Early life.

Nikolai Vladimirovich Ruzsky was born in the Russian Empire on March 6, 1854, into a noble family. His family was of nobility from the Kaluga Governorate, the Ruzsky family's origin traced back to the mayor of the town of Ruza near Moscow during the late 1700s, Aleksei Mikhailovich Lermontov (the Ruzsky family was of the Ostrozhnikovskaya line of the Lermontov family). His family, Vladimir Dmitriyevich, was an official in the 12th Grade. His father died when Ruzsky was a year old and he was put under auspices by the Moscow Custodian Council.

Early career.

In 1870, Ruzsky graduated from the Cadet Corps at first class. In 1872, he graduated from the Konstantinovsky Artillery School at first class. In 1877, he participated in the Russo-Turkish War, and was wounded when taking a fortress in Gorni Dubnik. For courage, he was awarded the Order of St. Anna of the 4th degree with the inscription "For bravery". In July 1878, he attended a reserve battalion in preparation of attending the Nikolayev Academy of General Staff. Ruzsky graduated in 1881, in the first category. During his training in the academy, his teachers were all future ministers of war of future General Aleksey Kuropatkin, Vladimir Sukhomlinov and Aleksandr Roediger, all under the leadership of the prominent general, Mikhail Dragomirov. In December 1881, he was appointed the assistant to the senior adjutant of the Kazan Military District.  In 1884, he married a daughter of a retired officer, Zinovia Aleksandrovna Borezovsky, and they together had three children.  From March 1882 to November 1887, Ruzsky became the senior adjutant of the headquarter of the Kiev Military District. From 1882 to 1896, he became chief-of-staff to numerous divisions, including the 11th Cavalry Division, the 32nd Infantry Division and the 151st Infantry Pyatigorsk Regiment. In 1896, he became the district quartermaster of the Kiev Military District headquarter. On April 1904, he was appointed the chief-of-staff of the Vilno Military District. During his service in the military district, he enjoyed great reputation and respects from his fellow officers.

Russo-Japanese War.

In the following years, he participated in Russo-Japanese War, in which he commanded the 2nd Manchurian Army. He participated in the battles at Sandepu and Mukden. In the war, he was noticed by fellow officers as one of the best generals and valuable workers in the army. While retreating from Mukden, General Ruzsky was in the rear of the army and was injured from falling off a horse, but he remained in the army.  After the war in 1906, he participated in the development of the "Regulations on-field command and control of troops in wartime" organisation. From May 1907 on, he was a member in the Supreme Military Criminal Court. He investigated the case of the surrender in Port Arthur. In 1909, he was appointed the commander of the 21st Army Corps, but soon was deducted due to poor health. In December 1909, General Ruzsky became a member of the Ministry of War, and was involved in the development of charters and manuals, and was one the authors of the Field Regulations of 1912. In February 1912, General Ruzsky was again appointed to the Kiev Military District, this time as the assistant commander of the troops in the district. According to the plans of war with Germany and Austria-Hungary, commander of the troops of the Kiev Military District, General Nikolai Ivanov was to be the appointed the commander-in-chief of the army in the Southwestern Front, and General Ruzsky, the commander of army, would be ordered to form the basis of the Kiev Military District.

World War 1.

From mid-July to early September, General Ruzsky was in command of the Third Army. In the beginning, despite receiving information about an Austro-Hungarian offensive in Lublin and Holm, he still preserved the offensive against Lemberg. For the battles against the Austrians, and above all, his participation at Lemberg, he was awarded the Order of St. George both the 4th and the 3rd degree (VP in August 1914). And the for his participation in the Invasion of Galicia, he was again awarded the Order of St. George, this time the 2nd degree (VP in October 1914), becoming one of the top three generals (other being General Nikolai Ivanov and Nikolai Yudenich). General Ruzsky gained the name, the “Conqueror of Galicia”, and he also gained great public reputation back in Russia, even his opposition circles.  From early September 1914 to mid-March 1915, General Ruzsky was the commander-in-chief of the entire Northwestern Front. Under his command, the forces of the front fought at the Vistula River and Łódź, but despite huge success of the 1st and 10th Armies, he was ordered to retreat, due to a group of German troops commanded by General Reinhard von Scheffer-Boyadel was able to snuck out from the encircling movement. He and his troops also participated in the disastrous battle at the Masurian Lakes. In the latter, General Ruzsky was the one who caused the catastrophe of the 10th Army.  As a military leader, he was accustomed in blaming his subordinates for his failures, and particularly, he successfully removed General Paul von Rennenkampf and Sergei Scheidemann from command, at the Sedlets meeting of the Supreme Headquarters, thereby justifying his order to curtail the offensive of his troops from the frontline. However, the activities of these generals weren't expressed groundlessly by the high military commands of the Supreme Command and the Ministry of War. In mid-March 1915, due to poor health, General Ruzsky left the front and handed over the command to the Army Chief of Staff, General Mikhail Alekseyev.  In the same year, General Ruzsky was appointed to the State Council. And in May, he was appointed to the Military Council. Sometimes later, he returned to the highest command thanks to a personal decision by Tsar Nicholas II despite General Ruzsky revealed his shortcomings as a military leader to the tsar.  In late June, General Ruzsky was appointed the commander of 6th Army. And in mid-August, he was appointed to command the whole Northern Front, but on December 1915, he fell ill while commanding the front and left. Then in early August 1916, he recovered from his illness and returned to the front as commander-in-chief, replacing General Kuropatkin. During his time as the commander-in-chief at the Northern Front, his troops were cautious and avoided decisive actions against large-scale enemies.

Russian Revolutions.

One of the most active military conspiracy participants was the President of the Imperial Duma, Mikhail Rodzianko, who played an important role in the abdication of Nicholas II. According to the memoirs of the Minister of the Imperial Court Cont Baron Frederiks, who was present at the abdication of the tsar. General Ruzsky brutally and violently forced the wavering tsar the sign the prepared manifesto on abdication. Ruzsky held the tsar by one hand, with the other hand holding the manifesto, and repeatedly said:  Nicholas at this point was embarrassed and dejected. A lawyer named N.P. Karabchevsky left his memories about the words by Prince John Konstantinovich's wife, Helena Petrovna. Which when she was being imprisoned in Yekaterinburg, she was visited by the doctor of the Tsesarevich, Vladimir Derevenko, who told the princess about the recall of Nicholas about General Ruzsky. He said:  During a conversation with General S. N. Vilchkovsky, General Ruzsky detailed the tsar's resistance to the pressure exerted on the introduction of the new so-called "Responsible Ministry" (According to the opposition, this ministry was to be submitted not to the Emperor, but the head of the Cabinet, in turn, responsible to the Duma, that is, the conspirators aspired to introduce a parliamentary system in Russia, which was contrary to the existing legislation of the Empire). He argued heatedly about the need of the immediate imposition of the Responsible Ministry.  He informed the tsar that his thoughts were wrong, he told Nicholas that it was necessary to adopt the policy: "the sovereign reigns, and the government rules." The tsar argued that this policy was too incomprehensible for him, he said that what was necessary was that the people should be educated, or in other words, should be reborn. He disagreed and then argued with the tsar. And about an hour later, Nicholas finally agreed to the Responsible Ministry. It was not understood that why the fact that Nicholas would just all the sudden, he just abandoned his conviction and agreed with Ruzsky. Analysis of the documents leads to the conclusion that, this decision, was made on behalf of the Sovereign, but not by the Emperor himself.  After the Revolution, General Ruzsky advocated in maintaining the discipline of the army, which led him into disagreements with the Minister of War, Alexander Guchkov, and army chief of staff General Alekseyev. He was then relieved from command. After which he went South to Kislovodsk.

Demise.

In early September 1918, General Ruzsky was arrested in Essentuki by the Reds, and then the Reds offered the general a commander in the army, he rejected it. He referred to the fact that he rejected the war of “Russians against Russians”. As a result of Ivan Sorokin’s death on November 1, he was taken by the Reds to the Pyatigorsk Cemetery as a hostage group composed of about 100 tsarist officers, he was then murdered by Georgi Atarbekov.

Legacy.

Shortly before his terror demise, General Ruzsky sought to justify himself before his descendants, sharing his memories after the overthrow of the monarchy and the Bolshevik coup d'état. He understood that such a sudden change in the tsar's opinion in favor of the Responsible Ministry, would, in fact, look suspicious. Therefore, General Ruzsky tried to assure that before the tsar gave his consent, he would remark that there had been "some kind of change in the sovereign". The tsar "manifested something like indifference". For General Ruzsky, it was important that memory of his descendants would form the belief that everything happened with the tsar's full consent. Ruzsky didn't want to look like a conspirator, but a loyal subject, acting in harmony with his Sovereign.

Nikolai Vladimirovich Ruzsky (; – October 18, 1918) was a Russian general, member of the state and military councils. Best known for his role in WW1 and the abdication of Tsar Nicholas II.


Plot summary.

Previous novels referred to the Cetagandan Empire because of its occupation of Barrayar decades before the events of the first novel, "Shards of Honor". Cetagandan soldiers of the "ghem" military class appear in "The Warrior's Apprentice", "Ethan of Athos" and "Brothers in Arms", which describe their use of facial paint. This novel introduces the "haut" ruling class of the Empire, who are not at all militaristic, but seem to have a way of controlling their military classes to keep the Empire stable.  Miles and Ivan are sent to the home world of the Cetagandan Empire to represent Barrayar at the state funeral of the dowager Empress Lisbet, mother of the current Emperor, the "haut" Fletchir Giaja. They quickly become entangled in an internal Cetagandan plot when they arrive at a nearly deserted docking bay, much to their puzzlement. A ba (a sexless servant of the Cetagandan rulers) unexpectedly rushes into their spaceship. A struggle ensues, in which the ba drops a weapon and some sort of artifact before fleeing. Miles takes it upon himself to investigate — without informing his superiors — and eventually discovers that the artifact is a fake copy of the priceless Great Key, which has been stolen. The ba is later found dead.  Realizing that an unknown enemy is trying to frame him and Barrayar, Miles forms an unusual alliance with the "haut" Rian Degtiar, the "Handmaiden of the Star Crèche", who is charged with the duties of Empress until the new one is chosen. The Star Crèche is the heart of the genetic engineering project that is, or appears to be, elevating the "haut" class beyond being merely human.  Miles solves the complex mystery and stops a plot to fragment the Cetagandan Empire into eight dangerously expansionist-minded parts, a plot which itself is hijacked by one of the "haut" governors for personal gain, abetted by a renegade "haut" lady and his top "ghem" General. Then, much to his chagrin, he is publicly awarded the Order of Merit, one of the very highest Cetagandan honors, by the Emperor himself. He also picks up clues to a Cetagandan genetic experiment, which becomes the object of much skulduggery in "Ethan of Athos".

