the stellar system's snow line, which is an ideal spot for the icy accretion of proto-planetary material. It orbits at 0.4AU every 233 days and has a proposed mass of . The planet is most likely frigid, with an estimated surface temperature of about , and lies outside Barnard Star's presumed habitable zone. However, more work is needed on the planet's atmospherics to better understand surface conditions. Direct imaging of the planet and its tell-tale light signature are possible in the decade after its discovery. Further faint and unaccounted-for perturbations in the system suggest there may be a second planetary companion even farther out.


title: Barnard's Star

text: For a decade from 1963 to about 1973, a substantial number of astronomers accepted a claim by Peter van de Kamp that he had detected, by using astrometry, a perturbation in the proper motion of Barnard's Star consistent with its having one or more planets comparable in mass with Jupiter. Van de Kamp had been observing the star from 1938, attempting, with colleagues at the Sproul Observatory at Swarthmore College, to find minuscule variations of one micrometre in its position on photographic plates consistent with orbital perturbations that would indicate a planetary companion; this involved as many as ten people averaging their results in looking at plates, to avoid systemic individual errors. Van de Kamp's initial suggestion was a planet having about at a distance of 4.4AU in a slightly eccentric orbit, and these measurements were apparently refined in a 1969 paper. Later that year, Van de Kamp suggested that there were two planets of 1.1 and .


title: Barnard's Star

text: Other astronomers subsequently repeated Van de Kamp's measurements, and two papers in 1973 undermined the claim of a planet or planets. George Gatewood and Heinrich Eichhorn, at a different observatory and using newer plate measuring techniques, failed to verify the planetary companion. Another paper published by John L. Hershey four months earlier, also using the Swarthmore observatory, found that changes in the astrometric field of various stars correlated to the timing of adjustments and modifications that had been carried out on the refractor telescope's objective lens; the claimed planet was attributed to an artifact of maintenance and upgrade work. The affair has been discussed as part of a broader scientific review.


title: Barnard's Star

text: Van de Kamp never acknowledged any error and published a further claim of two planets' existence as late as 1982; he died in 1995. Wulff Heintz, Van de Kamp's successor at Swarthmore and an expert on double stars, questioned his findings and began publishing criticisms from 1976 onwards. The two men were reported to have become estranged because of this.


title: Barnard's Star

text: For the more than four decades between van de Kamp's rejected claim and the eventual announcement of a planet candidate, Barnard's Star was carefully studied and the mass and orbital boundaries for possible planets were slowly tightened. M dwarfs such as Barnard's Star are more easily studied than larger stars in this regard because their lower masses render perturbations more obvious.


title: Barnard's Star

text: Null results for planetary companions continued throughout the 1980s and 1990s, including interferometric work with the Hubble Space Telescope in 1999. Gatewood was able to show in 1995 that planets with were impossible around Barnard's Star, in a paper which helped refine the negative certainty regarding planetary objects in general. In 1999, the Hubble work further excluded planetary companions of with an orbital period of less than 1,000 days (Jupiter's orbital period is 4,332 days), while Kuerster determined in 2003 that within the habitable zone around Barnard's Star, planets are not possible with an ""M" sin "i"" value greater than 7.5 times the mass of the Earth (), or with a mass greater than 3.1 times the mass of Neptune (much lower than van de Kamp's smallest suggested value).


title: Barnard's Star

text: In 2013, a research paper was published that further refined planet mass boundaries for the star. Using radial velocity measurements, taken over a period of 25 years, from the Lick and Keck Observatories and applying Monte Carlo analysis for both circular and eccentric orbits, upper masses for planets out to 1,000-day orbits were determined. Planets above two Earth masses in orbits of less than 10 days were excluded, and planets of more than ten Earth masses out to a two-year orbit were also confidently ruled out. It was also discovered that the habitable zone of the star seemed to be devoid of roughly Earth-mass planets or larger, save for face-on orbits.


title: Barnard's Star

text: Even though this research greatly restricted the possible properties of planets around Barnard's Star, it did not rule them out completely as terrestrial planets were always going to be difficult to detect. NASA's Space Interferometry Mission, which was to begin searching for extrasolar Earth-like planets, was reported to have chosen Barnard's Star as an early search target, however the mission was shut down in 2010. ESA's similar Darwin interferometry mission had the same goal, but was stripped of funding in 2007.


title: Barnard's Star

text: The analysis of radial velocities that eventually led to discovery of the candidate super-Earth orbiting Barnard's Star was also used to set more precise upper mass limits for possible planets, up to and within the habitable zone: a maximum of up to the inner edge and on the outer edge of the optimistic habitable zone, corresponding to orbital periods of up to 10 and 40 days respectively. Therefore, it appears that Barnard's Star indeed does not host Earth-mass planets or larger, in hot and temperate orbits, unlike other M-dwarf stars that commonly have these types of planets in close-in orbits.


title: Barnard's Star

text: Barnard's Star was studied as part of Project Daedalus. Undertaken between 1973 and 1978, the study suggested that rapid, unmanned travel to another star system was possible with existing or near-future technology. Barnard's Star was chosen as a target partly because it was believed to have planets.


title: Barnard's Star

text: The theoretical model suggested that a nuclear pulse rocket employing nuclear fusion (specifically, electron bombardment of deuterium and helium-3) and accelerating for four years could achieve a velocity of 12% of the speed of light. The star could then be reached in 50 years, within a human lifetime. Along with detailed investigation of the star and any companions, the interstellar medium would be examined and baseline astrometric readings performed.


title: Barnard's Star

text: The initial Project Daedalus model sparked further theoretical research. In 1980, Robert Freitas suggested a more ambitious plan: a self-replicating spacecraft intended to search for and make contact with extraterrestrial life. Built and launched in Jupiter's orbit, it would reach Barnard's Star in 47 years under parameters similar to those of the original Project Daedalus. Once at the star, it would begin automated self-replication, constructing a factory, initially to manufacture exploratory probes and eventually to create a copy of the original spacecraft after 1,000 years.


title: Barnard's Star

text: In 1998 a stellar flare on Barnard's Star was detected based on changes in the spectral emissions on 17 July during an unrelated search for variations in the proper motion. Four years passed before the flare was fully analyzed, at which point it was suggested that the flare's temperature was 8,000K, more than twice the normal temperature of the star. Given the essentially random nature of flares, Diane Paulson, one of the authors of that study, noted that "the star would be fantastic for amateurs to observe".


title: Barnard's Star

text: The flare was surprising because intense stellar activity is not expected in stars of such age. Flares are not completely understood, but are believed to be caused by strong magnetic fields, which suppress plasma convection and lead to sudden outbursts: strong magnetic fields occur in rapidly rotating stars, while old stars tend to rotate slowly. For Barnard's Star to undergo an event of such magnitude is thus presumed to be a rarity. Research on the star's periodicity, or changes in stellar activity over a given timescale, also suggest it ought to be quiescent; 1998 research showed weak evidence for periodic variation in the star's brightness, noting only one possible starspot over 130 days.


title: Barnard's Star

text: Stellar activity of this sort has created interest in using Barnard's Star as a proxy to understand similar stars. It is hoped that photometric studies of its X-ray and UV emissions will shed light on the large population of old M dwarfs in the galaxy. Such research has astrobiological implications: given that the habitable zones of M dwarfs are close to the star, any planets would be strongly influenced by solar flares, winds, and plasma ejection events.


title: Barnard's Star

text: In 2019, two additional ultraviolet stellar flares were detected, each with far-ultraviolet energy of 3×10 joules, together with one X-ray stellar flare with energy 1.6×10 joules. The flare rate observed to date is enough to cause loss of 87 Earth atmospheres per billion years through thermal processes and ≈3 Earth atmospheres per billion years through ion loss processes on Barnard's Star b.


title: Barnard's Star

text: Barnard's Star shares much the same neighborhood as the Sun. The neighbors of Barnard's Star are generally of red dwarf size, the smallest and most common star type. Its closest neighbor is currently the red dwarf Ross 154, at a distance of 1.66 parsecs (5.41 light-years). The Sun and Alpha Centauri are, respectively, the next closest systems. From Barnard's Star, the Sun would appear on the diametrically opposite side of the sky at coordinates RA=, Dec=, in the westernmost part of the constellation Monoceros. The absolute magnitude of the Sun is 4.83, and at a distance of 1.834 parsecs, it would be a first-magnitude star, as Pollux is from the Earth.


title: Ferrari FXX-K

text: The Ferrari FXX-K is a high performance limited production track day car manufactured by automobile manufacturer Ferrari in Maranello, Italy. Designed by Marco Fainello, Adrián Méndez and architect Samuel Rodriguez at Centro Stile Ferrari, the FXX-K is based on the street-legal LaFerrari. It succeeds Ferrari's previous developmental track day offerings, the FXX (and the FXX Evo) and the 599XX (along with the 599XX Evo). In 2016, the FXX-K was awarded the Compasso d'Oro industrial design award.


title: Ferrari FXX-K

text: The "FXX-K" is Ferrari's research and development vehicle based on the brand's first hybrid sports car, the LaFerrari. The K in the new car's name refers to the kinetic energy recovery system (KERS) which is used to maximize performance. The FXX-K is not intended to be used in competition and was developed to give an uncompromising experience to the driver.


