who plays talia in wizards of waverly place

Miller was born in Texas.[4] Her first notable acting role was in the 2006 television film Inspector Mom starring Danica McKellar. She also appeared in a few independent films. In 2011, Miller appeared as Talia in a three episode stint on the Disney Channel sitcom Wizards of Waverly Place, as the love interest to Jake T. Austin's character Max Russo.

McKaley Miller

McKaley Nicole Miller[1] (born May 14, 1996)[2][3] is an American actress. She is best known for her recurring roles as Dana Monohan on the ABC series The Gates and as Rose Hattenbarger on The CW series Hart of Dixie.

She co-starred in the 2013 film The Iceman, starring Michael Shannon and Winona Ryder. She played the daughter of Ryder's character.[1] In 2014, she was cast as Lizzie Braddock in the FX sitcom Partners, starring Kelsey Grammer and Martin Lawrence, playing the step-daughter of Grammer's character.[5] She also guest starred on the MTV series Awkward as a love interest for Matty Mckibben. In 2015, she guest starred on the Fox series Scream Queens as Sophia.

Besides acting, Miller was also a competitive dancer, with more than six years of experience in jazz, hip hop, clogging, tap, lyrical and ballet.[6]


the lowest point a stream will erode is known as

Downcutting, also called erosional downcutting, downward erosion or vertical erosion is a geological process by hydraulic action that deepens the channel of a stream or valley by removing material from the stream's bed or the valley's floor. The speed of downcutting depends on the stream's base level, the lowest point to which the stream can erode. Sea level is the ultimate base level, but many streams have a higher "temporary" base level because they empty into another body of water that is above sea level or encounter bedrock that resists erosion. A concurrent process called lateral erosion refers to the widening of a stream channel or valley. When a stream is high above its base level, downcutting will take place faster than lateral erosion; but as the level of the stream approaches its base level, the rate of lateral erosion increases. This is why streams in mountainous areas tend to be narrow and swift, forming V-shaped valleys, while streams in lowland areas tend to be wide and slow-moving, with valleys that are correspondingly wide and flat-bottomed. The term gradient refers to the elevation of a stream relative to its base level. The steeper the gradient, the faster the stream flows. Sometimes geological uplift will increase the gradient of a stream even while the stream downcuts toward its base level, a process called "rejuvenation." This happened in the case of the Colorado River in the western United States, resulting in the process that created the Grand Canyon.

Downcutting

Lake bed downcutting is the erosion of cohesive material such as clay or glacial till from a shoreline by wave action. When the sand cover is stripped away and the cohesive layer is exposed, cohesive material is lost to the water column. Unlike sand, cohesive material cannot be replenished by natural events such as bluff erosion. This can result in a process called "bluff recession," in which waves erode and carry away the material at the toe of the bluff and cause it to become steeper. When the slope reaches a certain angle, the bluff becomes unstable and fails, causing it to recede inland.


who plays serena van der woodsen's father

In 2010, Baldwin portrayed Dr. Willam van der Woodsen, father of Serena and Eric van der Woodsen, on the third and fourth seasons of Gossip Girl. Baldwin was also featured with his brother Daniel in UniGlobe Entertainment's breast cancer docu-drama, 1 a Minute.[8] The documentary was made by Namrata Singh Gujral, and will feature breast cancer survivors Olivia Newton-John, Diahann Carroll, Melissa Etheridge, Namrata Singh Gujral, Mumtaz, and Jaclyn Smith, Daniel Baldwin and Priya Dutt. Baldwin was cast in the second season of Parenthood to play a boss and love interest for several episodes.[9] Baldwin joined Parenthood for a multi-episode arc that aired in fall 2010 as Gordon Flint, the "wealthy, charismatic" boss of Adam (Peter Krause), a bachelor who also has eyes for Adam's sister Sarah (Lauren Graham). In 2011, Baldwin starred in the Lifetime Original Movie, The Craigslist Killer which aired January 3, 2011. He plays the lead detective on the case of the killer, Philip Markoff, who connected with victims through Craigslist ads placed in Boston, Massachusetts.