Reception.

"Cetaganda" was nominated for the Locus Award in 1997, the same year as "Memory", the following book in the series. It received mixed reviews, with "The SF Site" stating that it has "a good and delicious mystery at its core", while a "Tor.com" review stated "I don’t find the Cetagandan political set-up very plausible, and worse, I don’t find it very interesting." "SFF.net" stated that "All in all, this is certainly an enjoyable book, though not (Bujold's) best.

Cetaganda is a science fiction novel by Lois McMaster Bujold, first published in four parts from October to December 1995 in "Analog Science Fiction and Fact", and published in book form by Baen Books in January 1996. It is a part of the Vorkosigan Saga, and was included in the 2001 omnibus "Miles, Mystery and Mayhem".


Origin.

Romania is a country of the former Eastern Soviet bloc where a very large number of properties (factories, enterprises, houses, apartments, buildings, churches and lands) have been nationalised by the communist government. The state would appropriate by decrees, the most important being decree nr 92 of 1950, more than 400,000 buildings, around 150,000 of them having been demolished during the following 40 years. In 1995, under the presidency of Ion Iliescu, a law allowed tenants to buy from the Romanian State, at very low cost, real estates built before 1945 that had been nationalised, thus preventing previous owners from recovering those properties. The complex legal situation that has resulted has led to an attempt to compensate the former owners, to whom the state was unable to restore previous property, through the foundation of the "Proprietatea" fund. Figures between 150,000 and 250,000 concerned property owners - only for real estate - are frequently used by associations or newspapers but no verifiable official statistic is available.  Created on November 24, 2005 by law 247/2005 in Romania, Fondul Proprietatea or Property fund is a fund that collects a part of the debts that other countries owe to Romania. It also contains shares of certain state companies.  The distributed shares constitute reparations to the owners (or descendants) whose properties had been nationalised between 1945 and 1989 and were unable to recover their properties after 1989 due to various causes.  According to the website site of the fund, Romania would be the only eastern country trying to compensate at a fair value the people who have been dispossessed by the communist regime.

Company, capital and corporate purpose.

S.C. Fondul “Proprietatea ” S.A. was established to assure the financial resources necessary to compensate the persons abusively expropriated. The compensation is made in shares, representing the actual value of the real estates which are not given back in kind. Following the fulfillment of some strictly law determined stages, the titleholders of the rights of compensation will become shareholders of "Fondul Proprietatea".

Management.

Until the appointment of a selected administration, the fund has been managed provisionally by the Ministry of Public Finance through the Board of Supervisors. After selecting through an international public tender, a management company will take over the powers of the administrator of the Fund property. Following a tender selection process, a Selection Commission has recently designed "on June 9, 2009 "Franklin Templeton Investment Management Ltd" as the manager of the fund."

Portfolio structure.

By the end of December 2008, the portfolio total value was evaluated around 16,498,879,195 RON (5,497,793,800 USD or 3,911,350,421 €). In June 2009, the available information regarding 90% of the portfolio value is as follows:

Effectiveness of the fund and challenges.

Romania is the only country in the former Eastern bloc to join the European union where such a problem concerning the situation of property in connection with the collapse of communist regimes remains unresolved. None of the other ex-Soviet bloc countries have raised a real estate issue with such a magnitude at European level.  Given the seriousness of the situation and the inertia of the Romanian state, despite hundreds of convictions of the European Court of Human Rights, the latter launched on 25 February 2010 a pilot-judgment procedure. The hearing was held 6 September 2010. The ruling is expected in September 2010. It could be accompanied by sanctions against Romania such as the obligation to amend its legislation, or the exclusion of the Court.

Fondul Proprietatea is a joint-stock company established by the Romanian state, and is intended to become entirely private and independent from the state. Its specificity lies in the fact that its purpose and its operations are governed by special legislation. Shareholders are limited to those dispossessed owners of their property by the Romanian state during the Communist regime.


Personal life.

Pinchot was born in New York City. His mother, Rosina (née Asta) was an Italian American and a typist, and his father, Henry (originally Poncharavsky) was of Russian descent and a bookbinder, who was born in New York and raised in Paris. His younger brother Justin is also an actor. Pinchot was raised in Southern California where he graduated from South Pasadena High School at the top of his class and was appointed valedictorian. He earned a full scholarship to Yale University where he studied fine art in Morse College, graduating "magna cum laude". After he was cast in a college play a casting director discovered him, which led to his film debut, "Risky Business".  In the 1970s, Pinchot often organized Winkie (west) conventions of The International Wizard of Oz Club.  In 1999 Pinchot spent a great deal of time in Harford, Pennsylvania, restoring the circa 1839 mansion of former Pennsylvania state Senator Edward Jones. He purchased six properties in the small rural town of 1,300 residents "in an effort to revive the town's 19th-century aesthetic." In 2015 Pinchot filed for Chapter 13 bankruptcy, claiming liabilities between $100,000 and $500,000. All of his properties in Harford were subsequently put up for sale. Bronson told The Citizen's Voice, "I have two skills: I can make old houses beautiful and I can make people laugh. Other than that I'm a waste of space. Well, I'm a dedicated son and brother but I have no head for businesses."

Career.

Pinchot appeared in several feature films, such as "Risky Business", "Beverly Hills Cop", "The First Wives Club", "True Romance", "Courage Under Fire" and "It's My Party". He also played Dennis Kemper in the short-lived NBC sitcom "Sara". Pinchot was hired to replace Fisher Stevens as Ben Jabituya in the 1986 film "Short Circuit", but Pinchot eventually left the production in order to begin work on "Perfect Strangers", and Stevens was subsequently rehired for the role.  Starting in 1986, Pinchot played Balki Bartokomous on the long-running ABC sitcom "Perfect Strangers". When the show concluded filming its eight-season run in September 1992 (with the condensed final season airing during the summer of 1993), Pinchot immediately secured the starring role on a new sitcom for CBS, entitled "The Trouble with Larry". The series premiered just three weeks after ABC's "Perfect Strangers" finale in August 1993, and one episode (which never aired) was directed by Mark Linn-Baker, Pinchot's co-star on "Strangers". After three weeks of dismal ratings and poor reviews, "The Trouble with Larry" was canceled. Pinchot would subsequently get rehired by "Perfect Strangers" producers Tom Miller and Bob Boyett for roles on two more of their sitcoms: "Step By Step", where he played French hairdresser Jean-Luc Rieupeyroux in early 1997, and, that fall, on "Meego", where he played an alien who crash-landed on Earth and took up residence with an American family.  In 2008, Pinchot read for the audio version of "The Learners", author Chip Kidd's followup to "The Cheese Monkeys". He also voiced Max, the fully restored Black 1964 VW Beetle, in the 2009 Volkswagen "Das Auto" campaign. Between 2009 and 2014, Pinchot narrated over 100 audiobooks, for which he won a number of awards. In 2010, Pinchot read the audio version of the novels "" and "Blood Oath". For the Blackstone Audio collection "Patricia Highsmith: Selected Novels and Short Stories," he provided a reading of several stories, including Highsmith's novel "Strangers on a Train". Pinchot recently narrated for Christopher Healy's children's series, "The Hero's Guide". He was chosen by Audible.com as their 2010 Narrator of the Year. On February 12, 2012, Pinchot starred in a home restoration show on DIY Network titled "The Bronson Pinchot Project". The program is based on his hobby of restoring old homes using salvaged materials.  On March 8, 2018, it was announced that Pinchot would play George Hawthorne, the villainous, puritanical principal of Baxter High, who regularly clashes with Sabrina Spellman and her friends in the Netflix series "The Chilling Adventures of Sabrina". The series premiered in October 2018.

Bronson Alcott Pinchot (born May 20, 1959) is an American actor and voice artist. He is best known for playing Balki Bartokomous in the ABC sitcom "Perfect Strangers" (1986–93). He also performed in films, such as "Risky Business" (1983), "Beverly Hills Cop" (1984), "True Romance" (1993), "Beverly Hills Cop III" (1994), "It's My Party" (1996), "Courage Under Fire" (1996) and "The First Wives Club" (1996), as well as on television series, such as The Prankster on "". In 2012, he starred in his own reality series, "The Bronson Pinchot Project" on the DIY Network.


Folk music.

Carnival is a very important festival in Guadeloupe and Martinique. Music plays a vital role, with Guadeloupean gwo ka ensembles, zouk music and guadeloupean big bands marching across the island, and travelling and performing music known as C (or just "videé") in a manner akin to Brazilian samba schools. Carnival in both islands declined following World War II, bouncing back with new band formats and new traditions only in the 1980s. Both islands feature participatory, call-and-response style songs during their Carnival celebrations.

Biguine vidé.

Biguine vidé is an up tempo version of the biguine rhythm, combining other carnival elements. It is participatory music, with the bandleader singing a verse and the audience responding. It allows one to grab an improvised percussion instrument and join in. Traditionally, Carnival includes dances of African origin, including laghia, haut-taille, grage, calinda and bel-air. Traditional instruments include the chacha, tibwa, maké, boula, tanbou chan and tanbou bas drums. Aside from the biguine vidé bands, Vaval includes song and costume contests, masquerading and zouk parties.

Gwo ka.

Gwo ka is a family of hand drums used to create a form of folk music from Guadeloupe. There are seven basic rhythms in gwo ka, and multiple variations on each. Different sizes of drums establish the foundation and its flourishes, with the largest, the "boula", playing the central rhythm and the smaller, "markeur" (or "maké") drums embellishes upon it and interplays with the dancers, audience or singer. Gwo ka singing is usually guttural, nasal and rough, though it can also be bright and smooth, and is accompanied by uplifting and complex harmonies and melodies.  Rural Guadeloupans still use gwo ka drums in communal experiences called lewozes; this is the most traditional manifestation of gwo ka in modern Guadeloupe. Gwo ka is also played at Carnival and other celebrations. A modernized and popularized form of gwo ka is well-known on the islands; it is known as "gwo ka moderne".

Balakadri.

Guadeloupean balakadri persisted into the 20th century and, despite disruption after World War II, made a comeback in the 1980s. The Guadeloupean-administered island of Marie-Galante has also had a vital and well-documented balakadri tradition. As in Martinique (and the Creole-speaking islands of Saint Lucia and Dominica), kwadril dances are in sets consisting of proper quadrilles, plus creolized versions of 19th-century couple dances: biguines, mazouks and valses Créoles.