title: Ferrari FXX-K

text: The hybrid powerplant used in the FXX-K has a total power output of and over , of which are delivered by the V12 ICE and by the electric motor. The V12 engine has been tuned for track use as well as the HY-KERS system. With a dry weight of , the FXX-K has extremely effective downforce generation of at .


title: Ferrari FXX-K

text: The car has four driving modes: Qualify (maximum performance on short distance), Long Run (for long-distance driving), Fast Charge (for faster recharging of the battery) and Manual Boost, that uses all of the power of the engine and batteries for maximum torque, cornering and speed. It has F1-based technology, including the E-Diff electronic differential, F1-Trac traction control and racing ABS brakes, all controlled from the centre console (Manettino). Like the preceding FXX and 599XX, the FXX-K is a part of Ferrari's Client Test Driver program, that allows owners of XX cars to drive at special tracks, collecting data for use in future Ferrari road and race cars. The front of the car has a large splitter and twin-profile spoiler, the headlights are very small for improving aerodynamics. On the rear, the tail is higher and includes an electronically operated spoiler with a tail fin and a small wing at the end of each fin to maximize the downforce. The car has a top speed of .


title: Ferrari FXX-K

text: Production of the FXX-K began in 2015 and continued until 2017 with a total of 42 units produced. Like the previous FXX and 599XX, the cars will be kept and maintained by Ferrari and will be available to the owners on track day events.


title: Ferrari FXX-K

text: Hublot Manufacture produced MP-05 "LaFerrari" Sapphire hand-wound Tourbillon wristwatches inspired by the FXX-K coupe.


title: Ferrari FXX-K

text: The FXX-K Evo was unveiled at the Ferrari Finali Mondiali 2017 on 28 October 2017 at Stazione Leopolda in Florence during the Ferrari 70th Anniversary celebration. It is an aerodynamic package, available for the existing Ferrari FXX-K. The FXX-K Evo allows the car to produce 23% more downforce than the standard FXX-K and 75% more than the road-legal LaFerrari due to a modified front fascia, a large rear wing and underbody diffusers. Performance and weight figures are unknown but a decrease in weight is said to estimated by the manufacturer.


title: Ferrari FXX-K

text: On 29 August 2018, the FXX-K Evoluzione (number 54) was shown again to the public during the Formula 1 Milan Festival 2018 led by former Formula 1 driver Giancarlo Fisichella.


title: Tintoretto

text: Tintoretto ( , , ; born Jacopo Robusti; late September or early October 151831 May 1594) was an Italian painter identified with the Venetian school. His contemporaries both admired and criticized the speed with which he painted, and the unprecedented boldness of his brushwork. For his phenomenal energy in painting he was termed Il Furioso ("The Furious"). His work is characterised by his muscular figures, dramatic gestures and bold use of perspective, in the Mannerist style.


title: Tintoretto

text: Tintoretto was born in Venice in 1518. His father, Battista, was a dyer, or "tintore"; hence the son got the nickname of Tintoretto, "little dyer", or "dyer's boy". Tintoretto is known to have had at least one sibling, a brother named Domenico, although an unreliable 17th-century account says his siblings numbered 22. The family was believed to have originated from Brescia, in Lombardy, then part of the Republic of Venice. Older studies gave the Tuscan town of Lucca as the origin of the family.


title: Tintoretto

text: Little is known of Tintoretto's childhood or training. According to his early biographers Carlo Ridolfi (1642) and Marco Boschini (1660), his only formal apprenticeship was in the studio of Titian, who angrily dismissed him after only a few days—either out of jealousy of so promising a student (in Ridolfi's account) or because of a personality clash (in Boschini's version). From this time forward the relationship between the two artists remained rancorous, despite Tintoretto's continued admiration for Titian. For his part, Titian actively disparaged Tintoretto, as did his adherents.


title: Tintoretto

text: Tintoretto sought no further teaching but studied on his own account with laborious zeal. According to Ridolfi, he gained some experience by working alongside artisans who decorated furniture with paintings of mythological scenes, and studied anatomy by drawing live models and dissecting cadavers. He lived poorly, collecting casts, bas-reliefs, and prints, and practising with their aid. At some time, possibly in the 1540s, Tintoretto acquired models of Michelangelo's "Dawn", "Day", "Dusk" and "Night", which he studied in numerous drawings made from all angles. Now and afterwards he very frequently worked by night as well as by day. His noble conception of art and his high personal ambition were both evidenced in the inscription which he placed over his studio "Il disegno di Michelangelo ed il colorito di Tiziano" ("Michelangelo's drawing and Titian's colour").


title: Tintoretto

text: The young painter Andrea Schiavone, four years Tintoretto's junior, was much in his company. Tintoretto helped Schiavone at no charge with wall paintings, and in many subsequent instances, he also worked for nothing, and thus succeeded in obtaining commissions. The two earliest mural paintings of Tintoretto—done, like others, for next to no pay—are said to have been "Belshazzar's Feast" and a "Cavalry Fight". These have both long since perished, as have all his frescoes, early or later. The first work of his to attract some considerable notice was a portrait group of himself and his brother—the latter playing the guitar—with a nocturnal effect; this has also been lost. It was followed by some historical subject, which Titian was candid enough to praise.


title: Tintoretto

text: One of Tintoretto's early pictures still extant is in the church of the Carmine in Venice, the (c. 1542); also in S. Benedetto are the "Annunciation" and "Christ with the Woman of Samaria". For the Scuola della Trinità (the scuole or schools of Venice were confraternities, more in the nature of charitable foundations than of educational institutions) he painted four subjects from Genesis. Two of these, now in the Gallerie dell'Accademia in Venice, are "Adam and Eve" and the "Death of Abel", both noble works of high mastery, which indicate that Tintoretto was by this time a consummate painter—one of the few who have attained to the highest eminence in the absence of any recorded formal training.


title: Tintoretto

text: Until 2012, "The Embarkation of St Helena in the Holy Land" was attributed to Schiavone. But a new analysis of the work has revealed it as one of a series of three paintings by Tintoretto, depicting the legend of St Helena and the Holy Cross. The error was uncovered during work on a project to catalogue continental European oil paintings in the United Kingdom. "The Embarkation of St Helena" was acquired by the Victoria and Albert Museum in 1865. Its sister paintings, "The Discovery of the True Cross" and "St Helen Testing the True Cross", are held in galleries in the United States.


title: Tintoretto

text: In 1548 Tintoretto was commissioned to paint a large decoration for the Scuola di S. Marco: the "Miracle of the Slave". Realizing that the commission presented him with a singular opportunity to establish himself as a major artist, he took extraordinary care in arranging the composition for maximum effect. The painting represents the legend of a Christian slave or captive who was to be tortured as a punishment for some acts of devotion to the evangelist, but was saved by the miraculous intervention of the latter, who shattered the bone-breaking and blinding implements which were about to be applied. Tintoretto's conception of the narrative is distinguished by a marked theatricality, unusual colour choices, and vigorous execution.


title: Tintoretto

text: The painting was a triumphant success, despite some detractors. Tintoretto's friend Pietro Aretino praised the work, calling particular attention to the figure of the slave, but warned Tintoretto against hasty execution. As a result of the painting's success, Tintoretto received numerous commissions. For the church of San Rocco he painted "Saint Roch Cures the Plaque Victims" (1549), one of the first of Tintoretto's many "laterali" (horizontal paintings). These were large-scale paintings intended for the side walls of Venetian chapels. Knowing that the congregation would view them from an angle, Tintoretto composed the paintings with off-centre perspective so the illusion of depth would be effective when seen from a viewpoint near the end of the painting that was closer to the worshippers.


title: Tintoretto

text: Around 1555 he painted the "Assumption of the Virgin", an oil-on-canvas painting for the church of Santa Maria dei Crociferi.


title: Tintoretto

text: In about 1560, Tintoretto married Faustina de Vescovi, daughter of a Venetian nobleman who was the "guardian grande" of the Scuola Grande di San Marco. She appears to have been a careful housekeeper, and able to mollify her husband. He had many children with Faustina, of whom three sons (Domenico, Marco, and Zuan Battista) and four daughters (Gierolima, Lucrezia, Ottavia, and Laura) survived to adulthood. Before his marriage Tintoretto had an additional daughter, Marietta Robusti, whose mother is not known. Marietta, like her half-brothers Domenico and Marco, was trained as an artist by Tintoretto.


title: Tintoretto

text: In 1551, Paolo Veronese arrived in Venice and quickly began receiving the prestigious commissions that Tintoretto coveted. Unwilling to be overshadowed by his new rival, Tintoretto approached the leaders of his neighbourhood church, the Madonna dell'Orto, with a proposal to paint for them two colossal canvases on a cost-only basis. He had already painted the "Presentation of the Virgin in the Temple" (ca. 1556), one of his major works, for the church; it repeats a subject that had earlier been painted by Titian, but in place of Titian's classically balanced composition is a startling visual drama of figures arranged on a receding staircase. Tintoretto now intended to create a sensation by painting for the Madonna dell'Orto the two tallest canvases ever painted during the Renaissance. He settled down in a house near the church, looking over the Fondamenta de Mori, which is still standing.


title: Tintoretto

text: Depicting the "Worship of the Golden Calf" and the "Last Judgment", the tall paintings (both ca. 1559–60) were widely admired, and Tintoretto gained a reputation for his ability to complete the most massive projects on a limited budget. Thereafter, Tintoretto habitually competed against rival painters by producing paintings quickly at a low cost. In about 1564, Tintoretto painted three additional works for Scuola di S. Marco: the "Finding of the body of St Mark", the "St Mark's Body Brought to Venice", a "St Mark Rescuing a Saracen from Shipwreck".