William Baldwin

William Joseph "Billy" Baldwin (born February 21, 1963) is an American actor, producer and writer. A member of the Baldwin family, he is the second-youngest of the four Baldwin brothers, and is best known for his starring roles in the films Flatliners (1990), Backdraft (1991), The Squid and the Whale (2005), and as himself in Forgetting Sarah Marshall. Baldwin is married to singer Chynna Phillips.

Baldwin was born in Massapequa, New York, the son of Carol Newcomb (nÃ©e Martineau) and Alexander Rae Baldwin, Jr. His father was a high school history/social studies teacher and football coach.[1] He is the brother of actors Alec, Daniel, and Stephen, sometimes collectively known as the Baldwin brothers, and of sisters Beth and Jane, all together known as the Baldwin family. Baldwin was raised in a Catholic family, and has English, Irish, Scottish, French-Canadian, and German ancestry.[2][3][4] A graduate of Alfred G. Berner High School and Binghamton University, where he was a varsity wrestler,[5] he has a degree in political science.

Before starting his acting career, Baldwin was a fashion model for Calvin Klein. His first starring role was in a TV movie as Robert Chambers, alongside Danny Aiello and Lara Flynn Boyle in The Preppie Murder, which aired on ABC in 1989. Baldwin also appeared in the 1989 film Born on the Fourth of July, starring Tom Cruise, where he had a minor role as a U.S Marine during the Vietnam War, his brothers Daniel and Stephen also had minor parts in the film.[citation needed]

Baldwin's first featured film was Internal Affairs, in which he starred alongside Richard Gere and Andy García. He then starred in big-budget films such as Flatliners with stars such as Julia Roberts, Kiefer Sutherland and Kevin Bacon. He portrayed Chicago firefighter Brian McCaffrey in Backdraft alongside Kurt Russell and many other stars. His role in 1993 film Sliver along with Sharon Stone earned him the MTV Movie Award for Most Desirable Male.

In 1995, among other diverse characters he has played in his career, Baldwin was on Joel Schumacher's shortlist for Batman Forever to play the caped crusader, his four diverse choices were Daniel Day-Lewis, Ralph Fiennes, Val Kilmer and Baldwin,[6] the role went to Val Kilmer. Baldwin starred alongside Cindy Crawford in Fair Game, then in 1996 starred in a low-budget film by Miramax Films titled Curdled, and was paid US$150,000 for his performance compared to the $1.7 million he received for his role in Sliver.[7] In 1998, he appeared in Warren Beatty's film Bulworth as Constance Bulworth's lover. In 1999, Baldwin teamed up with Jamie Lee Curtis and Donald Sutherland for the science fiction thriller Virus, and alongside Peter Gallagher in the Showtime original movie, Brotherhood of Murder.[citation needed]

In 2001, Baldwin played a leading role in the television film Double Bang which aired on HBO. Since then, Baldwin has played in other projects such as Red Rover in 2003, Park, Feel and Lenexa, 1 Mile in 2006, Adrift in Manhattan, A Plumm Summer, Noise, and Humble Pie in 2007. His 2004 film Art Heist received much attentions when its released on DVD. Baldwin has continued to act in films and on television, but has not taken many leading roles. He was well received in a supporting role in the 2005 film The Squid and the Whale alongside Laura Linney and Jeff Daniels, for which he earned the Gotham Award for Best Cast. He also co-starred in ABC's Dirty Sexy Money as Donald Sutherland's oldest son, Patrick Darling IV, for the duration of the show until April 2009. In 2008, he appeared in the comedy film Forgetting Sarah Marshall which stars Jason Segel and Kristen Bell, as Detective Hunter Rush. In February 2010, audiences got to hear his first time playing Batman in Justice League: Crisis on Two Earths, a loose adaptation of Grant Morrison's JLA: Earth 2 story.[6]