Popular music.

Though Guadeloupe and Martinique are most frequently known only for the internationally renowned zouk style, the islands have also produced popular musicians in various updated styles of traditional biguine, chouval bwa and gwo ka. The world-famous zouk band Kassav' remains easily the most famous performers from the island, while the Guadeloupan Carnival band Akiyo has become the only group in that style to record commercially.

Cadence (Kadans)/Compas.

In the 1970s, a wave of Haitian, mostly musicians, to Dominica and the French Antilles (Guadeloupe and Martinique) brought with them the kadans, a sophisticated form of music that quickly swept the island and helped unite all the former French colonies of the Caribbean by combining their cultural influences. These Haitians drew upon previous success from mini-jazz artists like Les Gentlemen, Les Leopards, and Les Vikings de Guadeloupe.  Later in the decade and into the 1980s, the French Antilles became home to a style of cadence music called cadence-lypso. Gordon Henderson's Exile One innovated this style, as well as turned the mini-jazz combos into guitar-dominated big bands with a full-horn section and the newly arrived synthesizers, paving the way for the success of large groups like Grammacks, Experience 7, among others. Drawing on these influences, the supergroup Kassav' invented zouk and popularized it with hit songs like "Zouk-La-Se Sel Medikaman Nou Ni". Kassav' formed from Paris in 1978.

Mini-jazz.

Mini-jazz was formed in the mid-60s characterized by the rock bands formula of two guitars, one bass, drum-conga-cowbell, some use an alto sax or a full horn section, others use a keyboard, accordion or lead guitar. However, all these small jazz or bands had their guitars with sophisticated styles. The 1970s were dominated by mini-jazz, which still used a variant of the méringue style. One of the mini-jazz groups, Tabou Combo, became the most popular ensemble of Haiti. From Haiti the mini-jazz formula replicated in the French Antilles in the 1970s.

Cadence-lypso.

The most influential figure in the promotion of Cadence-lypso was the Dominican group Exile One (based on the island of Guadeloupe) that featured mostly the cadence rampa of Haiti and calypso music from the English speaking caribbean. It was pushed in the 1970s by groups from Dominica, and was the first style of Dominican music to find international acclaim.  Dominica cadence music has evolved under the influence of Dominican and Caribbean/Latin rhythms, as well as rock and roll, soul, and funk music from the United States. By the end of the 1970s, Gordon Henderson defined Cadence-lypso as "a synthesis of Caribbean and African musical patterns fusing the traditional with the contemporary".  Aside from Exile One, other bands included the Grammacks, Black Roots, Black Machine, Naked Feet, Belles Combo, Mantra, Black Affairs, Liquid Ice, Wafrikai, Midnighte Groovers and Milestone, while the most famous singers included Bill Thomas, Chubby Marc, Gordon Henderson, Linford John, Janet Azouz, Sinky Rabess, Tony Valmond, Jeff Joseph, Mike Moreau, Anthony Gussie and Ophelia Marie.

Zouk.

The inspiration for Zouk's style of rhythmic music comes from the Haitian compas, as well as music called cadence-lypso - Dominica cadence popularized by Grammacks and Exile One. Elements of gwo ka, tambour, ti bwa and biguine vidé are prominent in zouk. Though there are many diverse styles of zouk, some commonalities exist. The French Creole tongue of Martinique and Guadeloupe is an important element, and are a distinctive part of the music. Generally, zouk is based around star singers, with little attention given to instrumentalists, and is based almost entirely around studio recordings.  Music authors Charles De Ledesma and Gene Scaramuzzo trace zouk's development to the Guadeloupean gwo ka and Martinican bèlè ("tambour" and "ti bwa") folk traditions. Ethnomusicologist Jocelyn Guilbault, however, describes zouk as a synthesis of Caribbean popular styles, especially Dominica cadence-lypso, Haitian cadence, Guadeloupean "biguine". Zouk arose in the late 1970s and early 1980s, using elements of previous styles of Antillean music, as well as imported genres.

Zouk-love.

Zouk Love is the French Antilles cadence or compas, characterized by a slow, soft and sexual rhythm. The lyrics of the songs often speak of love and sentimental problems.  The music kizomba from Angola and cabo-love from Cape Verde are also derivatives of this French Antillean compas style, which sounds basically the same, although there are notable differences once you become more familiar with these genres. A main exponent of this subgenre is Ophelia Marie. Other Zouk Love artists come from the French West Indies, the Netherlands, and Africa. Popular artists include French West Indian artists Edith Lefel and Nichols, or like Netherlands based Suzanna Lubrano and Gil Semedo, the African artist Kaysha.

Gwo ka moderne.

A more modernized version of gwo ka is "gwo ka moderne", which adds new instruments ranging from conga or djembe drums and chimes to electric bass guitar. At root, however, these styles all use the same fundamental seven rhythms as folk gwo ka. Zouk legends Kassav' played an important role in the modernization of gwo ka, giving urban credibility to a style that was seen as backward and unsophisticated; they initially played in a gro ka format, using songs from the gwo ka Carnival tradition of "mas a St. Jean" and even placing an homage to traditionalist drumming legend Velo on their earlier albums.  Gwo ka moderne artists include Pakala Percussion, Van Lévé and Poukoutan'n, alongside more pop-influenced musicians like Marcel Magnat and Ti Celeste, while Gerard Hubert and others have fused gwo ka with zouk. The most famous modern gwo ka performer, however, is William Flessel, whose "Message Ka" in 1994 became an international hit.

Bouyon gwada.

Bouyon (Boo-Yon) is a form of popular music of Dominica, also known as jump up music in Guadeloupe and Martinique. The best-known band in the genre is Windward Caribbean Kulture (WCK), who originated the style in 1988 by experimenting with a fusion of cadence-lypso, jing ping and other traditional dances.  Due to the popularity of Triple K International, Ncore, and the New generation of bouyon bands who toured the French Antilles, a popular offshoot of bouyon from Guadeloupe is call bouyon gwada. The jump up had its heyday from the 90s with songs such as Met Veye WCK, but remained stamped background music or carnival. Over the years, thanks to inter-trade with the Dominicans and the mass participation of Guadeloupe at the World Creole Music Festival, the flagship group as Triple kay and MFR band began to democratize and local artists were inducted including the remix Allo Triple kay with Daly and "Big Ting Poppin 'Daly alone.  A popular offshoot within the bouyon gwada is call bouyon hardcore, a style characterized by its lewd and violent lyrics. Popular Bouyon gwada musicians include, Wee Low, Suppa, Doc J, Yellow gaza, etc.

French Antilles hip hop.

The French Antilles hip hop is a style of hip hop music originating from the French departments of Guadeloupe and Martinique in the Caribbean. Usually in French and Antillean creole, the French Antilles hip hop is most popular in the French Antilles and France.'  Sidney Duteil (born Patrick Duteil in 1955 in Argenteuil, Val-d'Oise), better known as Sidney, is a French musician, rapper, DJ, television and radio host, and occasional actor of Guadeloupean origin. He is well known in France for his connection with the beginnings of the French hip hop scene.

The music of Guadeloupe encompasses a large popular music industry, which gained in international renown after the success of zouk music in the later 20th century. Zouk's popularity was particularly intense in France, where the genre became an important symbol of identity for Guadeloupe and Martinique. Zouk's origins are in the folk music of Guadeloupe and Martinique, especially Guadeloupan gwo ka and Martinican chouval bwa, and the pan-Caribbean calypso tradition.


Early life and career.

The daughter of Anne-Victoire Vénard, she was born in Paris, France, on December 27, 1824. Her father died when she was six; she was neglected by her mother and abused by her stepfather. At the age of sixteen, she began performing at the Cirque Olympique. She helped introduce dances such as the quadrille and the can-can at the Bal Mabille. She is credited with being the first to dance the schottische. She also sang in cabarets, performing songs by Sebastián Iradier. One source has suggested that the character Carmen in Bizet's opera of the same name may have been based on Mogador.  In 1854, she married Lionel de Moreton, count of Chabrillan. He was named consul for France in Melbourne, Australia, and died there in 1858. In 1854, she published a memoir "Adieu au monde, Mémoires de Céleste Mogador". Her attorney Desmarest convinced her to pen the story of how she worked her way out of poverty to rise to the top of the "demi"-"monde." This memoir caused scandal in both Europe and Australia, where the courtesan-turned-countess had just relocated with her new husband. Although ostracized by her new community, she used the two years to work on her writing and to pen notes about her new life in a journal. In 1877, she published it as "Un deuil au bout du monde" and it describes her experiences in Australia. She was disappointed that she could not find a publisher for "Les Deux Noms," her third set of memoirs. Although lost for many years, Jana Verhoeven found them in France—and with the help of Alan Willey and Jeanne Allen, translated and annotated them.  She was director of a theatre company, the Folies-Marigny. Mogador also wrote a number of plays, including "Les voleurs d'or", "Les Crimes de la mer", "Les Revers de l'Amour", "L'Américaine" and "Pierre Pascal". Her friend Dumas "père" helped her revise a stage version of her best-selling novel "Les" "Voleurs d"’"or" (1857). Her novel, "La Sapho" (1858), is her only fictional work to address the injustices from which demi-mondaines suffered. In the novel, Marie Laurent is seduced and then abandoned. After a failed suicide attempt, she resurfaces as La Sapho in the London demi-monde and pursues revenge. Carol Mossman calls the novel a "vengeance fantasy" that allows de Chabrillan to work through the indignities she suffered as a prostitute: "If the justice sought by Céleste de Chabrillan in the course of her lifetime with respect to the social conditions leading her to her own prostitution remains elusive, she can at least mete it out in fiction."  According to a review of her third set of memoirs, the widowed de Chabrillan confronted numerous difficulties: "There were powerful men who tried to crush Céleste’s spirit with no concern for the dire financial consequences of their actions. Her memoirs painfully document her being denied a widow’s pension even though her husband had worked as an important government employee. They also recount how the Chabrillan family tried to prevent her from publishing books, staging plays, and running her own theater. She usually managed to overcome such obstacles, but on several occasions, she toiled so hard that she ended up in the hospital.  While she emphasizes the personal hurdles she faced trying to prove herself to others, she also bears witness to the struggles of a female autodidact to achieve literacy and to improve her social standing in nineteenth-century France. Writing would buoy her through her darkest hours during the fifty years she soldiered on without her companion. Although Céleste took great pride in the twelve novels, thirty plays and operettas, and dozen poems and patriotic lyrics she authored, they never provided her with a stable income and, sadly, she struggled financially at several points in her life. Rich in ideas, however, Céleste boasts: "If my numerous works are not outstanding through their literary brilliance, they are so at least by their quantity. I have never imitated anyone and never borrowed from other writers. Maybe I was wrong, but what I wrote is truly mine." Likely cognizant of the critics who doubted whether a courtesan could really write, and certainly angered by the tendency of male writers to "kill off" courtesans at the end of their novels and plays, Céleste proudly recounted her life beyond prostitution and was ultimately recognized as a writer by her peers. As she notes in the last line of her memoirs, her greatest joy was the memory of "my illustrious protectors from the Association of Stage Authors, who accepted me as one of their own and granted me a pension until the end of my life."  Indeed, Mossman notes the respect her writing earned de Chabrillan: "If the publication of her memoirs in 1854-1858 shocked a reading public, the male half of which, in any case, participated with impunity in the very life she describes, other memoirs of notorious women would follow: The "grande horizontale", Liane de Pougy, composed her Blue Notebooks from 1919-1937, Cora Pearl's memoirs appeared in 1886, and Sarah Bernhardt's fascinating but expurgated "Ma double vie" was written with considerable retrospective distance in 1907." "The Evolution of the French Courtesan Novel" also maintains that de Chabrillan's writings inspired other courtesans to protest their alienation in their own autobiographical fictions. For example, "Louise de la Bigne took up her pen to write courtesan fiction some 20 years later. She renamed herself Valtesse de la Bigne, enjoyed great fames in 1870s Paris, and took the pen name Ego when she published "Isola"." De la Bigne's novel in turn inspired Liane de Pougy to write four courtesan novels in fin-de-siècle Paris.  Generous and patriotic, during the Franco-Prussian War, she established Les Sœurs de France to look after wounded soldiers and she opened her home to children orphaned during the war. She earned a public tribute from the women who volunteered with her in the "Sœurs de France."  The name "Mogador" refers to the 1844 bombardment of Mogador in Morocco, now known as Essaouira. She explains how she earned the moniker in her first set of memoirs.