title: Tintoretto

text: Between 1565 and 1567, and again from 1575 to 1588, Tintoretto produced a large number of paintings for the walls and ceilings of the Scuola Grande di San Rocco. The subterfuge by which he won the commission has been called "the most notorious incident of Tintoretto's career". In 1564, four finalists—Tintoretto, Federico Zuccaro, Giuseppe Salviati, and Paolo Veronese—were invited by the Scuola to submit "modelli" for a ceiling painting on the subject of "Saint Roch in Glory" to decorate the hall called the Sala dell'Albergo. Instead of a sketch, Tintoretto produced a full-sized painting, secretly installed it on the ceiling, and presented it as a "fait accompli" on the day of the competition. Tintoretto then announced that he was offering the painting as a gift—perhaps conscious that a bylaw of the foundation prohibited the rejection of any gift.


title: Tintoretto

text: In 1565, he resumed work at the scuola, painting the "Crucifixion", for which a sum of 250 ducats was paid. In 1576 he presented gratis another centre-piece—that for the ceiling of the great hall, representing the "Plague of Serpents"; and in the following year he completed this ceiling with pictures of the "Paschal Feast" and "Moses striking the Rock" accepting whatever pittance the confraternity chose to pay.


title: Tintoretto

text: The development of fast painting techniques called "prestezza" allowed him to produce many works while engaged on large projects and to respond to growing demands from clients. This, and his use of assistants, enabled Tintoretto ultimately to produce a greater number of paintings for the Venetian state than any of his competitors.


title: Tintoretto

text: Tintoretto next launched out into the painting of the entire scuola and of the adjacent church of San Rocco. In November 1577, he offered to execute the works at the rate of 100 ducats per annum, with three pictures being due each year. This proposal was accepted and was punctually fulfilled, the painter's death alone preventing the execution of some of the ceiling subjects. The whole sum paid for the scuola throughout was 2,447 ducats. Disregarding some minor performances, the scuola and church contain fifty-two memorable paintings, which may be described as vast suggestive sketches, with the mastery, but not the deliberate precision, of finished pictures, and adapted for being looked at in a dusky half-light. "Adam and Eve", the "Visitation", the "Adoration of the Magi", the "Massacre of the Innocents", the "Agony in the Garden", "Christ before Pilate", "Christ carrying His Cross", and (this alone having been marred by restoration) the "Assumption of the Virgin" are leading examples in the scuola; in the church, "Christ Curing the Paralytic".


title: Tintoretto

text: It was probably in 1560, the year in which he began working in the Scuola di S. Rocco, that Tintoretto commenced his numerous paintings in the Doge's Palace; he then executed there a portrait of the Doge, Girolamo Priuli. Other works (destroyed by a fire in the palace in 1577) succeeded—the "Excommunication of Frederick Barbarossa by Pope Alexander III" and the "Victory of Lepanto".


title: Tintoretto

text: After the fire, Tintoretto started afresh, Paolo Veronese being his colleague. In the Sala dell Anticollegio, Tintoretto painted four masterpieces—"Bacchus, with Ariadne crowned by Venus", the "Three Graces and Mercury", "Minerva discarding Mars", and the "Forge of Vulcan", which were painted for fifty ducats each, excluding materials, c. 1578; in the hall of the senate, "Venice, Queen of the Sea" (1581–84); in the hall of the college, the "Espousal of St Catherine to Jesus" (1581–84); in the Antichiesetta, "Saint George, Saint Louis, and the Princess", and "St Jerome and St Andrew"; in the hall of the great council, nine large compositions, chiefly battle-pieces (1581–84); in the Sala dello Scrutinio the "Capture of Zara from the Hungarians in 1346 amid a Hurricane of Missiles" (1584–87).


title: Tintoretto

text: The crowning production of Tintoretto's life was the vast "Paradise" painted for the Doge's Palace, in size , reputed to be the largest painting ever done upon canvas. While the commission for this huge work was yet pending and unassigned Tintoretto was wont to tell the senators that he had prayed to God that he might be commissioned for it, so that paradise itself might perchance be his recompense after death.


title: Tintoretto

text: Tintoretto competed with several other artists for the prestigious commission. A large sketch of the composition he submitted in 1577 is now in the Louvre Museum, Paris. In 1583, he painted a second sketch with a different composition, which is in the Museo Thyssen-Bornemisza, Madrid.


title: Tintoretto

text: The commission was given jointly to Veronese and Francesco Bassano, but Veronese died in 1588 before starting the work, and the commission was reassigned to Tintoretto. He set up his canvas in the Scuola della Misericordia and worked indefatigably at the task, making many alterations and doing various heads and costumes direct from life.


title: Tintoretto

text: When the picture had been nearly completed he took it to its proper place, where it was completed largely by assistants, his son Domenico foremost among them. All Venice applauded the finished work; Ridolfi wrote that "it seemed to everyone that heavenly beatitude had been disclosed to mortal eyes." Modern art historians have been less enthusiastic, and have generally considered the "Paradise" inferior in execution to the two sketches. It has suffered from neglect, but little from restoration.


title: Tintoretto

text: Tintoretto was asked to name his own price, but this he left to the authorities. They tendered a handsome amount; he is said to have abated something from it, an incident perhaps more telling of his lack of greed than earlier cases where he worked for nothing at all.


title: Tintoretto

text: After the completion of the "Paradise" Tintoretto rested for a while, and he never undertook any other work of importance, though there is no reason to suppose that his energies were exhausted if he had lived a little longer. In 1592 he became a member of the "Scuola dei Mercanti".


title: Tintoretto

text: In 1594, he was seized with severe stomach pains, complicated with fever, that prevented him from sleeping and almost from eating for a fortnight. He died on 31 May 1594. He was buried in the church of the Madonna dell'Orto by the side of his favourite daughter Marietta, who had died in 1590 at the age of thirty. Tradition suggests that as she lay in her final repose, her heart-stricken father had painted her final portrait.


title: Tintoretto

text: Marietta had herself been a portrait painter of considerable skill, as well as a musician, vocalist and instrumentalist, but few of her works are now traceable. As a girl she used to accompany and assist her father at his work, dressed as a boy. Eventually, she married a jeweller, Mario Augusta. In 1866, the grave of the Vescovi—his wife's family—and Tintoretto was opened, and the remains of nine members of the joint families were found in it. The grave was then moved to a new location, to the right of the choir.


title: Tintoretto

text: Tintoretto had very few pupils; his two sons and Maerten de Vos of Antwerp were among them. His son Domenico Tintoretto frequently assisted his father in the preliminary work for great pictures. He himself painted a multitude of works, many of them of a very large scale. At best, they would be considered mediocre and, coming from the son of Tintoretto, are disappointing. In any event, he must be regarded as a considerable pictorial practitioner in his way. There are reflections of Tintoretto to be found in the Greek painter of the Spanish Renaissance El Greco, who likely saw his works during a stay in Venice.


title: Tintoretto

text: Tintoretto scarcely ever travelled out of Venice. His early biographers write of his intelligence and fierce ambition; according to Carlo Ridolfi, "he was always thinking of ways to make himself known as the most daring painter in the world." He loved all the arts and as a youth played the lute and various instruments, some of them of his own invention, and designed theatrical costumes and properties. He was also well versed in mechanics and mechanical devices. While being a very agreeable companion, for the sake of his work he lived in a mostly retired fashion; even when not painting he habitually stayed in his working room surrounded by casts. Here he hardly admitted anyone, even intimate friends, and he kept his work methods secret, shared only with his assistants. He was full of pleasant witty sayings, whether to great personages or to others, but he himself seldom smiled.


title: Tintoretto

text: Out of doors, his wife made him wear the robe of a Venetian citizen; if it rained she tried to make him wear an outer garment which he resisted. When he left the house, she would also wrap money up for him in a handkerchief, expecting a strict accounting on his return. Tintoretto's customary reply was that he had spent it on alms for the poor or for prisoners.


title: Tintoretto

text: Tintoretto maintained friendships with many writers and publishers, including Pietro Aretino, who became an important early patron.


title: Tintoretto

text: Tintoretto's style of painting is characterized by bold brushwork and the use of long strokes to define contours and highlights. His paintings emphasize the energy of human bodies in motion and often exploit extreme foreshortening and perspective effects to heighten the drama. Narrative content is conveyed by the gestures and dynamism of the figures rather than by facial expressions.


title: Tintoretto

text: An agreement is extant showing a plan to finish two historical paintings—each containing twenty figures, seven being portraits—in a two-month period of time. Sebastiano del Piombo remarked that Tintoretto could paint in two days as much as himself in two years; Annibale Carracci that Tintoretto was in many of his pictures equal to Titian, in others inferior to Tintoretto. This was the general opinion of the Venetians, who said that he had three pencils—one of gold, the second of silver and the third of iron.Tintoretto's pictorial wit is evident in compositions such as "Saint George, Saint Louis, and the Princess" (1553). He subverts the usual portrayal of the subject, in which Saint George slays the dragon and rescues the princess; here, the princess sits astride the dragon, holding a whip. The result is described by art critic Arthur Danto as having "the edginess of a feminist joke" as "the princess has taken matters into her own hands ... George spreads his arms in a gesture of male helplessness, as his lance lies broken on the ground ...It was obviously painted with a sophisticated Venetian audience in mind."