On June 1, 2011, Baldwin starred in the indie film Sexy Evil Genius, alongside Seth Green, Harold Perrineau Jr., Katee Sackhoff and Michelle Trachtenberg. The film was directed by Shawn Piller. In July 2011, Baldwin joined the CBS drama Hawaii Five-0 for a multi-episode arc.[10] On March 22, 2012, Baldwin guest starred on the NBC show 30 Rock. Baldwin plays Lance Drake Mandrell, an actor who plays Jack Donaghy – the role played in the series by Baldwin's real-life brother Alec – in a made-for-TV movie within the show.[11][12] Baldwin is currently a model for Sacoor Brothers. Baldwin appeared in the fourth and final season of Wilfred, replacing Dwight Yoakam in the role of Bruce. In 2015, he narrated for the documentary A Wing and a Prayer, a film about American fighter pilots who assisted in the 1948 Arab–Israeli War and the founding of the Israeli Air Force.[13]

In 1995, Baldwin married singer Chynna Phillips of the music group Wilson Phillips and daughter of musician John Phillips by his second wife, Michelle. Together, they have three children.[14]

Baldwin splits his time between an estate in Santa Barbara, California and another in Bedford Corners, New York (30 minutes away from his brother Stephen's estate in Nyack, New York).[15]


where does the last name francisco come from

Francisco is the Spanish and Portuguese form of the masculine given name Franciscus (corresponding to English Francis).

Francisco

In Spanish, people with the name Francisco sometimes are nicknamed "Paco": San Francisco de AsÃs was known as Pater Comunitatis (The Community father) when he founded the Franciscan order, "Paco" is a short form of "Pater Comunitatis".[citation needed] Also, in Spanish Latin America and in the Philippines, people with the name Francisco are called "Pancho". "Kiko" is also used as a nickname in the Philippines.

In Portuguese, people named Francisco are commonly nicknamed "Chico"[2] (shÃco). This is also a less-common nickname for Francisco in Spanish too.


who sang the song hey there lonely girl

"Hey There Lonely Girl" is a song recorded by R&B singer Eddie Holman. Recorded and released in 1969, it charted in the United States in 1970 and in the United Kingdom in 1974.[2] The original version by Ruby and the Romantics was entitled, "Hey There Lonely Boy" in 1963, and was a Top 30 hit, peaking at #27. Holman's song peaked at #2 on the U.S. Billboard Hot 100 pop chart, #1 on the Canadian RPM chart, and at #4 on the UK Singles Chart,[2] his highest charting single in each country.

Hey There Lonely Girl

"Hey There Lonely Girl" is most recognizable by its disconsolate, sentimental and heavyhearted lyrics, with Holman's falsetto voice. Here is a sample of the chorus:

Hey there lonely girl, lonely girl
Let me make your broken heart like new
Oh, my lonely girl, lonely girl
Don't you know this lonely boy loves you


army commander's award for civilian service medal

The Commander's Award for Civilian Service is an honorary award presented by the United States Department of the Army to civilian employees for commendable service or achievement. Employees who have a past record of excellence, normally recognized by the previous receipt of one or more honorary or performance awards, may be considered for this award. The Commander's Award for Civilian Service is comparable to the military Army Commendation Medal. [2]

Army Commanders Award for Civilian Service

Any commander Colonel and above, or civilian equivalent may approve this award. Nominations reflect service or achievement of a lesser degree than recognized by the Superior Civilian Service Award. Employees who have established a pattern of excellence, normally recognized through the previous receipt of one or more honorary or monetary performance awards, may be considered for this award. Eligibility is determined by measuring contributions against the following example levels of achievement:

On a disc 1 1/4 inches (3.18 cm) in diameter overall a star of five points between three equilateral triangles one angle of each extending beyond edge of disc, all in bronze. On the reserve the inscription “DEPARTMENT OF THE ARMY” above “COMMANDER’S AWARD FOR CIVILIAN SERVICE” in two lines, all incised letters. The medal is suspended from a ribbon 1 3/8 inches in width consisting of the following vertical stripes: 1/16” Green, 1/8” White, 5/16” Green, 1/32” White, 5/16” Green, 1/32” White, 5/16” Green, 1/8” White and 1/16” Green. [3]


who was regarded as the first free jazz musician

The true beginning of free jazz as it is understood today, however, came with the recordings of Ornette Coleman. Coleman pioneered many techniques typical of free jazz, most notably his rejection of pre-written chord changes, believing instead that freely improvised melodic lines should serve as the basis for harmonic progression in his compositions. His first notable recordings for Contemporary Records included Tomorrow Is the Question! and Something Else in 1958, garnering Coleman national recognition.[12] In terms of free jazz history, these albums revolutionized concepts of musical structure, as many of the compositions on these two early albums do not follow typical 32-bar form and often employ abrupt changes in tempo and mood.[13]