Literary work.

Mogador wrote a series of novels:

Death.

Mogador died in Montmartre, France, at the age of 84 on February 18, 1909.

Élisabeth-Céleste Venard (December 27, 1824 – February 18, 1909), better known by her stage name Céleste Mogador and often referred to simply as Mogador, was a French dancer and writer. She was also the countess of Chabrillan.


Early life.

Johnson was born in Ashley, Pennsylvania, on November 10, 1924, to Russell Kennedy Johnson (1901–1932) and Marion Wenonah Smink Johnson (1902–1976).  Johnson was the oldest of seven siblings: Kenneth W. Johnson (1925–2012), David Reed Johnson (1926–1976), Lois Marion Johnson (1927–1928), Lorraine Johnson Crosby (1928-2015), Marion Joan Johnson Reeves (1930–2010), and Paul Wesley Johnson (1932–1933). Their father died of pneumonia in December 1932, and Paul Wesley died not long after. Minnie Johnson later remarried Thomas S. Lewis.  As a teenager, Johnson attended Girard College, a private boarding school for fatherless boys, located in Philadelphia.

Military career.

After graduating from high school, Johnson enlisted in the United States Army Air Forces as an aviation cadet. On completing his training, he was commissioned a second lieutenant. He flew 44 combat missions in the Pacific Theater during World War II as a bombardier in B-25 twin-engined medium bombers.  On March 4, 1945, while flying as a navigator in a B-25 with the 100th Bombardment Squadron, 42nd Bombardment Group, 13th Air Force, his B-25 and two others were shot down during a low-level bombing and strafing run against Japanese military targets in the Philippine Islands. The B-25s encountered heavy anti-aircraft fire, and all three had to ditch in the sea off Zamboanga. Johnson broke both ankles in the landing, and his bomber's co-pilot was killed. Johnson received a Purple Heart for his injuries. He was also awarded the Air Medal, the Asiatic-Pacific Campaign Medal with three campaign stars, the Philippine Liberation Ribbon with one campaign star, and the World War II Victory Medal.  After Japan's surrender, Johnson was honorably discharged as a first lieutenant on November 22, 1945, then joined the United States Air Force Reserve.

Movie and television career.

After his honorable discharge from the military, Johnson used the G.I. Bill to pay for his acting studies at the Actors' Lab in Hollywood.  Johnson became a close friend of Audie Murphy and later appeared with him in three of his films, "Column South" and "Tumbleweed" in 1953 and "Ride Clear of Diablo" in 1954. Johnson's Hollywood career began in 1952, with the college fraternity hazing exposé "For Men Only", and with "Loan Shark", also released in 1952 and starring George Raft.  His early roles were primarily in Westerns such as "Rancho Notorious" (1952, starring Marlene Dietrich), "Seminole" (1953), "Law and Order" (1953, opposite Ronald Reagan), and "Badman's Country" (1958), and science fiction films such as "It Came from Outer Space" (1953), "This Island Earth" (1955), "Attack of the Crab Monsters" (1956), and "The Space Children" (1958). He also appeared in a Ma and Pa Kettle vehicle, "Ma and Pa Kettle at Waikiki" (1955), as well as in Roger Corman's rock-'n'-roll crime drama "Rock All Night" (1957). In 1955, he had a role in "Many Rivers to Cross" along with Alan Hale Jr., later the Skipper from "Gilligan's Island".  During the 1950s, he played the head of a gang of crooks in episode 17 of season one of "The Adventures of Superman" (originally broadcast in January 1953, filmed in 1951). Johnson was also cast on the religion anthology series "Crossroads". He also played the Sundown Kid in an episode of the 1958 NBC's Western series "Jefferson Drum" and guest-starred in another NBC Western series, "The Californians". He appeared in an episode of Wagon Train, “The Cliff Grundy Story”.  He appeared four times on the first-run syndicated military drama "The Silent Service", based on actual stories of the submarine section of the United States Navy. He was cast as Hugh Grafton in episode 28, "The Gar Story", twice played submarine officer and later author Edward L. Beach Jr., and as Tom Richards in two 1960 episodes, "Intermission" and "The Desperate Challenge", and twice with June Allyson on her CBS anthology series "The DuPont Show with June Allyson". Also, he guest-starred with William Shatner in "The Hungry Glass", a 1961 episode of "Thriller", and with Joan Evans and Harvey Stephens in "The Sky Diver", the unaired pilot episode of "Ripcord" of that same year. Then he was cast as John T. Metcalf in the 1962 episode "Mile-Long Shot to Kill" of the CBS anthology series "GE True", hosted by Jack Webb. In April 1962, he was cast as Doctor Ross in Season 5 Ep 24 of the Real McCoys. In 1963, he was cast in an episode of the short-lived ABC/Warner Bros.' Western series "The Dakotas", and later that same year, he performed in the première of another ABC show, "Breaking Point", a medical drama series starring Paul Richards and Eduard Franz.

"Twilight Zone" and "Outer Limits" episodes.

Johnson appeared in two episodes of "The Twilight Zone". His character brings a murderer from 1880 into the present via a time machine in the season-one episode "Execution". In the season-two episode "Back There", he portrays a man who attempts to prevent the assassination of Abraham Lincoln. The plot of both episodes involved time travel from the 20th to the 19th centuries. Johnson also appeared on "The Outer Limits" in 1964, playing a crewmember on a United States space station in the episode "".

"The Professor" on "Gilligan's Island".

Johnson was best known for playing Professor Roy Hinkley (usually called the "Professor"), the very knowledgeable polymath who could build all sorts of inventions out of the most rudimentary materials available on the island. As Johnson himself pointed out, though, he could not fix the hole in the boat. In the first episode of the show, the radio announcer describes the Professor as a research scientist and well-known scoutmaster. "Gilligan's Island" aired from 1964-67, but has been shown in reruns continuously ever since. He reprised this character for three "Gilligan's Island" made-for-television movies and two animated series. In a 2004 interview, Johnson commented about the role and shared his perspective regarding "Gilligan's Island" and the situation comedy's place in television history:

After "Gilligan's Island".

After "Gilligan's Island", Johnson found himself somewhat typecast, making portraying more unsophisticated roles other than his signature role as the Professor more difficult. Nevertheless, he was able to resume a sufficient acting career, appearing in several other movies and television shows, especially the latter. He appeared as a guest star in several dramatic series, including "The Big Valley" with Peter Breck (marking a reunion of sorts, since they co-starred together in "Black Saddle", an earlier Four Star Productions series), "The Invaders", "Death Valley Days", "", "Lassie", "That Girl", "Ironside", "The F.B.I", and "Gunsmoke." He was cast in the miniseries "Vanished", based on a novel by Fletcher Knebel (1971), the TV horror movie "The Horror at 37,000 Feet" (1973), uncredited in the Robert Redford spy thriller "Three Days of the Condor" (1975), the low-budget thriller "Hitch Hike to Hell" (1977), and appeared on the episode "Coffee, Tea or Cyanide" on "McMillan and Wife" in 1977, and on the NBC soap opera "Santa Barbara".  Johnson had a brief appearance in "MacArthur" (1977), in which he played United States Navy Admiral Ernest J. King, and he appeared in the 1978 made-for-television movies "The Ghost of Flight 401" and "The Bastard". Russell provided the narration for the animated-short episodes of "The Adventures of Stevie and Zoya" that appeared on MTV during the mid-1980s.  In an interview with "Starlog" magazine in the early 1980s, Johnson said that he had wanted to appear in the original "" during its run on NBC from 1966 to 1969, but he was never cast. An episode of CBS' "Newhart" featured the Beavers (a men's organization) watching a "Gilligan's Island" episode on television. When they are suddenly evicted from the room, one of them, portrayed by Johnson, protests, "I want to see how it ends!" He is assured that the castaways do not get off the island. Johnson also played the sheriff in several episodes of season 9 of "Dallas". His character in that series did not return in season 10, however, as season 9 turned out to be the infamous "dream season".  Johnson entertained fans at the 1996 MST3K Conventio-Con-Expo-Fest-a-Rama 2: Electric Boogaloo on the "Celebrity Panel". Johnson was invited for his role in the movie-within-a-movie of "", "This Island Earth", but spent most of the time answering questions about his "Gilligan's Island" days. He shared an amusing anecdote:  Johnson once participated in the Ig Nobel award presentation ceremony, credited as "The Professor Emeritus of Gilligan's Island".  Johnson also guest-starred in many episodes of "Laramie".