title: Tintoretto

text: A comparison of Tintoretto's final "The Last Supper"—one of his nine known paintings on the subject— with Leonardo da Vinci's treatment of the same subject provides an instructive demonstration of how artistic styles evolved over the course of the Renaissance. Leonardo's is all classical repose. The disciples radiate away from Christ in almost-mathematical symmetry. In the hands of Tintoretto, the same event becomes dramatic, as the human figures are joined by angels. A servant is placed in the foreground, perhaps in reference to the Gospel of John 13:14–16. In the restless dynamism of his composition, his dramatic use of light, and his emphatic perspective effects, Tintoretto seems a baroque artist ahead of his time.


title: Tintoretto

text: Tintoretto was Venice's most prolific painter of portraits during his career. Modern critics have often described his portraits as routine works, although his skill in depicting elderly men, such as "Alvise Cornaro" (1560/1565), has been widely admired. According to art historians Robert Echols and Frederick Ilchman, the many portraits from Tintoretto's studio that were executed largely by assistants have hampered appreciation of his autograph portraits which, in sharp contrast to his narrative works, are understated and somber. Lawrence Gowing considered Tintoretto's "smouldering portraits of personalities who seemed consumed by their own fire" to be his "most irresistible" works.


title: Tintoretto

text: He painted two self-portraits. In the first (ca. 1546–47; Philadelphia Museum of Art), he presents himself without the trappings of status that were customary in self-portraits that came before. The image's informality, the directness of the subject's gaze, and the bold brushwork visible throughout were innovative—it has been called "the first of many artfully unkempt images of the self that have come down through the centuries." The second self-portrait (ca. 1588; Louvre) is an austerely symmetrical depiction of the aged artist "bleakly contemplating his mortality". Édouard Manet, who painted a copy of it, considered it "one of the most beautiful paintings in the world."


title: Tintoretto

text: In 2013, the Victoria and Albert Museum announced that the painting "The Embarkation of St Helena in the Holy Land" had been painted by Tintoretto (and not by his contemporary Andrea Schiavone, as previously thought) as part of a series of three paintings depicting the legend of St Helena and the Holy Cross.


title: Tintoretto

text: In 2019, honouring the anniversary of the birth of Tintoretto, the National Gallery of Art, Washington, in cooperation with the Gallerie dell'Accademia organized a travelling exhibit, the first in the United States. The exhibition features nearly 50 paintings and more than a dozen works on paper spanning the artist's entire career and ranging from regal portraits of Venetian aristocracy to religious and mythological narrative scenes.


title: John Hoyt

text: John Hoyt (born John McArthur Hoysradt; October 5, 1905 – September 15, 1991) was an American actor. He began his acting career on Broadway, later appearing in numerous films and television series.


title: John Hoyt

text: He is perhaps best known for his film and TV roles in "The Lawless" (1950), "When Worlds Collide" (1951), "Julius Caesar" (1953), "Blackboard Jungle" (1955), "Spartacus" (1960), "Cleopatra" (1963), "Flesh Gordon" (1974), and "Gimme a Break!"


title: John Hoyt

text: Hoyt was born John McArthur Hoysradt in Bronxville, New York, the son of Warren J. Hoysradt, an investment banker, and his wife, Ethel Hoysradt, née Wolf. He attended the Hotchkiss School and Yale University, where he served on the editorial board of campus humor magazine "The Yale Record". He received a bachelor's and a master's degree from Yale. He worked as a history instructor at the Groton School for two years.


title: John Hoyt

text: Hoyt made his Broadway debut in 1931 in William Bolitho's play "Overture". Some of his other Broadway credits in the early 1930s include "Miracle at Verdun" (1930), "Lean Harvest" (1931), and "Clear All Wires" (1932). He also performed with several regional theater groups, and then joined Orson Welles's Mercury Theatre in 1937; he remained a member of the troupe until he moved to Hollywood in 1945. Hoyt continued to perform regularly in Broadway productions throughout the 1930s and into the 1940s. In this period, he was cast in a range of plays, such as "Valley Forge" (1934), "Ziegfeld Follies of 1936" (1935), "The Masque of Kings" (1936), "Storm Over Patsy" (1936), and "Caesar" (1937). He also worked as a stand-up comedian, sometimes both acting and doing comedy on the same day. His impersonation of Noël Coward was so remarkable that he was hired for the original cast of the Broadway comedy "The Man Who Came to Dinner" (1939), in which he played Beverley Carlton.


title: John Hoyt

text: Hoyt shortened his surname in 1945, the year before his film debut in "O.S.S." He played the strict Principal Warneke in the 1955 film "Blackboard Jungle", starring Glenn Ford. He played an industrialist in the 1951 film "When Worlds Collide". Hoyt appeared in one Shakespearean film: MGM's "Julius Caesar", reprising the role of Decius Brutus (or Decimus Junius Brutus Albinus), whom he had played in the 1937 Mercury Theatre production. In 1952, he played Cato in "Androcles and the Lion". In 1953, he portrayed Elijah in the biblical film "Sins of Jezebel".


title: John Hoyt

text: Hoyt played Colonel Barker on "The Adventures of Rin Tin Tin", Grandpa Stanley Kanisky, Dolph Sweet's onscreen father, on "Gimme a Break!", J.L. Patterson on "Hey, Mulligan", Martin Peyton in "Return to Peyton Place", and Dr. Kievoy on "Tom, Dick and Mary".


title: John Hoyt

text: On "Gunsmoke", in a 1957 episode titled "Bureaucrat", Hoyt played the part of Rex Propter, a government agent sent to Dodge City, Kansas, to determine why the town had such a bad reputation for gun violence. Hoyt also made five guest appearances on "Perry Mason", including in the role of defendant Joseph Harrison in the 1958 episode "The Case of the Prodigal Parent", as C. Philip Reynolds in the 1958 episode " The Case of the Curious Bride", as the title character and defendant William Harper Caine in the 1961 episode "The Case of the Resolute Reformer", and as Darwin Norland in the 1963 episode "The Case of the Libelous Locket". He guest-starred, as well, on "Crossroads".


title: John Hoyt

text: Hoyt was cast in 1958 as rancher Clete Barron in the episode "Trouble in Paradise Valley" of "Frontier Doctor." In 1958 and 1959, he performed in two episodes of "Richard Diamond, Private Detective", appearing as Burnison in "The George Dale Case" and as Harding, Sr. in "Murder at the Mansion". Later in 1959, on "Laramie", Hoyt portrayed mentally troubled military officer Colonel Brandon in "The General Must Die". The same year, he was cast as Antoine Rigaud in the episode "About Roger Mowbray" on "Riverboat."


title: John Hoyt

text: In 1959, Hoyt was cast as John Cavanagh in "The Mourning Cloak", an episode of the crime drama "Bourbon Street Beat". About this time, he guest-starred on "The Alaskans" and "Pony Express". Also in 1959, Hoyt was cast in an episode ("Three Legged Terror") on "The Rifleman", playing the character Gus Fremont, the cruel uncle of Johnny Clover (Dennis Hopper). In 1960 and 1961, he appeared in the episodes "Burnett's Woman" and "The Salvation of Killer McFadden" of "The Roaring 20s". Hoyt also appeared on "The Untouchables" in the 1960 episode "The Big Squeeze".


title: John Hoyt

text: Hoyt guest-starred on at least three sitcoms: "Bringing Up Buddy", "Hogan's Heroes", and "Petticoat Junction" (1966, episode: Hooterville Valley Project, as: Mr. Fletcher). He was cast as Dr. Philip Boyce in the pilot episode of "" ("The Cage"), and he appeared twice during the second season of "The Twilight Zone" in the episodes "Will the Real Martian Please Stand Up?" and "The Lateness of the Hour". He also performed as the KAOS agent Conrad Bunny in "Our Man in Toyland" on "Get Smart", as General Beeker in "Hail to the Chief" on "Voyage to the Bottom of the Sea", and as Dr. Mendoza in "I Was a Teenage Monster" on "The Monkees". He guest-starred as Colonel Hollis in "Military School" on "The Beverly Hillbillies". He appeared in "Herman's Happy Valley" (as Barnie Walters, 1965) and "The Sleeping Cutie" on "The Munsters".


title: John Hoyt

text: In 1964, Hoyt appeared in 3 episodes of "The Outer Limits", most notably "The Bellero Shield." He played the role of an extraterrestrial with large eyes who says, "In all the universes, in all the unities beyond the universes, all who have eyes have eyes that speak." Less than two weeks after this episode's broadcast, alleged alien abductees Betty and Barney Hill provided a description of their alien abductors. Skeptic Martin Kottmeyer notes that the description is notably similar to Hoyt's appearance as the extraterrestrial on the show.


title: John Hoyt

text: He was also a guest player in "The 14-Karat Gold Trombone" and "The Interview" episodes of "The George Burns and Gracie Allen Show". Because of his stern demeanor, the writers had him play opposite to the befuddled way strangers usually reacted to Gracie Allen's convoluted behavior. In the teleplay of "The Interview", Hoyt simply would not tolerate Gracie's antics and immediately removed himself from the room—twice.


title: John Hoyt

text: He also appeared as Bertrand Russell and as Voltaire in episodes of Steve Allen's PBS series "Meeting of Minds" in the late 1970s. He appeared as Sire Domra in episode 21 "Baltar's Escape" of "Battlestar Galactica".