Free jazz

Free jazz is an approach to jazz music that was first developed in the 1950s and 60s as musicians attempted to alter, extend, or break down jazz convention, often by discarding fixed chord changes or tempos. Though the music of free jazz composers varied widely, a common feature was dissatisfaction with the limitations of bebop, hard bop, and modal jazz that had developed in the 1940s and 50s. Often described as avant-garde, free jazz has also been described as an attempt to return jazz to its primitive, often religious, roots and emphasis on collective improvisation.

As its name implies, free jazz cannot be defined more than loosely, as many musicians draw on free jazz concepts and idioms, and it was never completely distinct as a genre. Many free jazz musicians, notably Pharoah Sanders and John Coltrane, used harsh overblowing or other techniques to elicit unconventional sounds from their instruments, or played unusual instruments. Free jazz musicians created a progressive musical language which drew on earlier styles of jazz such as Dixieland jazz and African music. Typically this kind of music is played by small groups of musicians. The music often swings but without regular meter, and there are frequent accelerandi and ritardandi.

Free jazz is strongly associated with the 1950s innovations of Ornette Coleman and Cecil Taylor and the later works of John Coltrane. Other important pioneers include Charles Mingus, Eric Dolphy, Albert Ayler, Archie Shepp, Joe Maneri and Sun Ra. Coleman pioneered many techniques typical of free jazz, most notably his rejection of pre-written chord changes, believing instead that freely improvised melodic lines should serve as the basis for harmonic progression in his compositions. Some of bassist Charles Mingus's work was also important in establishing free jazz. Of particular note are his early Atlantic albums, such as The Clown, Tijuana Moods, and most notably Pithecanthropus Erectus, the title song of which contained one section that was freely improvised in a style unrelated to the song's melody or chordal structure. Although today "free jazz" is the generally used term, many other terms were used to describe the loosely defined movement, including "avant-garde", "energy music" and "The New Thing". During its early and mid-1960s heyday, much free jazz was released by established labels such as Prestige, Blue Note, and Impulse, as well as independents such as ESP Disk and BYG Actuel.

Keith Johnson of AllMusic describes a "Modern Creative" genre, in which "musicians may incorporate free playing into structured modes -- or play just about anything."[1] Johnson includes John Zorn, Henry Kaiser, Eugene Chadbourne, Tim Berne, Bill Frisell, Steve Lacy, Cecil Taylor, Ornette Coleman, and Ray Anderson in this genre, which continues "the tradition of the '50s to '60s free-jazz mode".[1]

Defining the essence of free jazz is complicated; many musicians draw on free jazz concepts and idioms, and free jazz was never entirely distinct from other genres. Many individual musicians reject efforts at classification, regarding them as useless or unduly limiting. Free jazz uses jazz idioms, and like jazz it places an aesthetic premium on expressing the "voice" or "sound" of the musician, as opposed to the classical tradition in which the performer is seen more as expressing the thoughts of the composer.

Many critics, particularly at the music's inception, suspected that the abandonment of familiar elements of jazz pointed to a lack of technique on the part of the musicians. Today such views are more marginal, and the music has built up a tradition and a body of accompanying critical writing.[7][8] It remains less commercially popular than most other forms of jazz.

