title: William Hootkins

text: Hootkins appeared in many roles that made him a welcome figure at fan conventions, particularly for "Star Wars" in his role of Jek Tono Porkins. He also appeared in significant parts in films such as "Hardware" (1990), "Like Father, Like Santa" (as Santa Claus), and "Hear My Song" (1991), where he was the Mr. X who was presumed to be the Irish tenor Josef Locke under a false name. He portrayed Fatty Arbuckle in Ken Russell's infamous 1977 flop "Valentino", and played Hans Zarkov's assistant in the 1980 "Flash Gordon". He also made appearances in such films as "Raiders of the Lost Ark" and Tim Burton's "Batman" (the latter as Lt. Eckhardt).


title: William Hootkins

text: He also appeared in several roles on television, including Charles Frohman in "The Lost Boys" (1978), Colonel Cobb in the remake of "The Tomorrow People" and as Uncle George in the 2002 remake of "The Magnificent Ambersons".


title: William Hootkins

text: At the time of his death, Hootkins was planning a screenplay on Fatty Arbuckle, focusing on the comic's life after his fall from grace in 1921; he had met Arbuckle's last wife, Addie McPhail.


title: William Hootkins

text: Hootkins was also a voice artist, recording dozens of plays for BBC Radio Drama where his roles ranged from J. Edgar Hoover and Orson Welles to Winston Churchill. In audio books, he read works by Jack London, Henry Wadsworth Longfellow, Robert Bloch and Carl Hiaasen and performed a complete reading of Herman Melville's "Moby-Dick" for Naxos Records Audiobooks in some 24 hours and 50 minutes. He also voiced Dingodile in "", Maximillian Roivas in the cult hit "", and Lucifer in the stop-motion film "The Miracle Maker". He played Bobby Mallory in BBC Radio4's dramatisations of Sara Paretsky's V. I. Warshawski novels, alongside Kathleen Turner. He also voiced Lex Luthor in Radio 4's "The Adventures of Superman".


title: William Hootkins

text: Hootkins died of pancreatic cancer in Santa Monica, California on October 23, 2005, at the age of 57. His mausoleum is at Sparkman-Hillcrest Memorial Park Cemetery.


title: Burial of Jesus

text: The burial of Jesus refers to the entombment of the body of Jesus after crucifixion, before the eve of the sabbath described in the New Testament. According to the canonical gospel narratives, he was placed in a tomb by a councillor of the sanhedrin named Joseph of Arimathea; according to , he was laid in a tomb by "the council as a whole." In art, it is often called the Entombment of Christ.


title: Burial of Jesus

text: The only reference to a burial of Jesus is in a letter of Paul. Writing to the Corinthians around the year 54 AD, he refers to the account he had received of the death and resurrection of Jesus ("and that he was buried, and that he was raised on the third day according to the Scriptures").


title: Burial of Jesus

text: The four canonical gospels, written between 66 and 95, all conclude with an extended narrative of Jesus' arrest, trial, crucifixion, entombment, and resurrection. All four state that, on the evening of the Crucifixion, Joseph of Arimathea asked Pilate for the body, and, after Pilate granted his request, he wrapped it in a linen cloth and laid it in a tomb. According to , he was laid in a tomb by "the council as a whole."


title: Burial of Jesus

text: Modern scholarship emphasizes contrasting the gospel accounts, and finds the Mark portrayal more probable.


title: Burial of Jesus

text: In the Gospel of Mark (the earliest of the canonical gospels), written around the years 66 and 72, Joseph of Arimathea is a member of the Jewish Council – the Sanhedrin which had condemned Jesus – who wishes to ensure that the corpse is buried in accordance with Jewish law, according to which dead bodies could not be left exposed overnight. He puts the body in a new shroud and lays it in a tomb carved into the rock. The Jewish historian Josephus, writing later in the century, described how the Jews regarded this law as so important that even the bodies of crucified criminals would be taken down and buried before sunset. In this account, Joseph does only the bare minimum needed for observance of the law, wrapping the body in a cloth, with no mention of washing or anointing it. This may explain why Mark mentions an event prior to the crucifixion in which a woman pours perfume over Jesus. Jesus is thereby prepared for burial even before his death.


title: Burial of Jesus

text: The Gospel of Matthew was written around the years 80 to 85, using the Gospel of Mark as a source. In this account Joseph of Arimathea is not referenced as a member of the Sanhedrin, but a wealthy disciple of Jesus. Many interpreters have read this as a subtle orientation by the author towards wealthy supporters, while others believe this is a fulfillment of prophecy from Isaiah 53:9: "And they made his grave with the wicked, And with the rich his tomb; Although he had done no violence, Neither was any deceit in his mouth." This version suggests a more honourable burial: Joseph wraps the body in a clean shroud and places it in his own tomb, and the word used is "soma" (body) rather than "ptoma" (corpse). The author adds that the Roman authorities "made the tomb secure by putting a seal on the stone and posting the guard."


title: Burial of Jesus

text: The Gospel of Mark is also a source for the account given in the Gospel of Luke, written around the year 90–95. As in the Markan version, Joseph is described as a member of the Sanhedrin, but as not having agreed with the Sanhedrin's decision regarding Jesus; he is said to have been "waiting for the kingdom of God" rather than a disciple of Jesus.


title: Burial of Jesus

text: The Gospel of John, the last of the gospels, was written around the years 80 to 90, and it depicts Joseph as a disciple who gives Jesus an honourable burial. John says that Joseph was assisted in the burial process by Nicodemus, who brought a mixture of myrrh and aloes and included these spices in the burial cloth according to Jewish customs.


title: Burial of Jesus

text: The apocryphal manuscript known as the Gospel of Peter states that the Jews handed over the body of Jesus to Joseph, who later washes him then buries him in a place called "Joseph's Garden".


title: Burial of Jesus

text: Christian authors have taken the Gospel-accounts to be historically reliable. N. T. Wright notes that the burial of Christ is part of the earliest gospel traditions. John A.T. Robinson states that the burial of Jesus in the tomb is one of the earliest and best-attested facts about Jesus." Rudolf Bultmann described the basic story as 'a historical account which creates no impression of being a legend'.


title: Burial of Jesus

text: Critical scholars have noted historical discrepancies in the entombment narratives. Martin Hengel argued that Jesus was buried in disgrace as an executed criminal who died a shameful death, a view which is "now widely accepted and has become entrenched in scholarly literature." John Dominic Crossan famously stated that Jesus' body was thrown into a shallow grave and eaten by dogs, the bones scattered. Maurice Casey argues that Jesus was indeed entombed by Joseph of Arimathea, but in a tomb for criminals owned by the Sanhedrin. Bart D. Ehrman initially stated that Jesus was entombed by Joseph of Arimathea, but later changed his mind, following Hengel, and stated that Jesus was probably thrown into a common grave for criminals.


title: Burial of Jesus

text: Paul the Apostle includes the burial in his statement of the gospel in verses 3 and 4 of 1 Corinthians 15: "For I delivered unto you first of all that which I also received, how that Christ died for our sins according to the scriptures; And that he was buried, and that he rose again the third day according to the scriptures" (KJV). This appears to be an early pre-Pauline credal statement.


title: Burial of Jesus

text: The burial of Christ is specifically mentioned in the Apostles' Creed, where it says that Jesus was "crucified, dead, and buried." The Heidelberg Catechism asks "Why was he buried?" and gives the answer "His burial testified that He had really died."


title: Burial of Jesus

text: The Catechism of the Catholic Church states that, "It is the mystery of Holy Saturday, when Christ, lying in the tomb, reveals God's great sabbath rest after the fulfillment of man's salvation, which brings peace to the whole universe" and that "Christ's stay in the tomb constitutes the real link between his passible state before Easter and his glorious and risen state today."


title: Burial of Jesus

text: The Entombment of Christ has been a popular subject in art, being developed in Western Europe in the 10th century. It appears in cycles of the "Life of Christ", where it follows the Deposition of Christ or the Lamentation of Christ. Since the Renaissance, it has sometimes been combined or conflated with one of these.


title: Burial of Jesus

text: The African-American spiritual "Were you there?" has the line "Were you there when they laid Him in the tomb?" while the Christmas carol "We Three Kings" includes the :


title: Burial of Jesus

text: John Wilbur Chapman's hymn "One Day" interprets the burial of Christ by saying "Buried, He carried my sins far away."


title: Do Wah Diddy Diddy

text: "Do Wah Diddy Diddy" is a song written by Jeff Barry and Ellie Greenwich and originally recorded in 1963, as "Do-Wah-Diddy", by the American vocal group the Exciters. "Cash Box" described the Exciters' version as "a sparkling rocker that bubbles over with coin-catching enthusiasm" and said that the "great lead job is backed by a fabulous instrumental arrangement." It was made internationally famous by the British band Manfred Mann.


title: Do Wah Diddy Diddy

text: It was soon covered by British R&B, beat and pop band Manfred Mann. Manfred Mann's version was released on 10 July 1964. It spent two weeks at No. 1 of the UK Singles Chart in August and two weeks at No. 1 of the U.S. "Billboard" Hot 100 in October. "Billboard" said it "features powerful beat with Mann's solo echoed by male chorus." "Cash Box" described it as "a thumpin' novelty rocker that's right up the teeners' alley."


title: Do Wah Diddy Diddy

text: In 1995, Fun Factory released a cover version of the song. Only a few lines of lyrics were retained, and supplemented by rap passages. It reached the top 10 in Germany and Spain and No.11 in Austria.


title: Do Wah Diddy Diddy

text: The song has been covered many times, notably by DJ Ötzi whose version titled "Do Wah Diddy" peaked at No.9 on the Ö3 Austria Top 40, as well as charting in Germany, Switzerland, the UK and Ireland. A French cover version, "Vous les copains, je ne vous oublierai jamais", by Sheila (singer) became a big hit in France in 1964


title: Do Wah Diddy Diddy

text: The song was featured in the 1981 film "Stripes", used as a marching cadence by characters played by Bill Murray and Harold Ramis in boot camp. This usage inspired real-life Army units to use it as a marching song.


title: Do Wah Diddy Diddy

text: The novelty item Travis the Singing Trout, a successor to Big Mouth Billy Bass sings a parody version of the song, about how the fish ended up mounted on a plaque.


title: United States color-coded war plans

text: During the 1920s and 1930s, the United States Armed Forces developed a number of color-coded war plans that outlined potential U.S. strategies for a variety of hypothetical war scenarios. The plans, developed by the Joint Planning Committee (which later became the Joint Chiefs of Staff), were officially withdrawn in 1939 at the outbreak of World War II in favor of five Rainbow Plans developed to meet the threat of a two-ocean war against multiple enemies.