title: John Hoyt

text: Hoyt was married twice, first to Marian Virginia Burns from 1935 to 1960, with whom he had one child, and later to Dorothy Oltman Haveman from 1961 to 1991, when he died of lung cancer 3 weeks before his 86th birthday in Santa Cruz, California.


title: F1 22

text: F1 22 is a racing video game developed by Codemasters and published by EA Sports. It is the thirteenth entry in the "F1" series by Codemasters. The game holds an official license of the 2022 Formula One and Formula 2 championships. The game was released for Microsoft Windows, PlayStation 4, PlayStation 5, Xbox One, and Xbox Series X/S on 1 July 2022. It would also make its debut on EA's Origin platform as their main platform, which is also playable in the EA Desktop app, as well as the Epic Games Store. In previous entries, Steam was the only platform available for PC players. The game received mostly positive reviews from critics, with most criticism aimed at the lack of innovation compared to previous titles and the new "F1 Life" mode.


title: F1 22

text: Due to new technical regulations for the 2022 Formula One World Championship, "F1 22" features new car models with updated physics. The game also features an updated track list, including the revised layouts of Circuit de Barcelona-Catalunya for the Spanish Grand Prix, Yas Marina Circuit for the Abu Dhabi Grand Prix and Albert Park Circuit for the Australian Grand Prix, as well as adding the new Miami International Autodrome for the new Miami Grand Prix. The Algarve International Circuit, home of the Portuguese Grand Prix, along with the Shanghai International Circuit, hosting the Chinese Grand Prix, was subsequently added to the game with an update.


title: F1 22

text: Formula One sprints, a new addition to the sport, are also included in the game. "F1 22" features adaptive AI, which would adjust the pace of AI cars according to the performance of players to ensure players are competitive from race-to-race. The game also introduces a customisable hub mode called "F1 Life" to allow players to collect supercars, clothing and accessories. The game is also confirmed to support virtual reality for PC via Oculus Rift, or HTC Vive, virtual reality headsets. "F1 22" also features immersive broadcast options, designed after televised Formula One broadcasts, as well as interactive pit stops.


title: F1 22

text: EA and Codemasters also added Supercars to F1 with "Pirelli Hot Laps", which is accessible through the new "F1 Life" mode.


title: F1 22

text: "F1 22" was revealed on 21 April 2022, with both Codemasters and EA Sports returning to work on the game. It is an official video game of the 2022 Formula One and Formula 2 championships, alongside "F1 Manager 2022" of Frontier Developments. The game was launched on 1 July 2022, for Microsoft Windows, PlayStation 4, PlayStation 5, Xbox One, and Xbox Series X/S platforms via Steam, Epic Games Store and Origin, which is on the weekend of the 2022 British Grand Prix. The Champions Edition of the game was released three days earlier, on 28 June 2022.


title: F1 22

text: "Eurogamer" praised Codemasters' implementation of simulation elements such as dynamic weather and wrote in favor of their exclusion of porpoising but called the game "overly familiar" and "overly bloated", writing that "there's a feeling 2022's regulations have introduced as many problems as they have fixed, and that the positive impact of the new ruleset will not really be seen for some years to come." "GameSpot" praised the increased level of player agency, host of assist settings, and the authentic recreation of the new era of Formula One but criticized the lack of iteration, hollow "F1 Life" mode, and the inclusion of microtransactions. "IGN" liked the inclusion of the Formula One sprint race format, virtual reality support, and the game's rejuvenation of the franchise's stagnating elements but panned the "vapid" "F1 Life" mode's replacement of the predecessors' "Braking Point" mode. Regarding its monetization, the site wrote, "It's probably a sad sign of the times that while previous Formula One games featured iconic cars from the sport's history, "F1 22" features an extensive set of ... designer rugs, lounges, and lamps." "PC Gamer" praised the inclusion of real-world standings updates, sprint races, the skill tree system, damage models, and wealth of player choice but criticized the aging graphics, inconsistent AI, console controls, and lackluster addition of super cars, while noting that "the annual release has not felt this unnecessary since "F1 2014"."


title: F1 22

text: "PCGamesN" found itself "dulled to ["F1 22's"] charms" and lamented the "cumulative fatigue of having been through this experience so many times before in previous iterations, and having so little meaningful new content in "F1 22" to relieve it." "Polygon" stated that ""F1 22" is not [a transformative work], but it did not need to be one — creating new cars, and the organic challenge of learning how to drive them on the limit, was transformation enough." "Push Square" gave praise to the quality handling, good visuals, deep career modes, novel supercars, and robust customization while criticizing the numerous bugs, crashes, and screen tearing, as well as the aging game engine and insubstantial "F1 Life" mode. "Shacknews" lauded the overhauled racetracks, new circuits, remixed audio, new commentary, VR support, and the integration of new regulations and car designs but disliked the "terrible" feel of the supercars, difficult AI, and persistent series issues. "The Guardian" gave the game a score of 3/5 stars and wrote, ""F1 22" is technically stunning, and that, combined with the chance to drive this year’s cars on this year’s tracks, should make it irresistible to Formula One fans. As long as they manage to ignore the egregious "F1 Life"."


title: Love, American Style

text: Love, American Style is an anthology comedy television series that aired on ABC from 1969 to 1974. The series was produced by Paramount Television. During the 1971–72 and 1972–73 seasons, it was a part of ABC's Friday primetime lineup that included "The Brady Bunch", "The Partridge Family", "Room 222", and "The Odd Couple". It featured some of the earliest work of future stars Diane Keaton ("Love and the Pen Pals"), Sally Struthers ("Love and the Triangle"), Albert Brooks ("Love and Operational Model"), and Harrison Ford ("Love and the Former Marriage"). "Room 222" star Karen Valentine appeared in four episodes. "Brady Bunch" star Ann B. Davis and "The Partridge Family" star Dave Madden each appeared in two episodes.


title: Love, American Style

text: Each episode of the show featured a story of romance, usually with a comedic spin. Episodes were stand-alone, featuring various characters, stories and locations. The show often featured the same actors playing different characters in many episodes. In addition, a large, ornate brass bed was a recurring prop in many episodes.


title: Love, American Style

text: Charles Fox's music score, featuring flutes, harp and flugelhorn set to a contemporary pop beat, provided the "love" ambiance, which tied the stories together as a multifaceted romantic comedy each week. For the first season, the theme song was performed by the Cowsills. Beginning with the second season, the same theme song was sung by the Ron Hicklin Singers, also known as the voices behind the Partridge Family (based on the Cowsills), among others, featuring brothers John and Tom Bahler (billed as the Charles Fox Singers). This second version of the theme was kept for the remainder of the series, as well as on most episodes prepared for syndication.


title: Love, American Style

text: The title is loosely derived from a 1961 Italian comedy film called "Divorzio all'italiana (Divorce, Italian Style)", which received Academy Award nominations in 1962 for Best Director for Pietro Germi and for Best Actor for star Marcello Mastroianni. The film was later spoofed in 1967 by "Divorce, American Style", starring Dick Van Dyke. The snowclone "(xxx), (nationality) Style" became a minor cultural catch-phrase as the 1960s progressed.


title: Love, American Style

text: The original series was also known for its 10- to 20-second blackouts between the featured segments. These were performed by a house troupe that featured future "Rockford Files" cast member Stuart Margolin, future "Vega$" leading lady Phyllis Davis and a young character actor, James Hampton, who was known to television audiences of the era as Private Dobbs from the TV series "F-Troop". These clips allowed the show to be padded to the required length without adding to the main segments. They generally consisted of risqué, burlesque-style comedy-of-manners visual jokes.


title: Love, American Style

text: During its first four years on ABC, "Love, American Style" was popular with viewers and received decent ratings, although it never ranked among the top 30 shows in the Nielsens. For a few seasons, it was part of a lineup of ABC Friday night programs that included "The Brady Bunch", "The Partridge Family", "Room 222", and "The Odd Couple".


title: Love, American Style

text: Some of the show's segments also served as pilots for proposed television series. Many never made it beyond the pilot stage, but two resulted in a series:


title: Love, American Style

text: The series was also flexible enough to include repurposed pilots that had already failed or been retooled. One first-season example was "Love and the Good Deal," which was actually the original, unaired pilot for the sitcom adaptation of the Neil Simon play and movie "Barefoot in the Park", with a different cast than the series.


title: Love, American Style

text: At the start of the 1973–1974 fall season, the ratings for "Love, American Style" and "Room 222" had plummeted. As a result, both shows were canceled mid-season. The series received several Emmy nominations, including two for Best Comedy Series for 1969–70 and 1970–71. The show subsequently became a daytime standard in syndication, since it was readily edited down to a half-hour by the proper interweaving of the clips with a main segment, effectively making nine seasons out of five. This allowed for heavy stripping.


title: Love, American Style

text: The 1985 film "Back to the Future" featured an homage to the series. The cinema marquee behind Marty and Jennifer when they discuss their forthcoming camping trip reads "Orgy American Style".


title: Love, American Style

text: A decade after the show left the air, a new version premiered on ABC's daytime schedule in 1985 entitled "New Love, American Style" (including an updated version of the theme performed by Lou Rawls), but was canceled after a few months because of low ratings against "The Price Is Right" on CBS. A third edition, starring Melissa Joan Hart among others, was shot as a pilot for the 1998–1999 television season, but was not ordered as a series. Nevertheless, ABC aired the pilot on February 20, 1999.