Personal life.

Johnson was married three times. His first marriage to Edith Cahoon in 1943 ended in divorce in 1948.  In 1949 he married his second wife, Kay Cousins, whom he had met while at the Actors' Lab in Hollywood. Together they had a daughter, Kim, and a son, David. Cousins died on January 20, 1980, in Century City, California.  In 1982, Johnson married Constance "Connie" Dane, and became stepfather to her son Courtney Dane. In 1988, Johnson and Dane moved to Bainbridge Island, Washington, to "get away from the heat, smog and crowds" of Los Angeles. It was here that Johnson collaborated with writer Steve Cox on the memoir, ""Here on Gilligan's Isle"," published in 1993.  Russell's son David Johnson died of AIDS-related complications on October 27, 1994, after David's longtime partner had died of similar causes in 1986. After his son's diagnosis with AIDS, Johnson frequently helped raise money for AIDS charities.

Death.

Johnson died from kidney failure at his home in Bainbridge Island, Washington, on January 16, 2014, aged 89. His remains were cremated. Johnson's memorial service was held a month later.

Russell David Johnson (November 10, 1924 – January 16, 2014) was an American actor, known for his role as Professor Roy Hinkley in "Gilligan's Island". He was also known for Marshal Gib Scott in "Black Saddle".


Description.

Gulliver's visit to the Land of the Houyhnhnms is described in Part IV of his "Travels", and its location illustrated on the map at the start of Part IV.  The map shows Houyhnhnms Land to be south of Australia; it indicates Edels Land and Lewins Land to the north, and Nuyts Land to the north-east, on the mainland with the islands of St Francis and St Pieter further east, and Sweers, Maatsuyker and De Wit islands to the east. The map is somewhat careless with the scale, however; Edels Land to Lewins Land are shown adjacent, while in reality they are some 1000 km apart, while the sweep of the Great Australian Bight, from Cape Leeuwin, Australia's south-westerly point to the Maatsuyker Islands, off the southern tip of Tasmania, is over 3000 km.  Gulliver describes the land as "divided by long rows of trees, not regularly planted but naturally growing", with a "great plenty of grass, and several fields of oats".  The Houyhnhnms are rational equine beings and are masters of the land, contrasting strongly with the Yahoos, savage humanoid creatures who are no better than beasts of burden, or livestock. Whereas the Yahoos represent all that is bad about humans, Houyhnhnms have a settled, calm, reliable and rational society. Gulliver much prefers the Houyhnhnms' company to the Yahoos', even though the latter are biologically closer to him.

Interpretation.

It is possible to interpret the Houyhnhnms in a number of different ways. One might possibly, for example, regard them as a veiled criticism by Swift of the British Empire's treatment of non-whites as lesser humans, or one could regard Gulliver's preference (and his immediate division of Houyhnhnms into color-based hierarchies) as absurd and the sign of his self-deception. In a modern context the story might be seen as presenting an early example of animal rights concerns, especially in Gulliver's account of how horses are cruelly treated in his society and the reversal of roles. The story is a possible inspiration for Pierre Boulle's novel "Planet of the Apes".  Book IV of "Gulliver's Travels" is the keystone, in some ways, of the entire work, and critics have traditionally answered the question whether Gulliver is insane (and thus just another victim of Swift's satire) by questioning whether or not the Houyhnhnms are truly admirable. Gulliver loves the land and is obedient to a race that is not like his own. The Houyhnhnm society is based upon reason, and only upon reason, and therefore the horses practice eugenics based on their analyses of benefit and cost. They have no religion and their sole morality is the defence of reason, and so they are not particularly moved by pity or a belief in the intrinsic value of life. Gulliver himself, in their company, builds the sails of his skiff from "Yahoo skins". The Houyhnhnms' lack of passion surfaces during the scheduled visit of "a friend and his family" to the home of Gulliver's master "upon some affair of importance". On the day of the visit, the mistress of his friend and her children arrive very late. She made no excuses "first for her husband" who had passed just that morning and she had to remain to make the proper arrangements for a "convenient place where his body should be laid". Gulliver remarked that "she behaved herself at our house as cheerfully as the rest". A further example of the lack of humanity and emotion in the Houyhnhnms is that their laws reason that each couple produce two children, one male and one female. In the event that a marriage produced two offspring of the same sex, the parents would take their children to the annual meeting and trade one with a couple who produced two children of the opposite sex. This was viewed as his spoofing and or criticising the notion that the "ideal" family produces children of both sexes. George Orwell viewed the Houyhnhnm society as one whose members try to be as close to dead as possible while alive and matter as little as possible in life and death.  On one hand, the Houyhnhnms have an orderly and peaceful society. They have philosophy and a language that is entirely free of political and ethical nonsense. They have no word for a "lie" (and must substitute a circumlocution: "to say a thing which is not"). They also have a form of art that is derived from nature. Outside "Gulliver's Travels", Swift had expressed longstanding concern over the corruption of the English language, and he had proposed language reform. He had also, in "Battle of the Books" and in general in "A Tale of a Tub", expressed a preference for the Ancients (Classical authors) because their art was based directly upon nature, and not upon other art.  On the other hand, Swift was profoundly mistrustful of attempts at reason that resulted in either hubris (for example, the Projectors satirised in "A Tale of a Tub" or in Book III of "Gulliver's Travels") or immorality (such as the speaker of "A Modest Proposal", who offers an entirely logical and wholly immoral proposal for cannibalism). The Houyhnhnms embody both the good and the bad side of reason, for they have the pure language Swift wished for and the amorally rational approach to solving the problems of humanity (Yahoos); the extirpation of the Yahoo population by the horses is very like the speaker of "A Modest Proposal".  In the shipping lanes he is rescued by a Portuguese sea captain, a level-headed individual albeit full of concern for others, whose temperament at one level appears intermediate between the calm, rational Houyhnhnms of Houyhnhnmland and the norm of corrupt, European humanity, which Gulliver no longer distinguishes from Houyhnhnmland's wild Yahoos. Gulliver can speak with him, and though now disaffected from all humanity, he began to tolerate his company. Gulliver is returned to his English home and family, finds their smell and look intolerable and all his countrymen no better than "Yahoos", purchases and converses with two stabled horses, tolerating the stable boy, and assures the reader of his account's utter veracity.

Houyhnhnms are a fictional race of intelligent horses described in the last part of Jonathan Swift's satirical 1726 novel "Gulliver's Travels". The name is pronounced either or. Swift apparently intended all words of the Houyhnhnm language to echo the neighing of horses.


Early political career.

Born in St. Bride's, he served three terms on that town's council. He was also a lead figure for the Cape Shore Regional Development Association before being elected to the Newfoundland and Labrador House of Assembly in 1993 as a Progressive Conservative. He first represented the riding of St. Mary's-The Capes, in 1996 he was defeated in the redistributed riding of Placentia and St. Mary's, but was elected in 1999.  In May 2005, he was voted out of the provincial Progressive Conservative caucus because he publicly attacked the government's crab management policies. He sat as an Independent Progressive Conservative member for the rest of his term. When he was a member of the opposition, Manning served as the critic for the Ministers of Tourism, Culture, and Recreation; Employment and Labour; Government Services and Lands; Human Resources and Employment; and Youth Services and post secondary education. He was the Parliamentary Assistant to the Leader of the Opposition, a member of the Progressive Conservative Caucus Strategy Committee, and a member of the Public Accounts Committee.

Member of Parliament.

In December 2005, after having been ejected from the provincial Progressive Conservative caucus, Manning resigned his seat in the House of Assembly to pursue a seat in the House of Commons of Canada. Avalon had previously been represented by John Efford, a Liberal cabinet minister, who had been elected by a wide margin in 2004. Without the powerful incumbent, however, Manning was able to take the seat for the federal Conservatives in the 2006 federal election with 51.55% of the vote.  Manning spoke in favour of the federal government's 2007 budget, saying, "Our government has kept its commitment to honor and respect the Atlantic Accord." The provincial government of Newfoundland and Labrador and Premier Danny Williams in particular have opposed the budget which contains revisions to a previously agreed upon equalization formula.  In late August 2007, he attacked the Liberal environmental plan as making the Hebron offshore oil megaproject "dead on arrival." Scott Simms, a Liberal MP from central Newfoundland, rejected Manning's accusations, insisting that the Hebron project would not be cancelled. He also suggested that Manning's comments had more to do with attempting to increase support for Stephen Harper (who was in a dispute with Premier Danny Williams), and reviving support for the Conservative party, which had dipped to only 17% of voters.  As part of the Conservative caucus, he was a member of the Standing Committee on Fisheries and Oceans, Chair of Atlantic Caucus and the Standing Joint Committee on the Library of Parliament.  Manning ran for re-election in Avalon in the October 2008 election and was defeated by Liberal Scott Andrews.

Appointments to Senate.

Manning was selected by Stephen Harper for appointment to the Senate on January 2, 2009. Manning resigned his seat in the senate on March 28, 2011 in order to run in the 2011 federal election in a bid to retake the same seat he had lost in 2008. Manning's bid for the riding of Avalon was unsuccessful.  On May 18, 2011 Prime Minister Steven Harper announced that Manning was to be re-appointed to the Senate. The Prime Minister followed through with that intention. Manning as a senator for Newfoundland and Labrador is also a member of the Fisheries and Oceans committee and the National Security and Defence committee.

Election results.

! align="right" colspan="3" | Total rejected ballots! align="right" | 623! align="right" | 1.65! align="right" | +0.59! align="right" colspan="3" | Turnout! align="right" |37,735! align="right" | 59.20! align="right" | +9.40 !align="left" colspan=3|Total!align="right"|5,710!align="right"|100.0%!align="right"| !align="left" colspan=3|Total!align="right"|6,517!align="right"|100.0%!align="right"|

Fabian Manning (born May 21, 1964) is a politician in Newfoundland and Labrador, Canada. Manning served as a Progressive Conservative and later as the independent Member of the House of Assembly for the district of Placentia and St. Mary’s from 1999 to 2005. From 2006 to 2008 he was the Conservative Party of Canada Member of Parliament for the riding of Avalon. After his defeat in the 2008 federal election Manning was appointed to the Senate of Canada on January 2, 2009, he resigned his Senate seat on March 28, 2011, to run for election in his former riding of Avalon in the 2011 federal election, but was unsuccessful. Prime Minister Stephen Harper re-appointed Manning to the Senate on May 25, 2011.