title: United States color-coded war plans

text: The use of colors for U.S. war planning originated from the desire for the Army and Navy to use the same symbols for their plans. At the end of 1904, the Joint Board adopted a system of colors, symbols, and abbreviated names to represent countries. Many war plans became known by the color of the country to which they were related, a convention that lasted through World War II. As the convention of using colors took root, some were eventually reused, such as Grey, which originally referred to Italy but eventually became a plan for the capture and occupation of Portugal’s Azores.


title: United States color-coded war plans

text: The plan that received the most consideration was War Plan Orange, a series of contingency plans for fighting a war with Japan alone, outlined unofficially in 1919 and officially in 1924. Orange formed some of the basis for the actual campaign against Japan in World War II and included the huge economic blockade from mainland China and the plans for interning the Japanese-American population.


title: United States color-coded war plans

text: War Plan Red was a plan for war against the British Empire. British territories had war plans of different shades of red—the UK was "Red", Canada "Crimson", India "Ruby", Australia "Scarlet" and New Zealand "Garnet". Ireland, at the time a free state within the British Empire, was named "Emerald".


title: United States color-coded war plans

text: War Plan Black was a plan for war with Germany. The best-known version of Black was conceived as a contingency plan during World War I in case France fell and the Germans attempted to seize French possessions in the Caribbean or launch an attack on the eastern seaboard.


title: United States color-coded war plans

text: Many of the war plans were extremely unlikely given the state of international relations in the 1920s, and were entirely in keeping with the military planning of other nation-states. Often, junior military officers were given the task of updating each plan to keep them trained and busy (especially in the case of War Plan Crimson, the invasion of Canada). Some of the war plan colors were revised over time, possibly resulting in confusion.


title: United States color-coded war plans

text: Although the US had fought its most recent war against Germany and would fight another within twenty years, intense domestic pressure emerged for the Army to halt when it became known that the Army was constructing a plan for a war with Germany; isolationists opposed any consideration of involvement in a future European conflict. This may have encouraged the Army to focus on more speculative scenarios for planning exercises.


title: United States color-coded war plans

text: During the 1910s, relations between Mexico and the United States were often volatile. In 1912, U.S. President William Howard Taft considered sending an expeditionary force to protect foreign-owned property from damage during the Mexican Revolution. Thus War Plan Green was developed. In 1916, U.S. troops under General John Pershing invaded Mexico in search of Pancho Villa, whose army had attacked Columbus, New Mexico; earlier, American naval forces had bombarded and seized the Mexican port of Veracruz, and forced Victoriano Huerta to resign the presidency. In 1917, British intelligence intercepted a telegram from the German foreign ministry to its embassy in Mexico City offering an alliance against the United States and assistance in the Mexican reconquest of the Southwest. Released to American newspapers, the Zimmermann Telegram helped turn American opinion against Germany and further poisoned the atmosphere between the US and Mexico. Relations with Mexico remained tense into the 1920s and 1930s.


title: United States color-coded war plans

text: Additionally, between the American Civil War and World War I, the American military intervened in the affairs of Latin American countries, including Colombia,Panama, Haiti, Cuba, and Nicaragua. In doing so, parts of "Gray" and "Purple", plans were considered although never officially activated.


title: United States color-coded war plans

text: The most detailed was War Plan Red-Orange, which detailed a two-front war against Britain and Japan. This was the contingency which most worried U.S. war planners, since it entailed a two-ocean war against major naval powers. Although the 1902 Anglo-Japanese Alliance was terminated by the 1921 Four-Power Treaty, American generals did not rule out the possibility of Britain wanting to seek an alliance with Japan again if war ever broke out. Theories developed in War Plan Red-Orange were useful during World War II, when the United States engaged the Axis powers in both the Atlantic and Pacific simultaneously.


title: United States color-coded war plans

text: Japan had used the opportunity afforded by World War I to establish itself as a major power and a strategic rival in the Pacific Ocean. After the war, most American officials and planners considered a war with Japan to be highly likely. The fear lessened when the civilian government of Japan temporarily halted its program of military expansion, which was not to resume until 1931. War Plan Orange was the longest and most-detailed of the colored plans.


title: United States color-coded war plans

text: However, following the events in Asia in 1937 (the Second Sino-Japanese War) and Europe in 1938—1940 (the Anschluss, the Munich Agreement, the German occupation of Czechoslovakia, the Molotov–Ribbentrop Pact and the German invasion of Poland and Western Europe), American war planners realized that the United States faced the possibility of war on multiple fronts against a coalition of enemies. Therefore, the Joint Planning Board developed a new series of war plans, the "Rainbow" plans—the term being a play on the multiple "color" plans that had been drawn up previously.


title: United States color-coded war plans

text: The assumptions and plans for Rainbow 5 were discussed extensively in the Plan Dog memo, which concluded ultimately that the United States would adhere to a Europe first strategy in World War II.


title: United States color-coded war plans

text: On December 4, 1941, three days before the Japanese attack on Pearl Harbor, the "Chicago Tribune", with the headline "F.D.R.’s War Plans!", along with "The Times Herald" of Washington, D.C., published the Rainbow Five plan. The articles, both by the "Tribune"s Washington correspondent, Chesly Manly, revealed plans to build a 10-million-man Army with a five-million-man expeditionary force to be sent to Europe in 1943 in order to defeat Nazi Germany.


title: United States color-coded war plans

text: The publication ignited a storm of controversy in the U.S., with isolationist politicians claiming Roosevelt was violating his pledge to keep the country out of the European war, while Secretary of War Henry L. Stimson accused the newspapers of unpatriotic behavior and suggested it would be a dereliction of duty for the War Department not to plan for every contingency. Germany publicly ridiculed the plan the next day, doubting "whether the entire world shipping would be sufficient to transport 5,000,000 troops to Europe, much less supply them there."


title: United States color-coded war plans

text: Privately, the German general staff saw the publication of the plans as extremely valuable intelligence and used its threat of a five-million-man U.S. force in 1943 to argue for temporarily stalling the faltering invasion of the Soviet Union, and concentrating German forces in the west. Hitler vehemently rejected that idea. Historian Thomas Fleming suggests that Germany might have prevailed against the U.K. and the U.S. if he had not. The source of the leak has never been determined, with speculation listing several possibilities, including disgruntled or isolationist military officers and even FDR himself.


title: United States color-coded war plans

text: According to the public intelligence site, Global Security, the following plans are known to have existed:


The Elder Scrolls V: Skyrim – Hearthfire is the second downloadable content add-on for the action role-playing open world video game "". The game was developed by Bethesda Game Studios and published by Bethesda Softworks. The Xbox 360 version of "Hearthfire" launched on September 4, 2012. It was released on Microsoft Windows via Steam on October 5, 2012. It was released for the PlayStation 3 on February 19, 2013, in North America and February 20, 2013, in Europe.


title: The Elder Scrolls V: Skyrim – Hearthfire

text: "Hearthfire" revolves around acquiring and improving land, allowing the player to build and customize their own home. The add-on also introduced adoption, giving players the option of adopting up to two children to live with them in their personal home.


text: "Hearthfire" allows the player character to purchase a plot of land and build their own home from raw materials such as lumber and clay, with the option of adding features such as greenhouses, bee hives, and alchemy and enchanting facilities. There are three homesteads the player can build: Lakeview Manor (east of Falkreath), Windstad Manor (northeast of Morthal), and Heljarchen Hall (south of Dawnstar). Each one requires the player to have earned the respect of the Jarl in charge of the hold at the time and become Thane, then purchase the land from the Jarl or their steward. There are options to hire stewards to look after the home, carriage drivers for quick transportation, and a personal bard, along with animals, including horses for easier transport when overloaded with various items. "Hearthfire" also introduces the option to raise a family by adopting children. In addition, previously bought pre-built homes, such as Proudspire Manor in Solitude or Breezehome in Whiterun, can be altered to have a children's bedroom added into them.


text: "Hearthfire" was released on September 4, 2012 for Xbox 360, and October 4, 2012 on PC. Due to performance issues, the PlayStation 3 version of "Hearthfire" was delayed and later released on February 19, 2013.


text: "Hearthfire" received a mixed reception, with Metacritic ranking the PlayStation 3 and Xbox 360 versions of the game with scores of 69 and 54, respectively. Eurogamer gave "Hearthfire" a score of 5/10, stating that it could have been "more creative" and "less restrictive" in its house building feature, and that the new child adoption seemed nothing more than "simply picking one of a handful of pre-rendered moppets who will go through a series of pre-rendered routines". However, the site went on to say that its content was worth the low price point, and was a "more interesting way of incorporating useful features into the world than simply having you unlock a pre-built house". "PlayStation Official Magazine" gave a positive review, calling the DLC "reasonably priced", stating, ""Skyrim" is a game you really make your own, and building a home in "Hearthfire" is a natural and enjoyable extension of this concept. It's not quite up there with the excitement of slaying beasts and looting dungeons, but homebodies will love it nonetheless." "The Escapist" gave the add-on 3 out of 5 stars, and felt that the new adoption feature was "kind of a waste of time" due to the absence of the child developing or growing older. In regards to the home building, the magazine criticized the lack of customization options and wrote, "you can't even choose which furniture goes into each room, just whether or not it's made." The magazine did note that "Hearthfire" provides an added convenience to the player for managing their items, along with the benefit of cutting down on traveling time to a forge or enchanter's table. VideoGamer.com panned the add-on, specifically its shortcomings in offering the player their personal touch. The site wrote that the "variety and customization" options of the homes were lacking, and as a result "never feels like it's truly yours".


title: Tele2 Arena

text: The Stockholmsarenan, known as the Tele2 Arena for sponsorship reasons, is a retractable roof multi-purpose stadium in Stockholm Globe City, Johanneshov, just south of Stockholm City Centre, Sweden. It is used mostly for concerts and football matches, hosting home matches of Allsvenskan teams Djurgårdens IF and Hammarby IF. The arena has a capacity of 30,000 to 35,000 spectators for football matches, depending on the number of people standing, and its facilities fulfill the requirements of FIFA and UEFA for hosting international games and tournaments. When configured for concerts, the arena has a capacity of 45,000 spectators.