title: Love, American Style

text: On November 20, 2007, CBS DVD (distributed by Paramount) released "Love, American Style", Season 1 Volume 1 on DVD in Region 1. Season 1, Volume 2 on DVD was released on March 11, 2008.


title: The Bowery Boys

text: The Bowery Boys are fictional New York City characters, portrayed by a company of New York actors, who were the subject of 48 feature films released by Monogram Pictures and its successor Allied Artists Pictures Corporation from 1946 through 1958.


title: The Bowery Boys

text: The Bowery Boys were successors of the East Side Kids, who had been the subject of films since 1940. The group originated as the Dead End Kids, who originally appeared in the 1937 film "Dead End."


title: The Bowery Boys

text: The Dead End Kids originally appeared in the 1935 play "Dead End," dramatized by Sidney Kingsley. When Samuel Goldwyn turned the play into a 1937 film, he recruited the original "kids" from the play—Leo Gorcey, Huntz Hall, Bobby Jordan, Gabriel Dell, Billy Halop, and Bernard Punsly—to appear in the same roles in the film. This led to the making of six other films that shared the collective title "The Dead End Kids".


title: The Bowery Boys

text: In 1938, Universal launched its own tough-kid series, "Little Tough Guys." Gradually, Universal recruited most of the original Dead End Kids, so the series ultimately featured "The Dead End Kids and Little Tough Guys." Universal made twelve feature films, and three 12-chapter serials with the gang. The final film in Universal's series, "Keep 'Em Slugging," was released in 1943, with Bobby Jordan replacing erstwhile ringleader Billy Halop.


title: The Bowery Boys

text: Independent producer Sam Katzman cashed in on the Dead End Kids' popularity by producing a low-budget imitation, "East Side Kids" (1940) with six juvenile actors, including Hally Chester who had appeared with individual Dead Enders in various films, and former Our Gang kid Donald Haines. The film was released by Monogram Pictures. When Bobby Jordan and Leo Gorcey became available in 1940, Katzman signed them and "The East Side Kids" became a Monogram series. Katzman also signed Leo's brother David Gorcey and "Sunshine Sammy" Morrison, another Our Gang alumnus. Original Dead End Kids Huntz Hall and Gabriel Dell followed Jordan and Gorcey to Monogram, as did freelance juvenile Billy Benedict of the Little Tough Guys.


title: The Bowery Boys

text: The original Dead End Kids were now working at several studios, so the East Side Kids were made at the same time that Universal was making the "Dead End Kids and Little Tough Guys" series. A total of 22 East Side Kids films were made, with the final one, "Come Out Fighting", released in 1945.


title: The Bowery Boys

text: In 1945, when East Side Kids producer Katzman refused to grant Leo Gorcey's request to double his weekly salary, Gorcey quit the series, which then ended immediately. Bobby Jordan then suggested a meeting with his agent, Jan Grippo. Grippo, Gorcey, and Hall formed Jan Grippo Productions, revamped the format, and rechristened the series "The Bowery Boys." (The earlier films' credits appear as "Leo Gorcey "and" The Bowery Boys".) Gorcey, who owned 40 percent of the company, starred, produced, and contributed to the scripts. The new series followed a more established formula than the prior incarnations of the team, with the gang usually hanging out at Louie's Sweet Shop (at 3rd & Canal St.) until an adventure came along.


title: The Bowery Boys

text: The original main characters were Terrence Aloysius "Slip" Mahoney (Leo Gorcey), Horace Debussy "Sach" Jones (Huntz Hall), Bobby (Bobby Jordan), Whitey (Billy Benedict), and Chuck (David Gorcey, sometimes billed as David Condon). In 1948 Bobby was replaced by Butch Williams, with former East Side Kids Bennie Bartlett and Buddy Gorman alternating in the role. The proprietor of the malt shop where they hung out was the panicky Louie Dumbrowski (Bernard Gorcey, Leo's and David's real-life father).


title: The Bowery Boys

text: Like the previous incarnations of the team, the members went through a number of changes over the course of the series. Thirteen actors were members of the team at one time or another. Ernie "Sunshine Sammy" Morrison, "Scruno" in the East Side Kids films, declined an invitation to rejoin the gang. (He later stated in an interview that he "didn't like the setup," possibly referring to the idea of Gorcey and Hall being in the forefront, and being paid much more than the other members.) Bobby Jordan was also unhappy with the direction of the series, which favored Gorcey and Hall and limited the participation of the other gang members. He left the series after being injured in an elevator accident.


title: The Bowery Boys

text: Gabriel Dell returned in the fourth entry, "Spook Busters" (1946), as "Gabe Moreno," a former member of the gang just out of the Navy with a French war bride in tow. He remained (minus spouse) for the next 16 features. Gabe was a convenient "utility" character, frequently changing jobs (attorney, policeman, song plugger, reporter, television personality) to suit the story at hand—and the limited casting budget. Dell often acted as a bridge between the real world and the Bowery gang he would summon to assist him. He reprised one of his East Side Kids roles in "Hard Boiled Mahoney" (1947), playing a myopic nerd with thick glasses, ascot, and cap. His final appearance was in "Blues Busters" in 1950, generally regarded as one of the funniest in the series.


title: The Bowery Boys

text: The early films such as "In Fast Company" (1946) flirted with the same humor-laced crime drama of the previous series, but they gradually shifted to situation comedy (western comedy, prison comedy, military comedy, college comedy, hillbilly comedy, etc.). In 1953 a new producer, Ben Schwalb, hired director Edward Bernds and writer Elwood Ullman, both closely associated with The Three Stooges. The situation-comedy content immediately gave way to all-out slapstick, in the Three Stooges manner using many of the Stooges' gags, and the stories became more juvenile. The new approach literally paid off: ""The Bowery Boys Meet the Monsters" was the best moneymaker of all of them," Bernds told historian Ted Okuda in 1987. "Actually, every Bowery Boys picture made money. Even if it was a bad one, it didn't lose. "The Bowery Boys Meet the Monsters" stood out above the others in terms of profit." Bernds left the series after "Dig That Uranium" (1956), although an unused Bernds-Ullman script was filmed later as "Looking for Danger" (1957).


title: The Bowery Boys

text: The budgets of the series had been lowering gradually. Productions that had formerly been filmed in 10 or 11 days (a speedy schedule to begin with) were now being filmed in five or six days. Cheaper films meant cheaper talent: the Monogram films had featured impressive casts of "name" supporting actors, but by the mid-1950s the studio would hire only one or two veteran featured players per film (Eric Blore, Lyle Talbot, Addison Richards, Barton MacLane, Fritz Feld, Mary Beth Hughes, Byron Foulger, Paul Cavanagh, etc.) and fill out the cast with lesser-known actors.


title: The Bowery Boys

text: Gorcey had been drinking heavily during the filming of "Dig That Uranium" (1955), according to Edward Bernds. After filming was completed, Bernard Gorcey was killed in an automobile accident, devastating his son Leo whose drinking became even heavier. It visibly affected his performance in the following film, "Crashing Las Vegas" (1956). During filming, he became violently unhinged, trashing the set and destroying every prop in sight. At a subsequent meeting with Allied Artists executives, Gorcey demanded an increase on the 40% interest he held in the series. This was denied, and after a heated exchange, he stormed off the studio lot. Gorcey claimed to have quit, but Edward Bernds offered an opinion from behind the scenes: "He was even worse on "Crashing Las Vegas" than he was on "Dig That Uranium", and I believe Ben [Schwalb] went to [studio executive] Walter Mirisch and said, 'It won't work; he's impossible and if we're going to continue this series we've got to do it with somebody else'... No, Leo was fired -- he drank too much and he couldn't do his work anymore."


title: The Bowery Boys

text: The studio owed exhibitors three more films for the 1956 season, so Gorcey was replaced by Stanley Clements, a former tough-teen actor who had been in a few East Side Kids movies. Clements, as "Duke Coveleskie," adapted to the series easily and completed the three films, which now starred "Huntz Hall and The Bowery Boys." With Louie absent, the gang's new hangout was a rooming house, where they helped landlady Kate Kelly (played first by Doris Kemper, then by Queenie Smith). The new Hall-Clements partnership was successful enough to be renewed for the 1957 season. Four more films were made, with Eddie LeRoy joining the cast as bespectacled "Blinky." The gang returned to the sweet shop, now known as Clancy's Cafe, with its similarly put-upon proprietor Mike Clancy (played first by Percy Helton, then by Dick Elliott).


title: The Bowery Boys

text: The series ended suddenly in September 1957. Producer Ben Schwalb moved on to other projects at Allied Artists, but Huntz Hall still had two films left on his contract. Former film editor and now staff producer Richard Heermance was assigned to oversee these last two films, "Up in Smoke" and "In the Money", and William Beaudine -- who had been the Bowery Boys' most frequent director -- came back to conclude the series. The studio then demolished the long-standing "Bowery street" on the studio backlot, replacing it with a western street.


title: The Bowery Boys

text: There was still a demand for the Bowery Boys comedies -- they were useful fillers on double-feature programs and kiddie matinées, and drive-ins used them extensively. Allied Artists had been offering a backlog of Bowery Boys titles all along, reminding exhibitors that older titles were still available from local exchanges. After the series concluded with "In the Money", Allied Artists began a formal reissue program, continuing to release the films seasonally. The first of the reissues was "Blues Busters" (1950), which returned to theaters in 1958. Theaters continued to play Bowery Boys features well into the 1960s.