This breakdown of form and rhythmic structure has been seen by some critics to coincide with jazz musicians’ exposure to and use of elements from non-Western music, especially African, Arabic, and Indian. The atonality of free jazz is often credited by historians and jazz performers to a return to non-tonal music of the nineteenth century, including field hollers, street cries, and jubilees (part of the “return to the roots” element of free jazz). This suggests that perhaps the movement away from tonality was not a conscious effort to devise a formal atonal system, but rather a reflection of the concepts surrounding free jazz. Eventually, jazz became totally “free” by removing all dependence on chord progressions and instead using polytempic and polyrhythmic structures.[9]

Many critics have drawn connections between the term "free jazz" and the American social setting during the late 1950s and 1960s, especially the emerging social tensions of racial integration and the civil rights movement. Many argue those recent phenomena such as the landmark Brown v. Board of Education decision in 1954, the emergence of the "Freedom Riders" in 1961, the 1963 Freedom Summer of activist-supported black voter registration, and the free alternative black Freedom Schools demonstrate the political implications of the word "free" in context of free jazz. Thus many consider free jazz to be not only a rejection of certain musical credos and ideas, but a musical reaction to the oppression and experience of black Americans.[10]

While free jazz is widely considered to begin in the late 1950s, there are compositions that precede this era that have notable connections to the free jazz aesthetic. Some of the works of Lennie Tristano in the late 1940s, particularly "Intuition", "Digression", and "Descent into the Maelstrom" exhibit the use of techniques associated with free jazz, such as atonal collective improvisation and lack of discrete chord changes. Other notable examples proto-free jazz include City of Glass written in 1948 by Bob Graettinger for the Stan Kenton band and Jimmy Giuffre's 1953 "Fugue". It can be argued, however, that these works are more representative of third stream jazz with its references to contemporary classical music techniques such as serialism.[11]

The free jazz movement received its biggest impetus when Coleman moved from the West Coast to New York City and was signed to Atlantic Records: albums such as The Shape of Jazz to Come and Change of the Century marked a radical step beyond his more conventional early work. On these albums, Coleman strayed from the tonal basis that formed the lines of his earlier albums and began truly examining the possibilities of atonal improvisation. The most important recording to the free jazz movement from Coleman during this era, however, came with Free Jazz, recorded in A&R Studios in New York in 1960. It marked an abrupt departure from the highly structured compositions of his past. Recorded with a double quartet separated into left and right channels, Free Jazz brought a more aggressive, cacophonous texture to Coleman's work, and the record's title would provide the name for the nascent free jazz movement.[14]

In conjunction with Coleman's innovations during the early 1960s, contemporary pianist Cecil Taylor was also exploring the possibilities of avant-garde free jazz. A classically trained pianist, Taylor's main influences included Thelonious Monk and Horace Silver, who prove key to Taylor's later unconventional uses of the piano.[15] Jazz Advance, his first album released in 1956 under the Transition label, still showed ties to the more traditional jazz music albeit with a greatly expanded harmonic vocabulary. The harmonic freedom of these early releases, however, would lead to his transition into free jazz during the early 1960s. Key to this transformation was the introduction of saxophonist Jimmy Lyons and drummer Sunny Murray in 1962, who encouraged the use of more progressive musical language such as tone clusters and abstracted rhythmic figures.[16]

Taylor's landmark release in the formation of free jazz in the 1960s came in the form of Unit Structures, released via Blue Note Records in 1966.[17] It was on this recording that Taylor truly marked his transition into free jazz, as his compositions now were almost completely composed without notated scores, devoid of conventional jazz meter and harmonic progression. This new direction was especially influenced by drummer Andrew Cyrille, who manages to provide rhythmic dynamism outside the conventions of bebop and swing.[18] During this time period, Taylor also began exploring some of the techniques of the classical avant-garde, especially evident in his use of prepared pianos as was developed by composer John Cage.[19]