title: Tele2 Arena

text: With a maximum capacity of up to 40,000 and a retractable roof, the arena is able to host concerts, equestrian, motorsport, ice sports, banquettes, exhibitions, company events and shareholder meetings, in addition to football.


title: Tele2 Arena

text: The cost was calculated to be 2.7 billion SEK including land appropriation and a new parking garage under the arena. The cost was balanced against income from sales of building rights and rental from the operator who runs the arena. Financing was mostly covered by sale of land, mainly the lot where Söderstadion was situated and associated building rights for commercial premises. The owner is the City of Stockholm via subsidiary SGA Fastigheter AB.


title: Tele2 Arena

text: The arena was planned to host the opening game of the ice hockey World Championship 2013, but the construction was delayed and the arena was not finished until July 2013, two months after the tournament. Initially, it was intended that the stadium would stage the finals of the Swedish Super League, but after the delay, it was decided that the finals in 2013 and 2014 would be moved to Malmö Arena. It is decided that Stockholmsarenan will be the national stadium of Swedish speedway and American football.


title: Tele2 Arena

text: It is also possible to have artificially-frozen ice on the ground. The bandy team of Hammarby IF has practiced on the ice when this possibility was tried for the first time, but the team will so far still use Zinkensdamms IP as their home ground for bandy. "Bandyns dag" ("Bandy Day") was supposed to be arranged at the arena on 14 December 2013 with a match against IFK Vänersborg as the climax but had to be cancelled due to problems with preparing the ice. Instead, the match against Sandvikens AIK on 10 January 2014 was played at Stockholmsarenan.


title: Tele2 Arena

text: On 27 June 2013, just days before Hammarby's first football match at their new arena, an explosive device was found outside the stadium. Former players from rivals Djurgården were to play a friendly that evening in front of approximately 3,000 spectators, but the game was cancelled due to the threat. The culture commissioner for the City of Stockholm has stated that the city council "has authority over who gets to play there, and that power will be used" if the situation does not get under control.


title: Tele2 Arena

text: The first official event at the stadium was a football match between Hammarby and Örgryte IS on 20 July 2013. The match, which ended in a 0–0 draw, brought in 29,175 spectators, setting a new record for highest attendance at a Superettan match. The following day, a crowd of 27,798 attended Djurgårdens IF's inaugural match at Stockholmsarenan, a 1–2 defeat by IFK Norrköping.


title: Tele2 Arena

text: Two football teams from Stockholm, Hammarby IF and Djurgårdens IF, have played their home games at Stockholmsarenan since July 2013. Another Stockholm club, IF Brommapojkarna, have occasionally played matches against the other Stockholm teams at Stockholmsarenan instead of at their usual home ground, Grimsta IP.


title: Tele2 Arena

text: The official inauguration took place on 24 August 2013, featuring Swedish artists Robyn, Lars Winnerbäck and Kent, but the first concert at Stockholmsarenan had already taken place on 27 July 2013, with Swedish band Gyllene Tider performing.


title: Tele2 Arena

text: On 28 February and 1 March 2014, Swedish superstar Avicii made two sold-out concerts with 35,000 and 40,000 spectators respectively.


title: Tele2 Arena

text: The Rolling Stones played at Stockholmsarenan on 1 July 2014 as part of the European leg of their 14 On Fire tour. It was the band's 26th-ever appearance in Sweden.


title: Tele2 Arena

text: Paul McCartney played at Stockholmsarenan on 9 July 2015 as part of the European leg of his Out There Tour.


title: Tele2 Arena

text: Madonna visited Stockholmsarenan with her Rebel Heart Tour on 14 November 2015, attracting over 39,000 people.


title: Tele2 Arena

text: In 2015, the American football World Championship was to be hosted in Stockholm, with Stockholmsarenan as the only venue.


title: Tele2 Arena

text: On 24 January 2015, the Arena hosted , a mixed martial arts match between Swedish fighter Alexander Gustafsson and American Anthony Johnson. In 2015 and 2016, the Swedish Bandy Finals have been held at the arena. In addition, Hammarby IF have played single matches here.


title: Tele2 Arena

text: Justin Bieber performed at the arena as a part of his Purpose World Tour on 29 and 30 September 2016.


title: Tele2 Arena

text: On 17 June 2017, for her Celine Dion Live 2017 tour, Celine Dion performed in front of a crowd of a less than average 21,699, selling out almost instantly. She interestingly decided to divide the stadium in half for her show, citing “Better experience for the audience and for logistical reasons”.


title: Tele2 Arena

text: Axwell, Sebastian Ingrosso and Steve Angello performed three reunion shows as the Swedish House Mafia at Stockholmsarenan from 2 to 4 May 2019, after they split up in March 2013 ending their One Last Tour at the Ultra Music Festival. Tickets for these shows sold out fast; more than 120,000 tickets were sold within 5 minutes.


title: Tele2 Arena

text: It will host several matches of the 2023 World Men's Handball Championship, which Sweden will co-host alongside Poland.


title: Taylor rule

text: The Taylor rule is a monetary policy targeting rule. The rule was proposed in 1992 by American economist John B. Taylor for central banks to use to stabilize economic activity by appropriately setting short-term interest rates.


title: Taylor rule

text: The rule consider the federal funds rate, the price level and changes in real income. The Taylor rule computes the optimal federal funds rate based on the gap between the desired (targeted) inflation rate and the actual inflation rate; and the output gap between the actual and natural output level. According to Taylor, monetary policy is stabilizing when the nominal interest rate is higher/lower than the increase/decrease in inflation. Thus the Taylor rule prescribes a relatively high interest rate when actual inflation is higher than the inflation target.


title: Taylor rule

text: In the United States, the Federal Open Market Committee controls monetary policy. The committee attempts to achieve an average inflation rate of 2% (with an equal likelihood of higher or lower inflation).


title: Taylor rule

text: The main advantage of a general targeting rule is that a central bank gains the discretion to apply multiple means to achieve the set target.


title: Taylor rule

text: The monetary policy of the Federal Reserve changed throughout the 20th century. The period between the 1960s and the 1970s is evaluated by Taylor and others as a period of poor monetary policy; the later years typically characterized as stagflation. The inflation rate was high and increasing, while interest rates were kept low. Since the mid-1970s monetary targets have been used in many countries as a means to target inflation. However, in the 2000s the actual interest rate in advanced economies, notably in the US, was kept below the value suggested by the Taylor rule.


title: Taylor rule

text: The Taylor rule is typically contrasted with discretionary monetary policy, which relies on the personal views of the monetary policy authorities. The Taylor rule often faces criticism due to its complexity, the inaccuracy of the exogenous variables, and the limited number of factors it considers.


title: Taylor rule

text: According to Taylor's original version of the rule, the real policy interest rate should respond to divergences of actual inflation rates from target inflation rates and of actual Gross Domestic Product (GDP) from potential GDP:


title: Taylor rule

text: In this equation, formula_2 is the target short-term nominal policy interest rate (e.g. the federal funds rate in the US, the Bank of England base rate in the UK), formula_3 is the rate of inflation as measured by the GDP deflator, formula_4 is the desired rate of inflation, formula_5 is the assumed natural/equilibrium interest rate, formula_6 is the natural logarithm of actual GDP, and formula_7 is the natural logarithm of potential output, as determined by a linear trend. formula_8 is the output gap. The formula_9 approximation is used here.


title: Taylor rule

text: In this equation, both formula_12 and formula_13 should be positive (as a rough rule of thumb, Taylor's 1993 paper proposed setting formula_14). That is, the rule produces a relatively high real interest rate (a "tight" monetary policy) when inflation is above its target or when output is above its full-employment level, in order to reduce inflationary pressure. It recommends a relatively low real interest rate ("easy" monetary policy) in the opposite situation, to stimulate output. Sometimes monetary policy goals may conflict, as in the case of stagflation, when inflation is above its target with a substantial output gap. In such a situation, a Taylor rule specifies the relative weights given to reducing inflation versus increasing output.


title: Taylor rule

text: By specifying formula_15, the Taylor rule says that an increase in inflation by one percentage point should prompt the central bank to raise the nominal interest rate by more than one percentage point (specifically, by formula_16, the sum of the two coefficients on formula_17 in the equation). Since the real interest rate is (approximately) the nominal interest rate minus inflation, stipulating formula_15 implies that when inflation rises, the real interest rate should be increased. The idea that the nominal interest rate should be raised "more than one-for-one" to cool the economy when inflation increases (that is increasing the real interest rate) has been called the Taylor principle. The Taylor principle presumes a unique bounded equilibrium for inflation. If the Taylor principle is violated, then the inflation path may be unstable.


title: Taylor rule

text: The concept of a policy rule emerged as part of the discussion on whether monetary policy should be based on intuition/discretion. The discourse began at the beginning of the 19th century. The first formal debate forum was launched in the 1920s by the US House Committee on Banking and Currency. In the hearing on the so-called Strong bill in 1923. the conflict in the views on the monetary policy clearly appeared. New York Fed Governor Benjamin Strong Jr., supported by Professors John R. Commons and Irving Fisher, was concerned about the Fed's practices that attempted to ensure price stability. In his opinion, Federal Reserve policy regarding the price level could not guarantee long-term stability. After the death of the congressman, a political debate on changing the Fed's policy was suspended. The Fed was dominated at that time by Strong and his New York Reserve Bank.


title: Taylor rule

text: After the Great Depression hit the country, policies came under debate. Irving Fisher opined, "this depression was almost wholly preventable and that it would have been prevented if Governor Strong had lived, who was conducting open-market operations with a view of bringing about stability". Later on, monetarists such as Milton Friedman and Anna Schwartz agreed that high inflation could be avoided if the Fed managed the quantity of money more consistently.


title: Taylor rule

text: The 1960s recession in the US was accompanied by relatively high interest rates. After the Bretton Woods agreement collapsed, policymakers focused on keeping interest rates low, which yielded the Great Inflation of 1970.


title: Taylor rule

text: Since the mid-1970s money supply targets have been used in many countries to address inflation targets. Many advanced economies, such as the US and the UK, made their policy rates broadly consistent with the Taylor rule in the period of the Great Moderation between the mid-1980s and early 2000s. That period was characterized by limited inflation/stable prices. New Zealand went first, adopting an inflation target in 1990. The Reserve Bank of New Zealand was reformed to prioritize price stability, gaining more independence at the same time. The Bank of Canada (1991) and by 1994 the banks of Sweden, Finland, Australia, Spain, Israel and Chile were given the mandate to target inflation.