title: The Bowery Boys

text: Allied Artists was planning to syndicate The Bowery Boys to television. Jan Grippo, who had produced the series from 1946 to 1951, still held a 50-percent interest in his 23 productions, so Allied Artists bought the rights from Grippo in December 1957. The transaction was front-page news in the trade, and the amount was reported as "more than $500,000." Preparing the series for television required making new negatives for 16mm film prints, and then making a complete set of 48 new prints for each local market. With so many films in the series, this took time. The Bowery Boys finally entered TV syndication in 1960. The films became a staple for independent stations across America, often used to fill the early-afternoon time slots on weekends, much as the same films played at matinées in theaters.


title: The Bowery Boys

text: The Bowery Boys (48 titles) was third-longest feature-film series of American origin in motion-picture history (behind the Charles Starrett westerns at 131 titles, and "Hopalong Cassidy" at 66). The final Bowery Boys film, "In the Money," was released in 1958. Only Huntz Hall and David Gorcey had remained with the series since 1946.


title: The Bowery Boys

text: In 2012, all 48 Bowery Boys films were made available as a set of manufactured-on-demand DVDs by Warner Brothers under its Archive Collection label in four volumes, each consisting of 12 films on four recordable media discs. Initial distribution was advertised by Warner Bros. as being traditionally replicated on "pressed disc" media in anticipation of high demand for the films to be "remastered from the best available elements."


title: Dubai Marina

text: Dubai Marina (), aka Marsa Dubai, is a district in Dubai, United Arab Emirates. It is an artificial canal city, built along a stretch of Persian Gulf shoreline. As of 2018, it has a population of 55,052. When the entire development is complete, it will accommodate more than 120,000 people in residential towers and villas. It is located on Interchange 5 between Jebel Ali Port and the area which hosts Dubai Internet City, Dubai Media City, and the American University in Dubai. The first phase of this project has been completed. Dubai Marina was inspired by the Concord Pacific Place development along False Creek in Vancouver, BC, Canada.


title: Dubai Marina

text: There have been many instances of marine wildlife (especially whales and sharks) entering the marina, because of its proximity to the open sea.


title: Dubai Marina

text: In order to create the man-made marina, the developers brought the waters of the Persian Gulf into the site of Dubai marina, creating a new waterfront.


title: Dubai Marina

text: There is a large central waterway, excavated from the desert and running the length of the 3 km site. More than 12% of the total land area on the site has been given over to this central public space.


title: Dubai Marina

text: Although much of this area is occupied by the marina water surface, it also includes almost 8 km of landscaped public walkways.


title: Dubai Marina

text: The marina is entirely man-made and has been developed by the real estate development firm Emaar Properties of the United Arab Emirates and designed by HOK Canada. Upon completion, it is claimed to be the world's largest man-made marina. The current largest man-made marina in the world is Marina del Rey in California, United States. There is a publicly accessible foreshoreway around the marina and some sections of public oceanway along the beach with views to Palm Jumeirah. Its largest development is the Jumeirah Beach Residence. Dubai Marina opened doors to its first mosque Masjid Al Rahim in October 2013, which is situated in the southern end of the Marina, and its second mosque Mohammed Bin Ahmed Almulla Mosque in December 2016.


title: Dubai Marina

text: The first phase of Dubai Marina covers , which includes six freehold apartment buildings, the Dubai Marina Towers. The phase I of Dubai Marina cost more than AED 1.2 billion. Three of the towers are named after precious stones, Al Mass, Fairooz, and Murjan, and the other three are named after Arabic scents, Mesk, Anbar, and Al Yass. The scheme was designed by HOK and the contractors were Al-Futtaim Carillion and Nasah Multiplex.


title: Dubai Marina

text: The Phase II of Dubai Marina will consist of high rise buildings, which are mainly clustered into a block, known as "Tallest Block in the world" with the majority of the skyscrapers ranges between to , which includes Cayan Tower, Ocean Heights, Marina Pinnacle, Sulafa Tower and Ciel Tower, which rises to meters and few are taller than meters and , which includes Elite Residence, 23 Marina, Princess Tower, Marina 106, Marina 101, DAMAC Residenze, and the supertall Pentominium, which rises to meters.


title: Dubai Marina

text: Jumeirah Beach Residence is a long, gross floor area waterfront community located against the Persian Gulf in Dubai Marina. It is the largest single phase residential development in the world and contains 40 towers (35 are residential and 5 are hotels). JBR can accommodate about 15,000 people, living in its apartments and hotel rooms. The Project has 6,917 apartments, from studios to penthouses. Jumeirah Beach Residence was launched in August 2002 from the developer, Dubai Properties (a subsidiary of Dubai Holding) with the cost of 6 billion dirham and was completed in 2007. The Walk at JBR restaurant and shopping strip, which is adjacent to the beach behind JBR, is a very popular location for Al Fresco dining. There are five hotels, rated as 5 star or 4 star, three of which are purpose-built hotels, while the other two are converted residential towers.


title: Dubai Marina

text: The Walk at Jumeirah Beach Residence is a strip at the ground and plaza level of the complex, it was developed by Dubai Properties, and was completed by 2007 and opened officially in August 2008.


title: Dubai Marina

text: The Beach at Jumeirah Beach Residence is a retail complex being constructed on the beach in front of JBR by Meraas Holding, a company owned by Sheikh Mohammed bin Rashid Al Maktoum, Vice-President and Prime Minister of the UAE and Ruler of Dubai. The development, comprising four plazas, will occupy the bulk of the beach between the Hilton and Sheraton hotels. The complex houses a number of levels of parking as well as seventy retail and food and beverage outlets, together with entertainment facilities.


title: Dubai Marina

text: Al Sahab is a residential high rise development that consists of two towers; Tower 1 is a 44-story structure, and Tower 2 is a 24-story structure. The complex is on the waterfront and directly overlooks the largest bay of water at Dubai Marina. The buildings are in the northern end of the marina across from the Al Majara Towers near the Marina Quays. The complex features a gymnasium and squash court, swimming pool and open community area, a mini-theater, sheltered assigned parking, multi-function rooms, and meeting rooms.


title: Dubai Marina

text: Al Majara is a five-building residential complex comprising high-rise waterfront apartments adjacent to where the old Dubai Marina Yacht Club used to be and overlooks the largest part of the bay.


title: Dubai Marina

text: Marina Promenade is a residential enclave in Dubai Marina. Nestled within the panoramic confines of Dubai Marina, it overlooks the widest and most scenic part of the bay and is ideally located opposite the Dubai Marina Yacht Club. The Marina Promenade comprises six residential towers and villas with views of the bay.


title: Dubai Marina

text: Marina Quays is a complex designed by Arif & Bintoak, also responsible for the Concorde Tower. Along with apartments and villas, the development has shops and other outlets. The three residential buildings are joined by shared a podium. It has luxury apartments with panoramic views of the marina. The buildings are Quay East, Quay West and Quay North. The two shorter buildings are cantilevered, extending 20m over the Dubai Marina waterway. Amenities include a movie theatre, 24 hour security, a pool, concierge service and a swimming pool. As of 2016, luxury penthouses in the buildings sold in excess of 10 million Dirham. In 2018 five million tonnes of rock was added to create a breakwater for Marina Quays.


title: Dubai Marina

text: Park Island is a four tower residential development comprising Blakely, Bonaire, Fairfield and Sanibel. The towers within Park Island have been placed with parks and landscaped gardens.


title: Dubai Marina

text: Dubai Marina Mall is a shopping mall located in the center of Dubai Marina and is one of the main shopping malls in Dubai. It features 140 retail outlets, spread over of gross leasable space, making it one of the largest shopping malls in Dubai. The mall has been completed and opened in December 2008. The mall is linked to the 5-star Dubai Marina Hotel.


title: Dubai Marina

text: Sobha Realty (Arabic: شوبا العقارية) (formerly Dubai Marina) is a rapid transit station on the Red Line of the Dubai Metro in Dubai. It opened on 30 April 2010 as part of an extension to Ibn Battuta. Dubai Marina station is located near Interchange 5 of Sheikh Zayed Road, around southwest of Downtown Dubai. It lies to the east of the northern half of the Dubai Marina and to the west of the northern portion of Jumeirah Lake Towers. Dubai Marina station lies on a viaduct paralleling the eastern side of Sheikh Zayed Road. It is categorised as a type 2 elevated station, indicating that there is an elevated concourse between street and platform level. Pedestrian access to the station is aided through walkways above Sheikh Zayed Road, connecting to developments on either side of the road. In September 2014, Damac Properties acquired the naming rights for the Dubai Marina Station, which resulted in it being renamed as the Damac Station.


title: Dubai Marina

text: Al Sufouh Tramway is a tramway that operates in Al Sufouh, Dubai Marina. It runs along Al Sufouh Road from Dubai Marina to the Burj Al Arab and the Mall of the Emirates. It interchanges with two stations of Dubai Metro's Red Line. The Sufouh Tram also connects with the monorail of the Palm Jumeirah at the entrance of the Palm from Sufouh Road. After completion in 2014 it serves the residences of Dubai Marina and Jumeirah Beach Residence.


title: Dubai Marina

text: A zipline advertised as the "longest urban zipline" was installed here, which links Dubai Marina with the Dubai Marina Mall.