Gameplay.

Over the course of the game, the player controls one of a select few characters directly based upon their counterparts in the "Naruto" anime and manga. "Clash of Ninja" is a member of the fighting game genre; the player pits their character against another character controlled by the game's AI or by another player, depending on the mode that the player is in. The objective is to reduce the opponent's health to zero using basic attacks and special techniques unique to each character that are derived from techniques they use in the "Naruto" anime or manga. For instance, Naruto Uzumaki is able to use his signature, and Rock Lee utilizes many of his Strong Fist style techniques. To use these techniques, characters have available a chakra bar, which depletes upon the execution of a special technique, and regenerates over time. In the game's numerous modes, the player can choose from different styles of play. The game's story mode follows the plot from the anime and manga, and a versus mode pitting two players against each other also included.

Development.

The original Japanese version of "Clash of Ninja", the first installment of the, was developed by Eighting and published by D3 Publisher and Tomy, and released on April 11, 2003. On October 27, 2005, both "Clash of Ninja" and its sequel, "Clash of Ninja 2", were confirmed for a 2006 release in North America. The game has a total of ten characters that come from the Land of Waves arc and the start of the Chunin Exam arc of the series. Masato Toyoshima, one of the executives of Eighting, stated that the game was designed to appeal to both casual and hardcore gamers. The only significant difference made by Eighting in the development between the English variant and its Japanese counterpart were the voice-overs, which were done by the English voice actors in the "Naruto" anime. Toyoshima claimed that the development team was especially "proud that [they] were able to accomplish" creating the cel-shaded graphics that closely matched the scenes in the "Naruto" anime and manga.

Reception.

"Clash of Ninja" has received mixed reactions from several video game publications. GameRankings gave it a score of 67.35%, while Metacritic gave it 72 out of 100. In Japan, "Famitsu" gave the game a score of 31 out of 40. The game sold well in North America, becoming part of Nintendo's set of Player's Choice games, which lowers the retail price to $19.99 if the game has sold at least 250,000 copies.  The gameplay present in the game was subject to mixed opinions amongst critics. IGN lauded the game's battle system as "very balanced, amazingly quick, and still a lot of fun," but accepted that the battle designs were "a bit basic." GameSpot provided a more negative review, deriding the game's different modes as "seriously boring and predictable," as well as criticizing the lack of significant differences in the playing style of the game's characters. GameSpot characterized the voice acting as having "some of the worst stereotypes of anime voice acting," and noted the lack of unlockable items and other incentives to continue play. G4's "X-Play" gave "Clash of Ninja" two out of five stars, lambasting the fighting engine as "one of the laziest, most oversimplified engines ever seen in a 3D fighting game," and "ridiculously basic." "X-Play" also criticized the lack of a significant plot in the story mode and the lack of use of cutscenes or unlockable items. GameSpy commented on this, noting that "considering the charm of the source material, [the game] is really a disappointment".  The cel-shaded graphics and audio received acclaim from reviewers, with GameSpot praising the game's "smooth, powerful-looking animations," as well as extolling how "powerful sound effects and a driving soundtrack" contributed to the game's overall feel. GameSpy noted that "[the game] manages to shine in the visual department," making note of how the varied graphical details were "fluid and precise and doesn't ever slow down or become choppy." "X-Play", however, considered the graphics "underwhelming," criticizing the lack of significant usage of animation and cinematic scenes, and remarking that the graphics "follow the rest of the game's lead."

"Clash of Ninja" was originally released in Japan on April 11, 2003, and the game was subsequently released in North America on March 7, 2006, with the only major difference being the voice-overs by the English voice actors from the "Naruto" anime. Critical opinions of the game have been mixed, with many praising the simple and easy-to-learn fighting system, with others lambasting the fighting system, and the lack of significant unlockable content.


Biography.

The son of Auguste Colomb de Daunant and L. Carenou1, Denys Colomb de Daunant was born into a Protestant family in the Gard department of southern France. The Colomb de Daunants were major landowners and ran a number of traditional "mas" and factories.  During the Second World War, he had to flee France for having insulted a German officer. He attempted to rejoin the Free French Forces in Morocco, but was captured while crossing the Pyrenees and imprisoned.  Returning to the Camargue in 1947, at the age of 25, he purchased the Cacharel "mas" in Saintes-Maries-de-la-Mer, where he was to live for more than sixty years, transforming it in the process into a rustic horse-riding centre with no running water, electricity, or telephone line. Cacharel became one of the area's best-known "manades" for both horses and Camargue bulls. Though this remained his base, he travelled a lot and became friends with many of the prominent cultural figures of his time, including Picasso, Chagall, Ernest Hemingway, and Salvador Dalí. He was close to Frédéric Mistral, and contributed to the latter's Occitan language magazine "Aïoli". In 1948 he married Monique Bonis, the granddaughter of Colomb de Daunant's spiritual forebear, iconic Camargue pioneer Folco de Baroncelli-Javon.  He was the manager of the bullfighting ring at Saintes-Marie-de-la-Mer, and sometimes took part in bullfights himself.  With Albert Lamorisse and James Agee, Colomb de Daunant was one of the screenwriters of "White Mane", a short film released in 1952 that focused on the wild horses of the Camargue, and much of it was filmed at the "mas" de Cacharel. With Lamorisse he also co-authored the novel of the same name that appeared in 1953.  He spent much of his life fighting to protect the cultural heritage of the Camargue, campaigning for example against the encroachment of electricity pylons. He avoided using electricity himself, and was known in France for perpetuating the image first embodied by Folco de Baroncelli of the Camargue as an area of tough men and wild animals – at times, indeed, he even dressed in traditional clothing from Baroncelli's time.  He died on 22 March 2006 at the age of 85, survived by two children, Florian and Sylvie Colomb de Daunant.

Works.

Filmography.

As director:  As actor:

Albin Théodore Denys Colomb de Daunant (21 November 1922 – 22 March 2006) was a French writer, poet, photographer and filmmaker, best known for his work on the multi-award-winning 1953 short film "White Mane". An aristocrat and modern dandy, he was an iconic figure of France's rural Camargue region.


Biography.

Early life.

Doyle was born in Omaha, Nebraska, the son of Mary Ruth (née Fitzgerald) and Lewis Raymond Doyle, an attorney. He graduated from Campion High School in Prairie du Chien, Wisconsin in 1947.  His maternal grandfather, John Fitzgerald, was a prominent railroad builder and banker in Nebraska. His younger sister, Mary (1931–1995), was a stage actress, who died from lung cancer aged 63.

Career.

Doyle is best remembered for his role as detective John Bosley on the television series "Charlie's Angels", one of only two actors (the other being original angel Jaclyn Smith) to appear in all 110 episodes of the series (1976–1981).  Doyle made a number of appearances as a guest on the game show "Match Game" from 1977 to 1982. He appeared on one week of "Password Plus" in 1980, three weeks of "Super Password", and on "Tattletales" with his wife Anne in 1982.  He lent his distinctive raspy voice to the character Grandpa Lou Pickles on the Nickelodeon animated series "Rugrats" from 1991 until his death. Joe Alaskey then assumed the role of Grandpa Lou.  Doyle was also a stage actor. He played Orgon in the 1964 premiere of Richard Wilbur's translation of "Tartuffe" at the Fred Miller Theater in Milwaukee. His sister Mary played the maid, Dorine, in the same production. His New York stage credits include "Beg, Borrow or Steal", "Something About a Soldier", "Here's Love", "I Was Dancing", and a revival of "South Pacific".

Personal life.

Doyle was married twice. In 1956 he married his first wife, Rachael, with whom he had a daughter, Leah (born 1961). Rachael died in 1968 after falling from a staircase. The next year, while on a vacation trip to the South Pacific, Doyle met Anne Nathan, a singer-dancer, and they married a short time later.

Death.

Doyle died in Los Angeles, California, of a heart attack on February 26, 1997, at age 67, and was cremated.

David Fitzgerald Doyle (December 1, 1929 – February 26, 1997) was an American actor. He was best known for his portrayal of John Bosley on the 1970s TV series "Charlie's Angels". Along with Jaclyn Smith, he was one of the only actors to appear in every episode of the show.


Background.

In 1990, a 13-year-old Shakira signed a recording contract with Sony Music. Her debut studio album "Magia" was released in 1991, and largely consisted of tracks she had written since she was eight years old. Commercially, the project struggled, selling an underwhelming 1,200 copies in her native Colombia. Her follow-up record "Peligro" was released in 1993, and suffered a similar failure. Consequently, Shakira took a two-year hiatus, allowing her to complete her high school education. Looking to revive her struggling career, Shakira decided to make an international debut studio album. "Pies Descalzos" was produced on a budget of $100,000, since it was expected to only move 100,000 copies.

Composition.

It primarily focuses on Latin pop genres, though it experiments with pop rock styles. Assuming a prominent position in its production, she co-wrote and co-produced each of the 11 tracks included on the record. The albums opens with "Estoy Aquí" ("I'm Here"), which sees prominent uses of guitar instrumentation. Lyrically, it discusses a willingness to correct a failed relationship. The pop ballad "Antología" ("Anthology") notes an appreciation of the knowledge a lover has shared. "Un Poco de Amor" ("A Little Bit of Love") states that Shakira is waiting to find someone who loves her. It became her first track to include phrases in English, performed by the uncredited Howard Glasford, and additionally experiments with elements of reggae music.  The guitar-driven "Quiero" ("I Want") explains Shakira's happiness upon the return of a lover. Similarly, the mid-tempo "Te Necesito" ("I Need You") and the upbeat "Vuelve" ("Return") describe her yearning for a romantic partner to re-enter her life. "Te Espero Sentada" ("I Wait Sitting") expresses a desire for a romantic partner to be aware of the sorrow his absence brings to Shakira. "Pies Descalzos, Sueños Blancos" ("Bare Feet, White Dreams") suggests that one is happiest when living a carefree lifestyle, while "Pienso en Ti" ("I Think of You") notes that Shakira thinks more about a lover as times progresses. The penultimate track "¿Dónde Estás Corazón?" ("Where Are You Love?") asks that her boyfriend comes back to her. The album closes with its eleventh track "Se Quiere, Se Mata" ("You Want, You Kill"), which tells the story of expectant parents Braulio and Dana, and sees the usage of a harmonica during its chorus.

Singles.