title: Taylor rule

text: Since the 2000s began the actual interest rate in advanced economies, especially in the US, was below that suggested by the Taylor rule. The deviation can be explained by the fact that central banks were supposed to mitigate the outcomes of financial busts, while intervening only given inflation expectations. Economic shocks were accompanied by lower rates.


title: Taylor rule

text: While the Taylor principle has proven influential, debate remains about what else the rule should incorporate. According to some New Keynesian macroeconomic models, insofar as the central bank keeps inflation stable, the degree of fluctuation in output will be optimized (economists Olivier Blanchard and Jordi Gali call this property the 'divine coincidence'). In this case, the central bank does not need to take fluctuations in the output gap into account when setting interest rates (that is, it may optimally set formula_19.)


title: Taylor rule

text: Other economists proposed adding terms to the Taylor rule to take into account financial conditions: for example, the interest rate might be raised when stock prices, housing prices, or interest rate spreads increase. Taylor offered a modified rule in 1999: that specfieid formula_20.


title: Taylor rule

text: The solvency rule was presented by Emiliano Brancaccio after the 2008 financial crisis. The banker follows a rule aimed to control the economy's solvency . The inflation target and output gap are neglected, while the interest rate is conditional upon the solvency of workers and firms. The solvency rule was presented more as a benchmark than a mechanistic formula.


title: Taylor rule

text: The McCallum rule:was offered by economist Bennett T. McCallum at the end of the 20th-century. It targets the nominal gross domestic product. He proposed that the Fed stabilize nominal GDP. The McCallum rule uses precise financial data. Thus, it can overcome the problem of unobservable variables.


title: Taylor rule

text: Market monetarism extended the idea of NGDP targeting to include level targeting. (targeting a specific amount of growth per time period, and accelerating/decelerating growth to compensate for prior periods of weakness/strength). It also introduced the concept of targeting the forecast, such that policy is set to achieve the goal rather than merely to lean in one direction or the other. One proposed mechanism for assessing the impact of policy was to establish an NGDP futures market and use it to draw upon the insights of that market to direct policy.


title: Taylor rule

text: Although the Federal Reserve does not follow the Taylor rule, many analysts have argued that it provides a fairly accurate explanation of US monetary policy under Paul Volcker and Alan Greenspan and other developed economies. This observation has been cited by Clarida, Galí, and Gertler as a reason why inflation had remained under control and the economy had been relatively stable in most developed countries from the 1980s through the 2000s. However, according to Taylor, the rule was not followed in part of the 2000s, possibly inflating the housing bubble. Some research has reported that households form expectations about the future path of interest rates, inflation, and unemployment in a way that is consistent with Taylor-type rules.


title: Taylor rule

text: The Taylor rule is debated in the discourse of the rules vs. discretion. Limitations of the Taylor rule include.


title: Taylor rule

text: Taylor highlighted that the rule should not be followed blindly: "…There will be episodes where monetary policy will need to be adjusted to deal with special factors."


title: Taylor rule

text: Athanasios Orphanides (2003) claimed that the Taylor rule can mislead policy makers who face real-time data. He claimed that the Taylor rule matches the US funds rate less perfectly when accounting for informational limitations and that an activist policy following the Taylor rule would have resulted in inferior macroeconomic performance during the 1970s.


title: Taylor rule

text: In 2015, bond king Bill Gross said the Taylor rule "must now be discarded into the trash bin of history", in light of tepid GDP growth in the years after 2009. Gross believed that low interest rates were not the cure for decreased growth, but the source of the problem.


title: Donald Judd

text: Donald Clarence Judd (June 3, 1928February 12, 1994) was an American artist associated with minimalism (a term he nonetheless stridently disavowed). In his work, Judd sought autonomy and clarity for the constructed object and the space created by it, ultimately achieving a rigorously democratic presentation without compositional hierarchy. He is generally considered the leading international exponent of "minimalism," and its most important theoretician through such writings as "Specific Objects" (1964). Judd voiced his unorthodox perception of minimalism in "Arts Yearbook 8," where he says, "The new three dimensional work doesn't constitute a movement, school, or style. The common aspects are too general and too little common to define a movement. The differences are greater than the similarities."


title: Donald Judd

text: Judd was born in Excelsior Springs, Missouri. From 1946 to 1947, he served in the Army as an engineer, and in 1948, he enrolled in the College of William and Mary. Later, he transferred to Columbia University School of General Studies where he earned a bachelor's degree in philosophy and where he worked towards a master's in art history under Rudolf Wittkower and Meyer Schapiro while attending classes at the Art Students League of New York. From 1959 to 1965, he wrote art criticism for major American art magazines. In 1968, he bought a five-story cast-iron building at 101 Spring Street for less than $70,000. Judd used the building (designed by Nicholas Whyte and built in 1870) as his New York residence and studio, and during the next 25 years, renovated it floor by floor, occasionally installing works he purchased or commissioned from other artists.


title: Donald Judd

text: In the late 1940s, Donald Judd began to practice as a painter. His first solo exhibition, of expressionist paintings, at the Panoras Gallery in New York, opened in 1957. From the mid-1950s to 1961, as he started to explore the medium of the woodcut, Judd progressively moved from figurative to increasingly abstract imagery, first carving organic rounded shapes, then moving on to the painstaking craftsmanship of straight lines and angles. His artistic style soon moved away from illusory media and embraced constructions in which materiality was central to the work. He would not have another one person show until the Green Gallery in 1963, an exhibition of works that he finally thought worthy of showing.


title: Donald Judd

text: By 1963 Judd had established an essential vocabulary of forms — ‘stacks’, ‘boxes’ and ‘progressions’ — which preoccupied him for the next thirty years. Most of his output was in freestanding "specific objects" (the name of his seminal essay of 1965 published in Arts Yearbook 8, 1965), that used simple, often repeated forms to explore space and the use of space. Humble materials such as metals, industrial plywood, concrete and color-impregnated Plexiglas became staples of his career. Judd's first floor box structure was made in 1964, and his first floor box using Plexiglas followed one year later. Also by 1964, he began work on wall-mounted sculptures, and first developed the curved progression format of these works in 1964 as a development from his work on an untitled floor piece that set a hollow pipe into a solid wooden block. While Judd executed early works himself (in collaboration with his father, Roy Judd), in 1964 he began delegating fabrication to professional artisans and manufacturers (such as the industrial manufacturers Bernstein Brothers) based on his drawings. In 1965, Judd created his first stack, an arrangement of identical iron units stretching from floor to ceiling.


title: Donald Judd

text: As he abandoned painting for sculpture in the early 1960s, he wrote the essay “Specific Objects” in 1964. In his essay, Judd found a starting point for a new territory for American art, and a simultaneous rejection of residual inherited European artistic values, these values being illusion and represented space, as opposed to real space. He pointed to evidence of this development in the works of an array of artists active in New York at the time, including H.C. Westermann, Lucas Samaras, John Chamberlain, Jasper Johns, Dan Flavin, George Earl Ortman and Lee Bontecou. The works that Judd had fabricated inhabited a space not then comfortably classifiable as either painting or sculpture and in fact he refused to call them sculpture, pointing out that they were not sculpted but made by small fabricators using industrial processes. That the categorical identity of such objects was itself in question, and that they avoided easy association with well-worn and over-familiar conventions, was a part of their value for Judd. He displayed two pieces in the seminal 1966 exhibit, "Primary Structures" at the Jewish Museum in New York where, during a panel discussion of the work, he challenged Mark di Suvero's assertion that real artists make their own art. He replied that methods should not matter as long as the results create art; a groundbreaking concept in the accepted creation process. In 1968, the Whitney Museum of American Art staged a retrospective of his work which included none of his early paintings.


title: Donald Judd

text: In 1968, Judd bought a five-story building in New York that allowed him to start placing his work in a more permanent manner than was possible in gallery or museum shows. This would later lead him to push for permanent installations for his work and that of others, as he believed that temporary exhibitions, being designed by curators for the public, placed the art itself in the background, ultimately degrading it due to incompetency or incomprehension. This would become a major preoccupation as the idea of permanent installation grew in importance and his distaste for the art world grew in equal proportion.


title: Donald Judd

text: In the early seventies Judd started making annual trips to Baja California with his family. He was affected by the clean, empty desert and this strong attachment to the land would remain with him for the rest of his life. In 1971 he rented a house in Marfa, Texas, where he would later buy numerous buildings and acquired over 32,000 acres (130 km) of ranch land, collectively known as Ayala de Chinati. During this decade, Judd's art increased in scale and complexity. He started making room sized installations that made the spaces themselves his playground and the viewing of his art a visceral, physical experience. Throughout the 1970s and 1980s he produced radical work that eschewed the classical European ideals of representational sculpture. Judd believed that art should not represent anything, that it should unequivocally stand on its own and simply exist. His aesthetic followed his own strict rules against illusion and falsity, producing work that was clear, strong and definite. Supported by a grant from the National Endowment for the Arts, Northern Kentucky University commissioned Judd with a aluminum sculpture that was unveiled in the middle of the school's campus in 1976. Another commission, "Untitled" (1984), a three-part sculpture out of concrete with steel reinforcements, was installed at Laumeier Sculpture Park.


title: Donald Judd

text: Judd started using unpainted plywood in the early 1970s, a material the artist embraced for its durable structural qualities, which enabled him to expand the size of his works while avoiding the problem of bending or buckling. Plywood had been the staple of his art earlier, but never unpainted. He later began using Cor-ten steel in the 1980s for a small number of large-scale outdoor pieces, and by 1989 would create single and multi-part works with the material. The Cor-ten works are unique in that they are the only works the artist fabricated in Marfa, Texas.


title: Donald Judd

text: The artist began working with enamel on aluminum in 1984, when he commissioned Lehni AG in Switzerland to construct works by bending and riveting thin sheets of the material, a process Judd previously used to create furniture. These pieces were initially created for a temporary outdoor exhibition in Merian Park outside Basel. Judd would continue to produce pieces using these techniques through the early 1990s. Judd’s work with enamel on aluminum greatly expanded his palette of colors, which had previously been restricted to the colors of anodized metal and Plexiglas, and led to the use of more than two colors in an individual artwork. Combining a wide range of colors, he used the material to create five large-scale floor pieces and many horizontal wall works in unique variations of color and size. Judd’s only known work in granite, an untitled Sierra White granite floor piece from 1978, measures 72 x 144 x 12". The structure is composed of two vertical slabs that rest on the floor, to which the bottom component is conjoined, and the ceiling of the structure extends to the outer edges of the vertical walls.