title: Dubai Marina

text: On 27 April 2006, a protest broke out among workers in Al Ahmadiya Contracting that caused the blocking of the company's construction site at Dubai Marina, damaging eight cars and two buses, destroying office property and documents, and roughing up a site engineer. The riot control wing of Dubai Police had rushed to the scene to control the situation and the police later succeeded in dispersing the agitating workers.


title: Dubai Marina

text: In August 2015, various people (including police officers) were arrested, after they were caught with prostitutes and illegal alcohol, on a boat in Dubai Marina.


title: Gil Hill

text: Gilbert Roland Hill (November 5, 1931 – February 29, 2016) was an American politician, police officer, and actor, who was the President of the Detroit City Council. He gained recognition for his role as Inspector Todd in the "Beverly Hills Cop" film series. He was the runner-up in the 2001 Detroit mayoral election, losing to Kwame Kilpatrick.


title: Gil Hill

text: Born in Birmingham, Alabama, Hill was the son of Mary Lee Hill, who raised him and his sister Toni, alone. In the 1940s, Hill moved with his mother and sister to Washington, D.C. Hill attended Cardozo High School, graduating in 1949. Hill had wished to attend Howard University, but was not able due to strained financial resources.


title: Gil Hill

text: Instead, Hill joined the United States Air Force in 1950 and was stationed at Selfridge Air Force Base near Detroit. After leaving the Air Force in 1953, he returned to the Detroit area, where he worked a number of jobs for the next four years.


title: Gil Hill

text: Hill joined the Wayne County Sheriff's Department in 1957, but quickly became disillusioned with the slow pace, so he joined the Detroit Police Department in 1959. In 1969 he was promoted to detective and was assigned to the homicide division the following year. Over the next decade, Hill rose to national attention for his ability to obtain confessions out of the most notorious killers. He was involved in the investigation surrounding the Atlanta Child Murders in 1979 that ultimately resulted in the trial and conviction of Wayne Williams.


title: Gil Hill

text: Hill was promoted to the rank of Inspector in charge of the Homicide Division by 1982, and in 1989, retired from the Detroit Police Department at the rank of Commander.


title: Gil Hill

text: In 2016, former hit man Nate "Boone" Craft alleged that Hill had once offered to pay him $125,000 to kill Richard Wershe Jr., to keep Wershe from revealing alleged corruption in the Detroit police department.


title: Gil Hill

text: Following his retirement from police work he became a councilman for Detroit, becoming its president in 1997, and running unsuccessfully for mayor against Kwame Kilpatrick in 2001. He was initially considered to be the leading candidate, and had support from many people connected with incumbent mayor Dennis Archer.. In 2019, a portrait of Hill was unveiled at the Coleman A. Young Municipal Center in downtown Detroit, a tradition carried out for all former City Council Presidents.


title: Gil Hill

text: Already a prominent figure in law enforcement, Hill appeared in the "Beverly Hills Cop" films, playing the role of Inspector Todd, the boss of Eddie Murphy's character, Axel Foley. Offered other acting work after the film's release, Hill declined to pursue acting as a career, but did appear in the two subsequent sequels of the movie, saying that the only difference between his famous character's life and his own was that he did not curse as much in real life.


title: Gil Hill

text: Hill married Dolores Hooks, who sang in a local church choir, in 1955. They remained married until her death in 2015. They had two sons and a daughter.


title: Gil Hill

text: Hill died from pneumonia at the age of 84 on February 29, 2016, at DMC Sinai-Grace Hospital in Detroit, Michigan.


title: The B-52's (album)

text: The B-52's is the debut album by the Athens, Georgia-based new wave band the B-52's. The kitschy lyrics and mood, and the hook-laden harmonies helped establish a fanbase for the band, who went on to release several chart-topping singles. The album cover was designed by Tony Wright (credited as "Sue Ab Surd").


title: The B-52's (album)

text: "The B-52's" peaked at number 59 on the "Billboard" 200, and "Rock Lobster" reached number 56 on the "Billboard" Hot 100. In 2003, the television network VH1 named "The B-52's" the 99th greatest album of all time. Shortly before his death, John Lennon said he enjoyed the album. In his 1995 book, "The Alternative Music Almanac", Alan Cross placed the album ninth on the list of "10 Classic Alternative Albums". In 2020, "The B-52's" was ranked number 198 on "Rolling Stone" magazine's list of the 500 greatest albums of all time.


title: The B-52's (album)

text: Critical reception for "The B-52's" was generally favorable; critics praised the album's kitschy lyrics and party atmosphere. In his "Consumer Guide" column for "The Village Voice", music critic Robert Christgau remarked on his fondness "for the pop junk they recycle—with love and panache," while also noting that he was "more delighted with their rhythms, which show off their Georgia roots by adapting the innovations of early funk (a decade late, just like the Stones and Chicago blues) to an endlessly danceable forcebeat format."


title: The B-52's (album)

text: In a retrospective review, Stephen Thomas Erlewine of AllMusic wrote: "Unabashed kitsch mavens at a time when their peers were either vulgar or stylish, the Athens quintet celebrated all the silliest aspects of pre-Beatles pop culture – bad hairdos, sci-fi nightmares, dance crazes, pastels, and anything else that sprung into their minds – to a skewed fusion of pop, surf, avant-garde, amateurish punk, and white funk." "Rolling Stone" writer Pat Blashill concluded that "On "The B-52's", the best little dance band from Athens proved that rock & roll still matters if it's about sex and hair and moving your body. Even if you have to shake-bake shake-bake it like a Shy Tuna." "Slant Magazine"s Sal Cinquemani stated that "(l)ike any over-the-top act, the B-52's wears thin, but the band successfully positioned themselves as pop-culture icons—not unlike the musical antiquities they emulated." "The B-52's" was included in the book "1001 Albums You Must Hear Before You Die". In 2003, "Rolling Stone" ranked "The B-52's" number 152 on its list of the 500 greatest albums of all time, maintaining the ranking in a 2012 update of the list and dropping it to number 198 in a 2020 update.


title: Kentucky Wildcats football

text: The Kentucky Wildcats football program represents the University of Kentucky in the sport of American football. The Wildcats compete in the Football Bowl Subdivision (FBS) of the National Collegiate Athletic Association (NCAA) and the Eastern Division of the Southeastern Conference (SEC). The Wildcats play their home games at Kroger Field in Lexington, Kentucky and are led by head coach Mark Stoops.


title: Kentucky Wildcats football

text: Until about 1913, the modern University of Kentucky was referred to as "Kentucky State College" and nearby Transylvania University was known as "Kentucky University". In 1880, Kentucky University and Centre College played the first intercollegiate football game in Kentucky. Kentucky State first fielded a football team in 1881, playing three games against rival Kentucky University. The team was revived in 1891. Both the inaugural 1881 squad and the revived 1891 squad have unknown coaches according to university records in winning two games and losing three. The 1891 team's colors were blue and light yellow, decided before the Centre–Kentucky game on December 19. A student asked "What color blue?" and varsity letterman Richard C. Stoll pulled off his necktie, and held it up. This is still held as the origin of Kentucky's shade of blue. The next year light yellow was dropped and changed to white. The 1892 team was coached by A. M. Miller, Kentucky's first head football coach, and went 2–4–1. The greatest UK team of this era was the 1898 squad, known simply to Kentuckians as "The Immortals." To this day, the Immortals remain the only undefeated, untied, and unscored upon team in UK football history. The Immortals were coached by W. R. Bass and ended the year a perfect 7–0–0, despite an average weight of 147 pounds per player. Victories came easily for this squad, as the Immortals raced by Kentucky University (18–0), Georgetown (28–0), Company H of the 8th Massachusetts (59–0), Louisville Athletic Club (16–0), Centre (6–0), 160th Indiana (17–0) and Newcastle Athletic Club (36–0). Head coach Jack Wright led the team to a 7–1 record in 1903, losing only to rival and southern champion Kentucky University. Fred Schacht posted a 15–4–1 record in two seasons but died unexpectedly after his second season. J. White Guyn also had success leading the Wildcats, posting a 17–7–1 record in his three years. Edwin Sweetland went 16–3 in three seasons (1909–1910 and 1912) but resigned due to poor health. Sweetland also served as Kentucky's first athletics director. The 1909 team upset the Illinois Fighting Illini. Upon their welcome home, Philip Carbusier said that they had "fought like wildcats," a nickname that stuck.


title: Kentucky Wildcats football

text: John J. Tigert coached Kentucky for two seasons (1915–1916) with each season having one loss. 1915 captain Charles C. Schrader was All-Southern. The 1916 team fought the Southern Intercollegiate Athletic Association (SIAA) co-champion Tennessee Volunteers to a scoreless tie. The year's only a loss, 45–0 to the Irby Curry-led Vanderbilt Commodores, was the dedication of Stoll Field. Quarterbacks Curry and Kentucky's Doc Rodes were both selected All-Southern at year's end. Vanderbilt coach Dan McGugin stated "If you would give me Doc Rodes, I would say he was a greater player than Curry." Coach Harry Gamage had a 32–25–5 record during his seven seasons from 1927 to 1933. A.D. Kirwan, who would go on to be the president of the university, coached the Wildcats from 1938 to 1944 and posted a 24–28–4 record in those six seasons. Longtime athletics director Bernie Shively also served as Kentucky's head football coach for the 1945 season.