"Estoy Aquí" was serviced as the lead single from "Pies Descalzos" in 1995. It was met with positive reviews from music critics, who recognized it as a stand-out track from its parent album. Additionally, it became Shakira's first recording to attain commercial success. The song peaked at numbers 1 and 2 on the "Billboard" Latin Pop Songs and Latin Songs component charts. "Estoy Aquí" became the first track by Shakira to receive an accompanying music video, and was directed by Simon Brand. The setting depicts a barn during the fall and wintertime, and shows a black-haired Shakira performing the song with her guitar.  "¿Dónde Estás Corazón?" was originally featured on a Colombian compilation album "Nuestro Rock". After attaining success on the record, it was later released as the second single from "Pies Descalzos", and was also embraced as a highlight from the record. The track peaked at numbers 3 and 5 on the "Billboard" Latin Pop Songs and Latin Songs charts, respectively. Its music video was directed by Gustavo Garzón, and shows various scenes of Shakira holding photographs, sitting in a red chair, and singing in the rain.  "Pies Descalzos, Sueños Blancos" was serviced as the third single from its parent album, and was praised for its melody and songwriting. In comparison to its preceding singles, the track slightly underperformed, reaching number 11 on the "Billboard" Latin Pop Songs chart. Its accompanying music video was directed by Garzón, and films Shakira singing while attending an upper class masquerade ball. "Un Poco de Amor" became the fourth single from the project, and was appreciated for its prominent reggae influences. It peaked at number 11 on both the "Billboard" Latin Songs and Latin Pop Songs charts. The music video was directed by Garzón, and depicts Shakira dancing with uncredited guest vocalist Howard Glasford, in addition to members of various ethnic groups.  The fifth single "Antología" peaked at numbers 3 and 15 on the Latin Pop Songs and Latin Songs charts, respectively. The track did not receive a formal music video, though a performance in Miami during the Oral Fixation Tour was officially released to YouTube in 2007. The sixth and final single "Se Quiere, Se Mata" reached numbers 1 and 8 on the Latin Pop Songs and Latin Songs charts, respectively. Its music video was directed by Juan Carlos Martin; it tells the story of Braulio and Dana, who succumb to their sexual desires, resulting in Dana's pregnancy. It concludes as Dana goes to abort her unborn child, and dies herself. To further promote "Pies Descalzos", Shakira embarked on the Tour Pies Descalzos during 1996 and 1997. By its conclusion, she visited ten countries and performed twenty-one shows across two continents.

Critical reception.

In retrospect, "Pies Descalzos" received generally favorable reviews from music critics, who complimented it as a strong debut showing. Carlos Quintana from About.com appreciated Shakira's "combination of styles, well thought lyrics and music arrangements", and placed it among her strongest bodies of work. Jose F. Promis of Allmusic opined that the record "[balanced] heartfelt, earnest ballads with catchy, jangly pop/rock" and was a "solid debut". A reviewer from "Billboard" provided a positive review, opining that the record "[carries] passion, conviction, and honesty". At the 1997 "Billboard" Latin Music Awards, the album received two awards for "Pop Album of the Year by a Female Artist" and "Pop Album of the Year by a New Artist". It was also nominated at the 9th Lo Nuestro Awards in 1997 for "Pop Album of the Year", but lost to Enrique Iglesias's album "Vivir". Shakira herself received the Lo Nuestro Awards for "Pop Female Artist of the Year" and "Pop New Artist of the Year". In 2015, "Billboard" listed "Pies Descalzos" as one of the Essential Latin Albums of Past 50 Year stating that "Finally, Latin rock had found its muse".

Commercial performance.

Commercially, the project became Shakira's breakthrough record, with which she established notability throughout Latin America. In Argentina, it attained double-platinum certification after passing 120,000 in sold copies. In her native Colombia, the album was awarded the "Diamond Prism" by her record label, acknowledging sales of one million units. It was additionally certified platinum in Chile. In Ecuador, "Pies Descalzos", sales of 15,000 copies earned the album a platinum certification.  In Peru, "Pies Descalzos" attained platinum certification after surpassing 10,000 sold copies. It also was awarded platinum recognition in Venezuela. Elsewhere, the album peaked at number 71 on the German Albums Chart. In the United States, it failed to chart on the "Billboard" 200. However, it reached number 34 on the "Billboard" Hot Heatseekers Albums component chart, and additionally peaked at numbers 3 and 5 on the Latin Pop Albums and Latin Albums charts. It was later certified platinum by the Recording Industry Association of America (RIAA) for shipments of one million copies. As of 2008, "Pies Descalzos" has sold over five million copies., it has sold 580,000 copies in the US, making it the 23rd bestselling Latin album in the country according to Nielsen SoundScan.

Personnel.

Credits adapted from Allmusic.

Pies Descalzos () is the third studio album and international debut by Colombian singer and songwriter Shakira, released on 6 October 1995, by Sony Music and Columbia Records. Its music incorporates Latin pop styles, additionally experimenting with pop rock elements. Looking to revive her struggling career after the commercial failures of her first two studio efforts "Magia" and "Peligro", she assumed a prominent position in its production. As executive producer, Luis Fernando Ochoa co-wrote and co-produced each of the eleven tracks on the record with Shakira.


Extent and service.

The following services use part or all of the Eighth Avenue Line. The trunk line's bullets are colored : The Eighth Avenue Line begins as a two-track subway under Broadway at 207th Street in Inwood. A flying junction just to the south brings two tracks from the 207th Street Yard between the main tracks, merging after Dyckman Street. The subway leaves Broadway to pass under Fort Tryon Park to the north end of Fort Washington Avenue, which it follows to roughly 175th Street before turning southeast under private property.  The small 174th Street Yard lies under Broadway, with two tracks exiting to the south under that roadway. When the George Washington Bridge was designed in the 1920s, provisions were made for a lower deck that would carry these two tracks north from the yard and across the bridge, as well as two commuter rail tracks. However, when the lower level was added in 1962, it instead carried a roadway.  The two main tracks from Fort Washington Avenue enter Broadway near 172nd Street, curving and running underneath a public school (PS173M) at 174th Street, and other private property, and the yard tracks in a double-decker tunnel. A few blocks later, the lower tracks separate to straddle the yard tracks at 168th Street. The local/express split begins here, with the local tracks coming from the yard and the express tracks coming from Inwood. Contrary to standard practice, the two local tracks are in the center and the two express tracks are on the outside. Except during late nights, the local service (C) ends at 168th Street, reversing direction on the yard tracks; the A runs to 207th Street at all times, express except during late nights. South of 168th Street, the express (outer) tracks lower below the local tracks, forming another double-decker tunnel, this time under St. Nicholas Avenue.  North of 145th Street, the lower (express) tracks rise into the center, and the three-track IND Concourse Line enters St. Nicholas Avenue below the four-track Eighth Avenue Line. 145th Street is a two-level transfer station, with two island platforms on each level. To the south, the Concourse Line tracks rise and merge with the Eighth Avenue Line, carrying the B onto the local tracks and the D onto the express tracks. The resulting four-track line continues south under St. Nicholas Avenue and Eighth Avenue (Frederick Douglass Boulevard), which becomes Central Park West at 110th Street.  Most of the line under Central Park West is built on two levels with both local tracks to the west and only local stations. The two northbound tracks are above the two southbound tracks. Approaching 59th Street–Columbus Circle, where Central Park West becomes Eighth Avenue, the subway again spreads out into a single four-track level.  A flying junction south of 59th Street takes B and D trains east under 53rd Street, merging with two tracks from 57th Street to become the four-track IND Sixth Avenue Line. The two-track IND Queens Boulevard Line, also in 53rd Street, curves south into a lower level of the 50th Street station, and merges to the south, taking E trains onto the local tracks. An unused southbound-only lower level at 42nd Street–Port Authority Bus Terminal was formerly accessed only from the southbound track from the Queens Boulevard Line. Plans for the 7 Subway Extension required partially demolishing the lower level to make room for the new IRT Flushing Line tracks.  The four-track line continues south under Eighth Avenue to 14th Street, where it turns southeast under Greenwich Avenue and south under Sixth Avenue, above the four-track IND Sixth Avenue Line. The two-level West Fourth Street–Washington Square station allows easy transfers between the two lines. Just to the south are track connections between the local tracks of each line, not used by current normal service patterns. The Sixth Avenue Line turns east into Houston Street after passing the connections.  Canal Street, under Sixth Avenue, is the last normal four-track station on the line. Crossovers in each direction, beyond the station, take C and late night A trains between the local tracks to the north and the express tracks to the south. As the subway turns from Sixth Avenue into Church Street, the southbound local track passes under the express tracks, bringing E trains to the east. At this point, a bellmouth originally intended for the never-built IND Worth Street Line is present on the east side of the tunnel. It has been proposed to use this to bring Long Island Rail Road Atlantic Branch trains to Lower Manhattan as part of the Lower Manhattan-Jamaica/JFK Transportation Project.  The four tracks continue south under Church Street, with two separate but connected stations at World Trade Center at the end of the local tracks and Chambers Street on the express tracks. The two express tracks turn east under Fulton Street, crossing the East River through the Cranberry Street Tunnel into Cranberry Street in Brooklyn. Cranberry Street leads to High Street, from which the line turns south into Jay Street, straddled by the two-track IND Sixth Avenue Line from the Rutgers Street Tunnel. The Eighth and Sixth Avenue Lines end, becoming the IND Fulton Street Line and IND Culver Line, at crossovers (currently unused) allowing trains to switch between the two, located between High Street and Jay Street–MetroTech. Both the A and C trains continue along the Fulton Street Line.

History.

Planning and construction.