title: Donald Judd

text: In 1990, Judd opened an atelier in an old liquor factory from 1920 at Mülheimer Hafen in Cologne, Germany.


title: Donald Judd

text: Over the course of four decades, Donald Judd created hundreds of prints using aquatint, etching, and screen print techniques though woodcut was his primary print medium. Judd began to make figurative prints in 1951 while at the Art Students League, transitioning to abstract images by the mid-1950s. Working first with lithographs, Judd shifted his attention to woodcuts, which became his dominant print medium as early as 1953. As a printmaker, Judd investigated many of the same issues of form and color that are found in his paintings and three-dimensional works.


title: Donald Judd

text: In 1961 Judd conceived and designed a parallelogram woodcut series. This is based on thirteen different patterns of twelve parallel lines, and their mirror images, thus there are 26 prints in total. Within the parallelogram woodcut series there exists one exceptional, experimental impression of Untitled (6-L) (1969), now in the Palmer Museum of Art, University Park, Pennsylvania. Rejecting the more traditional rectangular paper shape, this impression of Untitled (6-L) is cut into the shape of a parallelogram.


title: Donald Judd

text: Between the years 1967 and 1992, Judd made eight different sets of works in editions ranging from three to two hundred in a range of materials: stainless steel, galvanized iron, cold-rolled steel, anodized aluminum, acrylic sheet, and wood.


title: Donald Judd

text: Judd also worked with furniture, design, and architecture. He was careful to distinguish his design practice from his artwork, writing in 1993: The configuration and the scale of art cannot be transposed into furniture and architecture. The intent of art is different from that of the latter, which must be functional. If a chair or a building is not functional, if it appears to be only art, it is ridiculous. The art of a chair is not its resemblance to art, but is partly its reasonableness, usefulness and scale as a chair... A work of art exists as itself; a chair exists as a chair itself.


title: Donald Judd

text: The first furniture, a bed and a sink, Judd designed in 1970 for Spring Street. After he moved from New York to Marfa his designs started to include chairs, beds, shelves, desks and tables. Judd was initially prompted to design furniture by his own dissatisfaction with what was commercially available in Marfa. Early furniture was made by Judd of rough, lumberyard-cut pine but he continually refined the construction of the wooden pieces, employing craftspeople using a variety of techniques and materials around the world.


title: Donald Judd

text: Judd's activity in architecture and furniture design increased beginning around 1978, at which time he was involved professionally and romantically with Lauretta Vinciarelli, an Italian-born architect and artist. Vinciarelli lived and worked with Judd in Marfa and New York for roughly a decade and collaborated with him on projects for Providence and Cleveland, and her influence can be seen on his architecture and furniture design. In fact, in a 1986 article published in "Architectural Digest," William C. Agee stated that Judd and Vinciarelli were "starting a firm."


title: Donald Judd

text: At the time of his death, he was working on a series of fountains commissioned by the city of Winterthur in 1991, Switzerland, and a new glass facade for a railroad station in Basel, Switzerland.


title: Donald Judd

text: In 1984, Judd commissioned Lehni AG, the fabricator of his multi-colored works in Dübendorf, Switzerland to produce his furniture designs in sheet metal, in finishes of monochrome colored powdercoat based on the RAL colour standard, clear anodized aluminium, or solid copper. Today, Lehni AG still fabricates Judd metal furniture in 21 colors, which are sold through the Judd Foundation alongside his furniture in wood and plywood.


title: Donald Judd

text: In 1979, with help from the Dia Art Foundation, Judd purchased a 340 acre (1.4 km) tract of desert land near Marfa, which included the abandoned buildings of the former U.S. Army Fort D. A. Russell. The Chinati Foundation opened on the site in 1986 as a non-profit art foundation, dedicated to Judd and his contemporaries. The permanent collection consists of large-scale works by Judd, sculptor John Chamberlain, light-artist Dan Flavin and select others, including Ingólfor Arnarsson, David Rabinowitch, Roni Horn, Ilya Kabakov, Richard Long, Carl Andre, Claes Oldenburg and Coosje Van Bruggen, as well as Robert Irwin. Judd's work at Chinati includes 15 outdoor works in concrete and 100 aluminum pieces housed in two former artillery sheds that he adapted in great detail specifically for the installation of the work.


title: Donald Judd

text: Judd taught at several academic institutions in the United States: The Allen-Stevenson School (1960s), Brooklyn Institute of Arts and Sciences (1962–64); Dartmouth College, Hanover (1966); and Yale University, New Haven (1967). In 1976 he served as Baldwin Professor at Oberlin College in Ohio. Beginning in 1983, he lectured at universities across the United States, Europe and Asia on both art and its relationship to architecture. During his lifetime, Judd published a large body of theoretical writings, in which he rigorously promoted the cause of Minimalist Art; these essays were consolidated in two volumes published in 1975 and 1987.


title: Donald Judd

text: In his reviews as a critic, Judd discussed in detail the work of more than 500 artists showing in New York in the early and mid-1960s for publications including "ARTnews," "Arts Magazine", and "Art International". He provided a critical account of this significant era of art in America while addressing the social and political ramifications of art production. His essay "Specific Objects," first published in 1965, remains central to the analysis of the new art development in the early 1960s.


title: Donald Judd

text: Four major collections of his writings were published during his lifetime. "Donald Judd: Complete Writings 1959-1975" (Halifax, Nova Scotia/New York: Press of the College of Art and Design/New York University Press, 1975); "Donald Judd: Complete Writings: 1975-1986" (Eindhoven: Van Abbemuseum, 1987); "Donald Judd: Architektur" (Münster: Westfälischer Kunstverein, 1989); "Donald Judd: Écrits 1963-1990" (Paris: Daniel Lelong, 1991).


title: Donald Judd

text: The artist’s work has been included in over 230 solo museum and gallery exhibitions worldwide, excluding site-specific works.


title: Donald Judd

text: The Panoras Gallery organized Judd's first solo exhibition in 1957. In 1963, the Green Gallery mounted his first solo exhibition of three-dimensional work. The Whitney Museum of American Art, New York, organized the first retrospective of his work in 1968.


title: Donald Judd

text: The Van Abbemuseum, Eindhoven, presented "Don Judd" in 1970, which also traveled to the Folkwang Museum in Essen, Germany, the , Germany, as well as Whitechapel Art Gallery in London, UK. In 1975, the National Gallery of Canada, Ottawa, organized a large exhibition in 1975 and published a catalogue raisonné of Judd’s work.


title: Donald Judd

text: Judd participated in his first Venice Biennale in 1980, and in Documenta, Kassel, in 1982. In 1987, another large Judd-exhibition was presented at the Van Abbemuseum; this show also traveled to the Kunsthalle Düsseldorf, Germany, Musée d'Art Moderne de la Ville de Paris, France, Fundació Joan Miró, Barcelona, Spain, and Castello di Rivoli in Turin, Italy.


title: Donald Judd

text: The Whitney Museum organized a second, traveling retrospective of his work in 1988, and another major European survey, "Donald Judd," was mounted at Tate Modern, London, in 2004, which traveled to major museums in Düsseldorf and Basel through 2005.


title: Donald Judd

text: Other important exhibitions include "Donald Judd: Prints 1951–1993, Retrospektive der Druckgraphik", Gemeentemuseum Den Haag, The Hague, 1993–1994; "Donald Judd. Early Work 1955–1968" at Kunsthalle Bielefeld, Germany, 2002; "Donald Judd Colorist", Sprengel Museum, Hanover, Germany, 2000. "Judd," a large retrospective of Judd’s work<ins>,</ins> opened at the Museum of Modern Art, New York in March 2020.


title: Donald Judd

text: Originally conceived by Judd in 1977, and created in 1996, the Judd Foundation was formed in order to preserve the work and installations of Judd in Marfa, Texas and at 101 Spring Street in New York. Judd Foundation maintains and preserves his permanently installed living and working spaces, libraries, and archives across 22 buildings that comprise more than 100,000 square feet (approx. 9290 m) and are considered fundamental components to the understanding of Judd's work as they remain the standard for his concept of permanent installation. The Foundation promotes a wider understanding of Judd’s artistic legacy by providing access to these spaces and resources and by developing scholarly and educational programs. Judd Foundation is a tax-exempt 501(c)(3) not-for-profit organization.


title: Donald Judd

text: In 2006, Judd Foundation established an endowment to support its operations through the sale of 36 works at auction. The foundation board requested one of its members, publisher Richard Schlagman, to get Christie's and Sotheby's to submit proposals for the sale of a group of works. Christie's offered a reported $21 million guarantee and agreed to display the consigned work for five weeks in New York on the 20th floor of the Simon & Schuster building. Concerns that the sale would have an adverse effect on the market proved unfounded and the exhibition itself won an AICA award for "Best Installation in an Alternative Space" for 2006. The $20 million in proceeds from the sale went into an endowment to enable the Foundation to fulfill its mission, by supporting the permanent installations that are located at 101 Spring Street in New York City and Marfa, Texas. Marianne Stockebrand, the director of the Chinati Foundation at the time, resigned from her post on the Judd Foundation’s board partly in protest of the auction.


title: Donald Judd

text: In 2013, the Judd Foundation — led by the artist's children — completed a $23 million renovation of 101 Spring Street, opening the building to the public for the first time. In 2018, Judd Foundation began a long-term restoration plan for its buildings in Marfa. In 2022, eight of the buildings stewarded by Judd Foundation in Marfa were added to the National Register of Historic Places as part of the Central Marfa Historic District. The listing is the first time that Judd’s approach to architecture and preservation has been recognized as historically significant at the federal level.


title: Donald Judd

text: The publication program of Judd Foundation intends to develop texts for scholars, students, and those interested in the life and work of Judd. Judd Foundation published a reprint edition of "Donald Judd: Complete Writings 1959-1975" (2015); and co-published "Donald Judd Writings" (2016), a new collection of Judd’s writings and notes; "Donald Judd Interviews" (2019); and "Donald Judd Spaces" (2020).


title: Donald Judd

text: A comprehensive catalogue raisonné of paintings, objects, and wood-blocks is currently in the research phase by Judd Foundation.


title: Donald Judd

text: The Leo Castelli Gallery, New York, represented the artist from 1965 to 1985. Judd then worked with Paula Cooper Gallery, New York, where he had a number of solo shows, and PaceWildenstein, which represented him through the end of his life. Judd's work has been represented – through the Judd Foundation – by Gagosian Gallery since September 2021 and Thaddaeus Ropac since 2018.