As early as March 1918, soon after the BMT Broadway Line opened to Times Square–42nd Street, plans were being considered for an extension of that line beyond the stubs at 57th Street(which was not yet open) to the Upper West Side and Washington Heights via Central Park West (Eighth Avenue). On August 3, 1923, the New York City Board of Estimate approved the Washington Heights Line, an extension of the Broadway Line to Washington Heights. The line was to have four tracks from Central Park West at 64th Street under Central Park West, Eighth Avenue, Saint Nicholas Avenue, and private property to 173rd Street, and two tracks under Fort Washington Avenue to 193rd Street. South of 64th Street, one two-track line would connect to the Broadway Line stubs at 57th Street, and another would continue under Eighth Avenue to 30th Street at Penn Station, with provisions to continue downtown.  Mayor John Hylan instead wanted to build an independent subway system, operated by the city. The New York City Board of Transportation (NYCBOT) gave preliminary approval to several lines in Manhattan, including one on Eighth Avenue, on December 9, 1924. The main portion of the already-approved Washington Heights Line—the mostly-four track line north of 64th Street—was included, but was to continue north from 193rd Street to 207th Street. South of 64th Street, the plan called for four tracks in Eighth Avenue, Greenwich Avenue, the planned extension of Sixth Avenue, and Church Street. Two tracks would turn east under Fulton Street or Wall Street and under the East River to Downtown Brooklyn.  A groundbreaking ceremony was held at St. Nicholas Avenue and 123rd Street on March 14, 1925. Most of the Eighth Avenue Line was dug using a cheap cut-and-cover method, where the street above was excavated. Still, the construction of the line was difficult, as it had to go under or over several subway lines. At 59th Street–Columbus Circle, workers had to be careful to not disrupt the existing IRT Broadway–Seventh Avenue Line overhead. 42nd Street, the longest station along the line at, was expected to be a major express station with large platforms, so the platforms were staggered away from each other in order to avoid going under property lines. Additionally, several workers died in cave-ins during construction.  In the summer of 1926 the BOT held a public hearing and agreed upon the details of the construction of the subway line under Church Street. As part of the construction of the line, Church Street was widened from being wide to being wide to accommodate the subway underneath and was connected with a southern diagonal extension of Sixth Avenue, which was. Had the street not been widened the construction would have cost an additional $7 million for the construction of a two-level subway structure. In January 1929, the city paid money awarded to adjacent property owners for property taken and awarded contracts for -wide sidewalks and a -wide roadway. The sidewalks had been wide and the roadway had been wide. New buildings were built on the west sides of Church Street. The east side of the street was not affected by the construction. $9,631,760 was awarded to 161 property owners whose property had been taken. 168,888 square feet of land had to be acquired to widen Church Street between Park Place and Canal Street.  In 1926 construction began on the extension of Sixth Avenue south from Carmine Street to Canal Street, to allow for the construction of the Eighth Avenue Line (which runs under the street south of Eighth Street), and to provide access to the Holland Tunnel. The construction of the extension was completed in 1930. The city condemned entire lots, displacing 10,000 people, to build the extension and used leftover land for parks.  The stations on the line were built with long platforms, but they had provisions to lengthen them to to accommodate eleven-car trains. Four of the express stations (at Fulton, 14th, 42nd, and 59th Streets) were built with long mezzanines so that passengers could walk the entire length of the mezzanines without having to pay a fare. It was proposed to develop the mezzanines of these four stations with shops, so that they would become retail corridors, similar to the underground mall of the under-construction Rockefeller Center.

Early operation.

The majority of the Eighth Avenue Line, from Chambers Street north to 207th Street, was opened to the public just after midnight on September 10, 1932, after three days of operation on a normal schedule but without passengers. The Cranberry Street Tunnel, extending the express tracks east under Fulton Street to Jay Street–Borough Hall in Brooklyn, was opened for the morning rush hour on February 1, 1933, with the exception of the station at High Street, which opened on June 24, 1933. Initially, only the Fulton Street entrance was open; the Adams Street entrance would open later once its escalators were completed. The Jay–Smith–Ninth Street Line opened on March 20, 1933, extending the line beyond Jay Street–Borough Hall.  When the subway opened in 1932, express (A) and local (AA) trains served the line; expresses did not run during late nights or Sundays. Expresses and late night/Sunday locals were sent south into Brooklyn on February 1, 1933, and, when the IND Concourse Line opened on July 1, 1933, the C was added to the express service, while all locals became CC trains to the Concourse Line, forcing A trains to run local north of 145th Street. The E was added to the local tracks south of 50th Street on August 19, 1933, when the IND Queens Boulevard Line opened. The final major change came on December 15, 1940, when the IND Sixth Avenue Line opened. The AA was brought back as a non-rush hour local service, becoming the BB and switching to the Sixth Avenue Line at 59th Street–Columbus Circle during rush hours. The CC was kept only during rush hours to provide local service south past 59th Street. Additionally the C became a rush hour-only service, replaced by a full-time D over the express tracks between the Concourse and Sixth Avenue Lines. The AA was discontinued on December 11, 1988, and the B and C's northern terminals were swapped on March 1, 1998. This created the pattern that has remained to this day, with five services during normal hours: the A express, B part-time local via Sixth Avenue (then BB), C local (then AA and CC), D express via Sixth Avenue, and E local from Queens.

Later years.

In 1953, the platforms were lengthened at Spring Street and Canal Street to to allow E trains to run eleven-car trains. The E began running eleven-car trains during rush hours on September 8, 1953. The extra train car increased the total carrying capacity by 4,000 passengers. The lengthening project cost $400,000.  On March 23, 1970, southbound E trains, during rush hours, began stopping at the lower level of the 42nd Street station.  On August 28, 1977, late night AA service was eliminated. The A began making local stops in Manhattan during late nights, when the AA was not running. On May 6, 1985, the IND practice of using double letters to indicate local service was discontinued. The AA was renamed the K and rush hour CC service was renamed C. This change was not officially reflected in schedules until May 24, 1987.  On December 10, 1988, the K designation was discontinued and merged into the C, which now ran at all times except late nights. The C ran from Bedford Park Boulevard to Rockaway Park during rush hours, 145th Street to Euclid Avenue during middays, and from 145th Street to World Trade Center during evenings and weekends. The A now ran express in Brooklyn during middays, and the B was extended to 168th Street during middays and early evenings.  On May 29, 1994, weekend C service between 7 a.m. and 11 p.m. was extended to 168th Street to allow A trains to run express. Beginning April 30, 1995, C service was extended to 168th Street during middays as construction on the Manhattan Bridge cut B service from Manhattan. On November 11, 1995, midday service was cut back to 145th Street after B service to 168th Street was restored. The change was made to reduce crowding on the C and to reduce passenger confusion about the C's route.  The B and the C, which both ran local along Central Park West, switched northern terminals on March 1, 1998, ending the connection between the C and the Bronx. Instead of alternating between three different terminals depending on the time of day, all C service now terminated at 168th Street.  A report for the Lower Manhattan Development Corporation looking at the Lower Manhattan Rail Link, an idea to connect Lower Manhattan with the Long Island Rail Road and JFK International Airport, presented several alternatives that would utilize the Cranberry Street Tunnel instead of building a new East River Tunnel. These alternatives would have required that C trains be rerouted through the Rutgers Street Tunnel.  In the wake of the September 11, 2001 attacks, World Trade Center station was temporarily not usable as a terminal for the E. C service was suspended until September 24, 2001. Local service along Central Park West was replaced by the A and D, and the E was extended from Canal Street to Euclid Avenue replacing C service in Brooklyn.  On January 23, 2005, a fire at the Chambers Street signal room crippled A and C service. C service was suspended until February 2 and was replaced by the A, B, D, E, and V along different parts of its route. Initial assessments suggested that it would take several years to restore normal service, but the damaged equipment was replaced with available spare parts, and normal service resumed on April 21.  The 2015–2019 Metropolitan Transportation Authority Capital Plan called for five of the Eighth Avenue Line's stations, along with 28 others, to undergo a complete overhaul as part of the Enhanced Station Initiative. The stations receiving renovations are 34th Street–Penn Station, 72nd Street, 86th Street, Cathedral Parkway–110th Street, and 163rd Street–Amsterdam Avenue. Updates included cellular service, Wi-Fi, USB charging stations, interactive service advisories and maps, improved signage, and improved station lighting. As part of the renovations, 72nd Street was closed from May 7, 2018 to October 4, 2018, and 86th Street was closed from June 4, 2018 to October 26, 2018. In addition, the Cathedral Parkway–110th Street station was closed from April 9, 2018 to the week of September 2–4, 2018, and 163rd Street was closed from March 12, 2018 to September 27, 2018.

IND Worth Street Line.

The IND Worth Street Line was a proposed major expansion of the IND Eighth Avenue Line. The line would have branched off of the line's local tracks at the intersection of Church Street and Franklin Street to the south of the Canal Street station and would have turned southeast into Worth Street. This route would have traveled in a two-track tunnel. It would have probably stopped at Foley Square (Lafayette and Centre Streets, on the north side of Federal Plaza), Chatham Square (with a possible connection to the Second Avenue Subway), Rutgers Street–East Broadway (with a connection to the IND Rutgers Street Line), and a station in the Lower East Side (possibly Pitt Street and Grand Street). This portion would have been about long and would have cost about $13 million. Crossing to Williamsburg, the line was to have stops at Havemeyer Street and Union Avenue, the latter of which would have had connections to the IND Crosstown Line and a major junction to the IND Houston Street Line, the IND Utica Avenue Line, and a connection to the Rockaways.  In March 1930, public hearings were held by the BOT concerning the construction and planning of this line. At the March 12 hearing, the project's construction was endorsed by east side civic organizations. In June 1930, the Board of Estimate approved the construction of the line, and in July Chairman Delaney sent letters to 450 real estate owners outlining the planned route and requested their consent for the construction of the project, of which the Board needed 50%. On August 23, 1930, bids on the construction of the connection (bellmouths) between the Eighth Avenue LIne and the proposed Worth Street Line were put up for bid by the Board of Transportation. These bellmouths were constructed to allow work on the Worth Street Line to be done without interrupting service on the Eighth Avenue Line. This route was expected to the first line of the IND Second System to be built. At the time it was anticipated that the line would open a year or so after the completion of the Eighth Avenue Line under the East River to Brooklyn. However, the construction of the line was delayed due to the city's lack of funding after 1932. The Board of Transportation resumed efforts to build the line after a study of existing conditions in the area was completed, and on the basis that funding would be provided from government and private sources. The plans were truncated to a three-stop crosstown line entirely within Manhattan. Stops would have been located at Foley Square, Rutgers Street, and Lewis Street. The Lewis Street stop, located in the Lower East Side, would have been the line's terminal. Construction was expected to begin in 1937 and be complete by 1944. In 1938 the cost of the line was pegged by the BOT to be $16.73 million.  Even though these bellmouths were never used and the line was never completed, the bellmouths are still visible south of Canal Street adjacent to the local tracks. Other provisions were built in anticipation of the construction of the line. A large open space above the platform level at the East Broadway station on the Sixth Avenue Line was intended to become a two-track station. Above the tunnel north of the Broadway station on the Crosstown Line, a six-track station shell was partially completed. This station would have provided service to the IND Worth Street and the Houston Street Lines.

The IND Eighth Avenue Line is a rapid transit line in New York City, United States, and is part of the B Division of the New York City Subway. Opened in 1932, it was the first line of the Independent Subway System (IND), and the "Eighth Avenue Subway" name was also applied by New Yorkers to the entire IND system.