title: Donald Judd

text: Prices for Judd's works first peaked in 2002, when a group of six Plexiglas boxes sold for $4.2 million. One of Judd's large stacks, comprising 10 galvanised iron elements with nine-inch (228.6 mm) intervals, untitled (1977) fetched $9.8 million at Christie's in 2007. Judd's ten-unit untitled (1968) made of stainless steel and amber Plexiglas was sold for $4.9 million at Christie's New York in 2009. As of 2013, the artist's auction record is held by untitled (1963) a large-scale sculpture executed in galvanized iron, aluminum and wood, which sold for $14,165,000 at Christie's New York in 2013.


title: Donald Judd

text: Judd married dancer Julie Finch in 1964 and together they had two children, son Flavin Starbuck Judd (born 1968) and daughter Rainer Yingling Judd (born 1970). The couple divorced in 1978. From the late 1970s to the mid 1980s Judd was partners with artist, architect, and educator Lauretta Vinciarelli. In 1989, he met curator and museum director Marianne Stockebrand who today is the director emerita of Chinati Foundation.


title: Donald Judd

text: Judd had homes in Manhattan, Marfa, Texas, and Kussnacht am Rigi, Switzerland. He died in Manhattan of non-Hodgkin's lymphoma on February 12, 1994.


title: Ehrenfest theorem

text: The Ehrenfest theorem, named after Paul Ehrenfest, an Austrian theoretical physicist at Leiden University, relates the time derivative of the expectation values of the position and momentum operators "x" and "p" to the expectation value of the force formula_1 on a massive particle moving in a scalar potential formula_2,


title: Ehrenfest theorem

text: The Ehrenfest theorem is a special case of a more general relation between the expectation of any quantum mechanical operator and the expectation of the commutator of that operator with the Hamiltonian of the system


title: Ehrenfest theorem

text: It is most apparent in the Heisenberg picture of quantum mechanics, where it amounts to just the expectation value of the Heisenberg equation of motion. It provides mathematical support to the correspondence principle.


title: Ehrenfest theorem

text: The reason is that Ehrenfest's theorem is closely related to Liouville's theorem of Hamiltonian mechanics, which involves the Poisson bracket instead of a commutator. Dirac's rule of thumb suggests that statements in quantum mechanics which contain a commutator correspond to statements in classical mechanics where the commutator is supplanted by a Poisson bracket multiplied by . This makes the operator expectation values obey corresponding classical equations of motion, provided the Hamiltonian is at most quadratic in the coordinates and momenta. Otherwise, the evolution equations still may hold approximately, provided fluctuations are small.


title: Ehrenfest theorem

text: Although, at first glance, it might appear that the Ehrenfest theorem is saying that the quantum mechanical expectation values obey Newton’s classical equations of motion, this is not actually the case. If the pair formula_3 were to satisfy Newton's second law, the right-hand side of the second equation would have to be


title: Ehrenfest theorem

text: If for example, the potential formula_2 is cubic, (i.e. proportional to formula_7), then formula_8 is quadratic (proportional to formula_9). This means, in the case of Newton's second law, the right side would be in the form of formula_10, while in the Ehrenfest theorem it is in the form of formula_11. The difference between these two quantities is the square of the uncertainty in formula_12 and is therefore nonzero.


title: Ehrenfest theorem

text: An exception occurs in case when the classical equations of motion are linear, that is, when formula_13 is quadratic and formula_8 is linear. In that special case, formula_15 and formula_16 do agree. Thus, for the case of a quantum harmonic oscillator, the expected position and expected momentum do exactly follow the classical trajectories.


title: Ehrenfest theorem

text: For general systems, if the wave function is highly concentrated around a point formula_17, then formula_15 and formula_16 will be "almost" the same, since both will be approximately equal to formula_20. In that case, the expected position and expected momentum will "approximately" follow the classical trajectories, at least for as long as the wave function remains localized in position.


title: Ehrenfest theorem

text: Suppose some system is presently in a quantum state . If we want to know the instantaneous time derivative of the expectation value of , that is, by definition


title: Ehrenfest theorem

text: Often (but not always) the operator is time-independent so that its derivative is zero and we can ignore the last term.


title: Ehrenfest theorem

text: In the Heisenberg picture, the derivation is straightforward. The Heisenberg picture moves the time dependence of the system to operators instead of state vectors. Starting with the Heisenberg equation of motion,


title: Ehrenfest theorem

text: Ehrenfest's theorem follows simply upon projecting the Heisenberg equation onto formula_26 from the right and formula_27 from the left, or taking the expectation value, so


title: Ehrenfest theorem

text: One may pull the out of the first term, since the state vectors are no longer time dependent in the Heisenberg Picture. Therefore,


title: Ehrenfest theorem

text: The expectation values of the theorem, however, are the very same in the Schrödinger picture as well. For the very general example of a massive particle moving in a potential, the Hamiltonian is simply


title: Ehrenfest theorem

text: Suppose we wanted to know the instantaneous change in the expectation of the momentum . Using Ehrenfest's theorem, we have


title: Ehrenfest theorem

text: since the operator commutes with itself and has no time dependence. By expanding the right-hand-side, replacing by , we get


title: Ehrenfest theorem

text: As explained in the introduction, this result does "not" say that the pair formula_34 satisfies Newton's second law, because the right-hand side of the formula is formula_35 rather than formula_36. Nevertheless, as explained in the introduction, for states that are highly localized in space, the expected position and momentum will "approximately" follow classical trajectories, which may be understood as an instance of the correspondence principle.


title: Ehrenfest theorem

text: It was established above that the Ehrenfest theorems are consequences of the Schrödinger equation. However, the converse is also true: the Schrödinger equation can be inferred from the Ehrenfest theorems. We begin from


title: Ehrenfest theorem

text: Here, apply Stone's theorem, using to denote the quantum generator of time translation. The next step is to show that this is the same as the Hamiltonian operator used in quantum mechanics. Stone's theorem implies


title: Ehrenfest theorem

text: where was introduced as a normalization constant to the balance dimensionality. Since these identities must be valid for any initial state, the averaging can be dropped and the system of commutator equations for are derived:


title: Ehrenfest theorem

text: Assuming that observables of the coordinate and momentum obey the canonical commutation relation . Setting formula_42, the commutator equations can be converted into the differential equations


title: Ehrenfest theorem

text: Whence, the Schrödinger equation was derived from the Ehrenfest theorems by assuming the canonical commutation relation between the coordinate and momentum. If one assumes that the coordinate and momentum commute, the same computational method leads to the Koopman–von Neumann classical mechanics, which is the Hilbert space formulation of classical mechanics. Therefore, this derivation as well as the derivation of the Koopman–von Neumann mechanics, shows that the essential difference between quantum and classical mechanics reduces to the value of the commutator .


title: Ehrenfest theorem

text: The implications of the Ehrenfest theorem for systems with classically chaotic dynamics are discussed at Scholarpedia article Ehrenfest time and chaos. Due to exponential instability of classical trajectories the Ehrenfest time, on which there is a complete correspondence between quantum and classical evolution, is shown to be logarithmically short being proportional to a logarithm of typical quantum number. For the case of integrable dynamics this time scale is much larger being proportional to a certain power of quantum number.


title: Drita D'Avanzo

text: Drita D'Avanzo (née Selmani; born February 6, 1976) is an American reality star who appeared on the VH1 series "Mob Wives" from 2011 to 2016. She also appeared on "Mob Wives" spinoff "Big Ang".


title: Drita D'Avanzo

text: On "The Tomorrow Show with Keven Undergaro" D'Avanzo stated that she is working on a spinoff of her own. D'Avanzo makes regular appearances as herself on television, with notables including "Celebrity Ghost Stories" and "". In August 2017, she was announced as a cast member on the "Big Brother"-style VH1 reality show "Scared Famous". She is known for her hot-tempered personality.


title: Drita D'Avanzo

text: D'Avanzo has worked for several upscale cosmetic companies as a freelance makeup artist and has launched her own cosmetics line called "Lady Boss by Drita".


title: Drita D'Avanzo

text: She and her husband Lee D'Avanzo, who federal prosecutors allege is the leader of the Bonanno and Colombo crime family farm team, were arrested on December 19, 2019; they were charged with criminal drug and multiple firearms possession after a search warrant was executed on their home. The firearms were a .38-caliber revolver and a 9 mm, both loaded with hollow-point bullets. On February 21, 2020, the charges against her were dropped, while Lee pleaded not guilty to gun possession charges. On March 20, 2020, Lee pleaded guilty to the charge. On 7 August 2020, D'Avanzo was sentenced to 64 months (5-1/3 years) in prison for the offenses. In sentencing him, the judge cited his extensive criminal history, which entails six convictions. He is currently incarcerated at FCI McKean, a medium security Federal prison located in Lewis Run, Pennsylvania. As of May 2021, he is 52 years old. His scheduled release date is 14 July 2024.


title: Marination

text: Marinating is the process of soaking foods in a seasoned, often acidic, liquid before cooking. The origin of the word alludes to the use of brine ("aqua marina" or sea water) in the pickling process, which led to the technique of adding flavor by immersion in liquid. The liquid in question, the marinade, can be either acidic (made with ingredients such as vinegar, lemon juice, or wine) or enzymatic (made with ingredients such as pineapple, papaya, yogurt, or ginger), or have a neutral pH. In addition to these ingredients, a marinade often contains oils, herbs, and spices to further flavor the food items.


title: Marination

text: It is commonly used to flavor foods and to tenderize tougher cuts of meat. The process may last seconds or days. Marinades vary between different cuisines.


title: Marination

text: Marinating is similar to brining, except that brining generally does not involve a significant amount of acid. It is also similar to pickling, except that pickling is generally done for much longer periods, primarily as a means of food preservation, whereas marinating is usually only performed for a few hours to a day, generally as a means of enhancing the flavor of the food.


title: Marination

text: In meats, the acid causes the tissue to break down, which allows more moisture to be absorbed and results in a juicier end product; however, too much acid can be detrimental to the end product. A good marinade has a balance of acid, oil, and spice. If raw marinated meat is frozen, the marinade can break down the surface and turn the outer layer mushy.


title: Marination

text: Raw pork, seafood, beef and poultry may contain harmful bacteria which may contaminate the marinade. Marinating should be done in the refrigerator to inhibit bacterial growth. Used marinade should not be made into a sauce unless rendered safe by boiling directly before use; otherwise, fresh or set-aside marinade that has not touched meat should be used. The container used for marinating should be glass or food safe plastic. Metal, including pottery glazes which can contain lead, reacts with the acid in the marinade and should be avoided.


title: Marination

text: Cooking animal muscle proteins at high temperature can lead to the formation of heterocyclic amines (HCAs). According to the National Cancer Research Institute such substances present a heightened risk of cancer exposure. Marinating animal muscle proteins can reduce this risk by as much as 95% by creating a barrier to high-temperature cooking. Marination times necessary to reduce the formation of HCAs may be as short as 20 minutes.


title: Lebanon Hanover

text: Lebanon Hanover are a British-German cold wave duo formed in 2010 by Swiss Larissa Iceglass from Germany and William Maybelline from Britain. Their debut split-EP with Germany's La Fete Triste was released in 2011. The duo first gained attention with their 2012 album, "The World Is Getting Colder", via Fabrika Records. British music magazine "Terrorizer" named Lebanon Hanover "the best British band you didn't know existed."


title: Lebanon Hanover

text: The band's name, Lebanon Hanover, apparently comes from two neighbouring towns (Lebanon and Hanover) in New Hampshire, United States.


title: Lebanon Hanover

text: Lebanon Hanover's music has been compared to 1980s Gothic rock/post-punk acts such as Siouxsie and the Banshees, The Cure and Bauhaus. The band has a minimal, dark sound. Their songs have a signature light synth sound, deep bass and melancholic lyrics.


title: Lebanon Hanover

text: William Maybelline is responsible for the rhythm, synthesizer and bass, which add to the music like an ordered frame, while contributing with more chaotic fragments. As a common conceptual idea, it simply describes simple production, which is based on the desire to generate an organic sound as possible.


title: Friday Night Lights (season 4)

text: The fourth season of the American serial drama television series "Friday Night Lights" commenced airing in the United States and Canada on October 28, 2009. It was the second season to be aired on DirecTV's The 101 Network. The 13-episode season concluded on The 101 Network on February 10, 2010 and then began its run on NBC on May 7, 2010, which concluded on August 6, 2010. The fourth season was released on DVD in region 1 on August 10, 2010.


title: Friday Night Lights (season 4)

text: Coach Taylor works to establish a football program at the poorly-funded East Dillon High School. Most of the players have not played football before, adding to the difficulties. Landry Clarke ends up in the boundaries of East Dillon and plays football there, eventually becoming the kicker of the team. Vince Howard, a troubled teen, is brought onto the team by Coach Taylor and eventually becomes quarterback. Both Landry and Vince compete for the attention of the same girl, Jess Merriweather. Jess's father is a former East Dillon player that Coach Taylor tries to get more involved in the program, along with other former East Dillon players. The new star Panthers player Luke Cafferty is transferred to East Dillon after it is revealed he does not live in Dillon High boundaries. Tim Riggins quits college and moves back to Dillon to work with his brother Billy in their car repair shop. Billy and his new wife Mindy don't let him live in their home, so Tim moves out into a trailer. The trailer is on the property of a woman Tim slept with previously, and while living there he befriends her daughter Becky Sproles. Becky has a crush on him, but he treats her more like a sister. Tami Taylor continues to navigate politics as the principal of Dillon High as she becomes unpopular by the transfer of Luke to East Dillon and when she is wrongly accused of telling a student to get an abortion. Matt Saracen goes to Dillon Tech, but eventually moves to Chicago, much to the dismay of his girlfriend, Julie Taylor. Julie is now a senior in High School, and decided to attend East Dillon to set an example that there is nothing wrong with the school. J.D. McCoy becomes heavily arrogant, and bullying (unlike the shy, and strait-laced teammate he was the previous season). The season charts the uphill battle of the East Dillon Lions football team, ultimately culminating in a win against rival Dillon High School which keeps the Dillon Panthers out of the year’s playoffs.


title: Friday Night Lights (season 4)

text: On Rotten Tomatoes, the season has an approval rating of 100% with an average score of 9 out of 10 based on 26 reviews. The website's critical consensus reads, "In its penultimate season, "Friday Night Lights" continues the raw, heartfelt drama fans expect while adding a few fresh narrative twists." On the review aggregator website Metacritic, the fourth season scored 88 out of 100, based on 18 reviews, indicating "Universal acclaim". Matthew Gilbert of "The Boston Globe" wrote "the NBC series certainly has been one of TV's most emotionally honest and stirring works, and it remains so as it enters its fourth season." Verne Gay of "Newsday" praised several elements, calling it "quirky, funny, smart" and has "wonderful acting". Matt Roush of "TV Guide" lauded the series' authenticity, saying "you can't help but get emotionally involved in the lives of these instantly recognizable and compelling characters." Kris King of Slant Magazine praised the series, despite the change of setting and characters, saying, "On a whole, the new season of "Friday Night Lights" manages to retain its depth and heart-wrenching warmth despite a sea change in its structure and characters."


title: Friday Night Lights (season 4)

text: For the 62nd Primetime Emmy Awards, Kyle Chandler and Connie Britton received their first nominations for Outstanding Lead Actor in a Drama Series and Outstanding Lead Actress in a Drama Series, respectively. Rolin Jones was nominated for Outstanding Writing for a Drama Series for the episode "The Son", and the series received its fourth consecutive nomination for Outstanding Casting for a Drama Series.


title: Broadcast programming

text: Broadcast programming is the practice of organizing or ordering (scheduling) of broadcast media shows, typically radio and television, in a daily, weekly, monthly, quarterly or season-long schedule.


title: Broadcast programming

text: Modern broadcasters use broadcast automation to regularly change the scheduling of their shows to build an audience for a new show, retain that audience, or compete with other broadcasters' shows. Most broadcast television shows are presented weekly in prime time or daily in other dayparts, though exceptions are not rare.


title: Broadcast programming

text: At a micro level, scheduling is the minute planning of the transmission; what to broadcast and when, ensuring an adequate or maximum utilization of airtime. Television scheduling strategies are employed to give shows the best possible chance of attracting and retaining an audience. They are used to deliver shows to audiences when they are most likely to want to watch them and deliver audiences to advertisers in the composition that makes their advertising most likely to be effective.


title: Broadcast programming

text: With the growth of digital platforms and services allowing non-linear, on-demand access to television content, this approach to broadcasting has since been referred to using the retronym linear (such as linear television and linear channels).


title: Broadcast programming

text: With the beginning of scheduled television in 1936, television programming was initially only concerned with filling a few hours each evening – the hours now known as prime time. Over time, though, television began to be seen during the daytime and late at night, as well on the weekends. As air time increased, so did the demand for new material. With the exception of sports television, variety shows became much more important in prime time.


title: Broadcast programming

text: Broadcasters may schedule a program to air before or after a widely-viewed tent-pole program, such as a popular series, or a special such as a high-profile sporting event, in the hope that audience flow will encourage the audience to tune-in early or stay for the second program. The second program is usually one that the broadcaster wants to promote to a wider audience, such as a new or lower-profile series. Sometimes, a lower-profile program may be scheduled between two tentpole programs, a technique known as hammocking.


title: Broadcast programming

text: Lead-outs can sometimes help to launch new programs and talent; in 1982, NBC premiered "Late Night with David Letterman" as a lead-out for its long-running late-night talk show "The Tonight Show Starring Johnny Carson". Characterized by an off-beat style appealing to young adults, "Late Night" helped launch the career of host David Letterman, and influence later entries into the genre. Despite Carson's endorsement of Letterman as a successor following his 1992 retirement, NBC chose Jay Leno instead, and Letterman departed for CBS to host the "Late Show" as a competitor beginning in the 1993–94 season. "Late Night" would continue as a franchise with hosts such as Conan O'Brien and Jimmy Fallon—both of whom would later go on to host "The Tonight Show" (albeit briefly in the case of Conan).


title: Broadcast programming

text: The same season, Fox scheduled "The X-Files" as a lead-out for its sci-fi western "The Adventures of Brisco County Jr.", with the expectation that "Brisco County Jr." would serve as the anchor of its Friday-night lineup. However, "The X-Files" proved to be significantly more successful, and would eventually run for nine seasons. By contrast, viewership for "Brisco County Jr." declined throughout the season, and the show was cancelled. Fox attempted to use other sci-fi shows as a lead-in for "The X-Files" (such as "Sliders" and "VR.5"), but they were similarly unsuccessful.


title: Broadcast programming

text: A weak lead-in can have an impact on the viewership of programs that follow; NBC's 2009 attempt to strip the talk show "The Jay Leno Show" (a spiritual successor to Leno's tenure of "The Tonight Show" after Conan O'Brien succeeded him) in a 10:00 p.m. ET/PT timeslot proved detrimental to the viewership of late local newscasts on its affiliates.


title: Broadcast programming

text: Block programming is the practice of scheduling a group of complementary programs together. Blocks are typically built around specific genres (i.e. a block focusing specifically on sitcoms), target audiences, or other factors, with their programming often promoted collectively under blanket titles (such as ABC's "TGIF" lineup and NBC's "Must See TV").


title: Broadcast programming

text: Bridging is the practice of discouraging the audience from changing channels during the "junctions" between specific programs. This can be done, primarily, by airing promos for the next program near the end of the preceding program, such as during its credits, or reducing the length of the junction between two programs as much as possible (hot switching). The host of the next program may similarly make a brief appearance near the end of the preceding program (sometimes interacting directly with the host) to provide a preview; in news broadcasting, this is typically referred to as a "throw" or "toss".


title: Broadcast programming

text: A bridge was used by ABC between "Roseanne" and the December 1992 series premiere of "The Jackie Thomas Show", a new sitcom co-created by Roseanne and Tom Arnold of "Roseanne" fame. A scene of the Connor family watching the opening of the program seamlessly transitioned into the program itself, with no junction in between. ABC commissioned a minute-by-minute Nielsen ratings report, which showed that the majority of viewers from "Roseanne" had been retained during the premiere.


title: Broadcast programming

text: Owing to both programs' news comedy formats, the Comedy Central program "The Daily Show" used newscast-style toss segments to promote its new spin-off and lead-out, "The Colbert Report", in which host Jon Stewart would engage in a comedic conversation with the latter's host, Stephen Colbert, via split-screen prior to "The Daily Show"'s traditional closing segment "Your Moment of Zen". This practice was deconstructed by the December 18, 2014 episode of "The Daily Show", where such a segment abruptly segued into the series finale of "The Colbert Report". At its conclusion, the show transitioned back to Stewart, who concluded "The Daily Show" with Your Moment of Zen as normal (which, appropriately, showcased an outtake from a toss segment).


title: Broadcast programming

text: In some cases, a channel may intentionally allow a program to overrun into the next half-hour timeslot rather than end exactly on the half-hour, in order to discourage viewers from "surfing" away at traditional junction periods (since they had missed the beginnings of programs on other channels already). This can, however, cause disruptions with recorders if they are not aware of the scheduling (typically, digital video recorders can be configured to automatically record for a set length of time before and after a schedule's given timeslot in program guide data to account for possible variances). For a period, TBS intentionally engaged in this practice under the branding "Turner Time", scheduling all programs at 5 and 35 minutes past the hour rather than exactly on the half hour. Rather than discourage viewers from tuning away, TBS promoted this practice as a ploy to attract viewers tuning away from other channels.


title: Broadcast programming

text: Crossovers can be organized between multiple programs, in which a single storyline is extended across episodes of two or more separate programs. Typically, these involve programs that form a single franchise or shared universe, such as NBC's "Chicago" franchise and "" (all created by Dick Wolf), and the ABC dramas "Grey's Anatomy" and "Station 19" (both created by Shonda Rhimes).


title: Broadcast programming

text: Counterprogramming is the practice of deliberately scheduling programming to attract viewers away from another, major program. Counterprogramming efforts often involve scheduling a contrasting program of a different genre or demographic, targeting viewers who may not be interested in the major program (such as a sporting event, which typically draws a predominantly-male audience, against an awards show that attracts a predominantly-female audience). Despite frequently being among the top U.S. television broadcasts of all time, the Super Bowl has had a prominent history of being counterprogrammed in this manner. One of the most prominent examples of this practice was Fox's 1992 airing of a special live episode of "In Living Color" against the game's halftime show.


title: Broadcast programming

text: Programs can also be counterprogrammed by a direct competitor in the same time slot, often resulting in the two programs attempting to attract viewers away from each other through publicity stunts and other tactics.


title: Broadcast programming

text: In some cases, broadcasters may attempt to adjust their schedules in order to avert attempts at counterprogramming, such as getting a slightly earlier time slot (in the hope that once viewers have become committed to a show they will not switch channels), or scheduling the competing program on a different night, or in a different portion of the television season to avoid competition altogether.


title: Broadcast programming

text: Dayparting is the practice of dividing the day into several parts, during each of which a different type program is appropriate for that time is aired. Daytime television shows are most often geared toward a particular demographic, and what the target audience typically engages in at that time.


title: Broadcast programming

text: Stripping is the practice of running a single series in a consistent, daily time slot throughout the week, usually on weekdays. Daytime programs such as talk shows, court shows, game shows, and soap operas, are typically aired in a strip format. Outside of serial drama formats such as telenovelas where popular, strips are rarely used for first-run entertainment programming outside of limited events.


title: Broadcast programming

text: Syndicated reruns of network programs that originally aired on a weekly basis are often aired as strips. Shows that are syndicated in this way generally have to have run for several seasons (the rule of thumb is usually 100 episodes) in order to have enough episodes to run without significant repeats.


title: Broadcast programming

text: A marathon is the scheduling of a continuous, long-term block of programming as an event, usually devoted to airings of a single program or film franchise. When conducted using television series, a marathon may either consist of episodes aired in sequential order, or focus on episodes sharing specific themes.


title: Broadcast programming

text: Marathons are often aired on holidays (such as Syfy's annual "The Twilight Zone" marathon on New Year's Day), as counterprogramming for major events airing on other channels (such as the Super Bowl in the U.S.), to lead into new episodes of a series, or to commemorate milestones surrounding a series or franchise (such as a 19-day marathon of "Saturday Night Live"-related programming by VH1 Classic to lead towards the series' 40th anniversary special, which surpassed a 2014, 12-day marathon of "The Simpsons" by FXX as one of the longest marathons in the history of U.S. television).


title: Broadcast programming

text: While longer marathons are typically reserved for major events, the popularization of binge-watching via streaming services in the 2010s led to many U.S. cable networks adopting marathon-like, back-to-back airings of specific programs as part of their regular schedules. TBS premiered entire seasons of its series "Angie Tribeca" in a marathon format to compete with the release practices of streaming services."" Similarly, free ad-supported streaming television (FAST) services often feature narrowly-focused linear channels devoted to specific programs or franchises.


title: Broadcast programming

text: A broadcaster may temporarily dedicate all or parts of its schedule over a period of time to a specific theme. A well-known instance of a themed lineup is Discovery Channel's annual "Shark Week". Themed schedules are a common practice around major holidays—such as Valentine's Day, Halloween, and Christmas—where channels may air episodes of programs, specials, and films that relate to the holiday. Channels may also air marathons of their signature programs and film rights to target viewers off from school or work.


title: Broadcast programming

text: The U.S. basic cable networks Freeform (25 Days of Christmas, 31 Days of Halloween) and Hallmark Channel are known for broadcasting long-term holiday programming events. After experiencing success with holiday events such as "Countdown to Christmas", Hallmark Channel adopted a practice of dividing its programming into themed seasons year-round, which are accompanied by thematically-appropriate original made-for-TV films and series. This strategy is part of an effort to position the channel as "a year-round destination for celebrations", and is synergistic with Hallmark Cards' core greeting card and collectibles businesses.


title: Broadcast programming

text: A show's time slot or place in the schedule could be crucial to its success or failure; generally, earlier prime time slots have a stronger appeal towards family viewing and younger demographics, while later time slots generally appeal more towards older demographics. Some time slots, colloquially known as "graveyard slots" or "death slots", are prone to having smaller potential audiences (with one such example in the U.S. being Friday nights), or intense competition from highly-rated series.


title: Florence Halop

text: Florence Halop (January 23, 1923 – July 15, 1986) was an American actress. Best known for her roles as surly patient Mrs. Hufnagel on the drama "St. Elsewhere" and the raspy-voiced bailiff Florence Kleiner on the sitcom "Night Court", Halop was the sister of Billy Halop, one of the original Dead End/East Side Kids.


title: Florence Halop

text: Halop was from a theatrical family. She was born in Jamaica, New York. Her mother was a dancer, and her brother, Billy Halop, was an actor who worked on radio, in films, and in television.


title: Florence Halop

text: An item in a 1931 newspaper reported that Halop was "the youngest star of the National Broadcasting Company -- only 7 and broadcasting for the last three years." She first appeared on "Coast-to-Coast on a Bus". Later, she was heard on "Wheatenaville". Halop was the second of many to play Miss Duffy, the owner's man-crazy daughter in "Duffy's Tavern". She was Hot Breath Houlihan on "The Jimmy Durante Show".


title: Florence Halop

text: Halop transitioned to television in the early 1950s with a role in the series "Meet Millie". After the series ended in 1956, Halop guest starred on various television series during the late 1950s and 1960s including roles in "Playhouse 90", "Going My Way", and "I Spy". Between 1976 and 1982, she guested six times on the TV series "Barney Miller", each time playing a different character. In 1984, she had a guest stint on "St. Elsewhere". Halop's character, Mrs. Hufnagel, was originally intended to be a one-episode spot, but her role was so well received the writers found a way to get her into 17 more episodes over the course of the season.


title: Florence Halop

text: In 1985, Halop succeeded Selma Diamond as a bailiff on "Night Court" after Diamond's death from lung cancer. Halop, who was also a heavy smoker, developed lung cancer herself as well and died during the series run. She was replaced on "Night Court" by Marsha Warfield, who played Roz Russell until the series ended in 1992.


title: Florence Halop

text: Halop was married to George Gruskin, who died in 1976. They were the parents of two daughters, Georgeanna and Benita. She is buried in Valhalla Memorial Park Cemetery.


title: Lee Hye-young (actress, born 1962)

text: Lee Hye-young (; born November 25, 1962) is a South Korean actress. She is the daughter of celebrated film director Lee Man-hee, who died in 1975 when she was in middle school. Lee began her acting career in 1981 at the age of 17 through a local musical theatre production of "The Sound of Music". Since then she has performed in theater, feature and short films, and television. She was one of the most prominent South Korean actresses in the 1980s, starring in films such as "The Blazing Sun" (1985), "Winter Wanderer" (1986), "Ticket" (1986), "The Age of Success" (1988), "North Korean Partisan in South Korea" (1990), "Fly High Run Far" (1991), "Passage to Buddha" (1993), and "No Blood No Tears" (2002). Lee also played supporting roles in the Korean dramas "I'm Sorry, I Love You" (2004), "Fashion 70's" (2005) and "Boys Over Flowers" (2009).


title: Robert F. Colesberry

text: Robert F. Colesberry Jr. (March 7, 1946 – February 9, 2004) was an American film and television producer, best known as a co-creator of the television series "The Wire" (2002–2008) for HBO, executive producer of the miniseries "The Corner" (2000), and a producer for Martin Scorsese's "After Hours" (1985), Alan Parker's "Mississippi Burning" (1988), and Billy Crystal's "61*" (2001). Colesberry was also an occasional actor.


title: Robert F. Colesberry

text: Colesberry was born in Philadelphia. Colesberry served as an artillery lieutenant in the Army in the mid-1960s. Colesberry also briefly played baseball and operated a bar in Wildwood, New Jersey.


title: Robert F. Colesberry

text: After being discharged from the Army, he attended Southern Connecticut State University, where he became interested in drama. He later transferred to New York University's Tisch School of the Arts, from which he received his B.F.A. in 1974.


title: Robert F. Colesberry

text: Colesberry began working on films in New York. He was assistant director for "Andy Warhol's Bad" (1977) and first assistant director on Alan Parker's musical film "Fame" (1980). Colesberry was then a producer for Barry Levinson's "The Natural" (1984), and Martin Scorsese's black comedies "The King of Comedy" (1982) and "After Hours" (1985).


title: Robert F. Colesberry

text: Colesberry received Oscar and Golden Globe nominations for his work on Parker's "Mississippi Burning" (1988) and Emmy nominations for "61*" (2001) and the television movie "Death of a Salesman" (1985), based on the Arthur Miller play.


title: Robert F. Colesberry

text: In 1999, Colesberry began his association with HBO as executive producer of "The Corner" (2000), a six-hour miniseries adaption of "", a nonfiction book by "Baltimore Sun" reporter David Simon and former Baltimore police detective Ed Burns. The show was nominated for four Primetime Emmys in 2000, winning two, including the Award for Outstanding Miniseries, and won a Peabody Award.