Along with Taylor and Coleman, Albert Ayler was one of the essential composers and performers during the beginning period of free jazz. He began his career as a bebop tenor saxophonist in Scandinavia, and had already begun pushing the boundaries of tonal jazz and blues to their harmonic limits. He soon began collaborating with notable free jazz musicians, including Cecil Taylor in 1962. He pushed the jazz idiom to its absolute limits, and many of his compositions bear little resemblance to jazz of the past. Ayler’s musical language focused on the possibilities of microtonal improvisation and extended saxophone technique, creating squawks and honks with his instrument to achieve multiphonic effects. Yet amidst Ayler’s progressive techniques, he shows an attachment for simple, rounded melodies reminiscent of folk music, which he explores via his more avant-garde style.[20] One of the most key of Ayler's free jazz recordings is Spiritual Unity, including his often recorded and most famous composition, Ghosts, in which a simple spiritual-like melody is gradually shifted and distorted through Ayler's unique improvisatory interpretation. Ultimately, Ayler serves as an important example of many ways which free jazz could be interpreted, as he often strays into more tonal areas and melodies while exploring the timbral and textural possibilities within his melodies. In this way, his free jazz is built upon both a progressive attitude towards melody and timbre as well as a desire to examine and recontextualize the music of the past.[21]

The work of Coleman, Taylor and Ayler firmly established the legitimacy of the free jazz movement. While much of the American audience was reticent to approach this new style of jazz, it was quickly embraced by forward-thinking jazz artists, most notably John Coltrane. Coltrane was a self-admitted admirer of Ornette Coleman and his innovative approach to improvisation and harmony. In a 1963 interview with Jazz Magazine, Coltrane said of Coleman:

Yeah, well, I feel indebted to him [Coleman], myself. Because actually, when he came along, I was so far in this thing [the "harmonic structures"], I didn't know where I was going to go next. And, I didn't know if I would have thought about just abandoning the chord system or not. I probably wouldn't have thought of that at all. And he came along doing it, and I heard it, I said, "Well, that - that must be the answer."[22]

While Coltrane's desire to explore the limits of solo improvisation and the possibilities of innovative form and structure was evident in records like A Love Supreme, his work owed more to the tradition of modal jazz and post-bop. But with the recording of Ascension in 1965, Coltrane demonstrated his appreciation for the new wave of free jazz innovators.[23] Ascension saw Coltrane augmenting his classic quartet with six additional horn players, including notable free jazz artists Archie Shepp and Pharoah Sanders.[24] Formally, the composition includes free-form solo improvisation interspersed with sections of collective improvisation reminiscent of Coleman's Free Jazz. The piece sees Coltrane exploring the timbral possibilities of his instrument, using over-blowing to achieve multiphonic tones. Coltrane continued to explore the avant-garde in his following compositions, including such albums as Om, Kulu Se Mama, and Meditations, as well as collaborating with notable free jazz artists such as John Tchicai.[25][26]

Much of Sun Ra's music could be classified as free jazz, especially his work from the 1960s, although Sun Ra said repeatedly that his music was written and boasted that what he wrote sounded more free than what "the freedom boys" played.[27] Music by Sun Ra, especially The Heliocentric Worlds of Sun Ra (1965), was, in fact, steeped in what could be referred to as a new black mysticism.[9] But Sun Ra's penchant for nonconformity aside, he was along with Coleman and Taylor an integral voice to the formation of new jazz styles during the 1960s. As evidenced by his compositions on the 1956 record Sounds of Joy, Sun Ra's early work employed a typical bop style. But he soon foreshadowed the free jazz movements with compositions like "A Call for All Demons" off of the 1955-57 record Angels and Demons at Play, which combines atonal improvisation with Latin-inspired mambo percussion. His period of fully realized free jazz experimentation began in 1965, with the release of The Heliocentric Worlds of Sun Ra and The Magic City. These records placed a musical emphasis on timbre and texture over meter and harmony, employing a wide variety of electronic instruments and innovative percussion instruments, including the electric celeste, Hammond B-3, bass marimba, harp, and timpani. As result, Sun Ra proved to be one of the first free jazz artists to explore the possibilities of electronic instrumentation, as well as displaying an interest in timbral possibilities through his use of progressive and unconventional instrumentation in his compositions.[28]

Some of bassist Charles Mingus' work was also important in establishing free jazz. Of particular note are his early Atlantic Records albums, such as The Clown, Tijuana Moods, and most notably Pithecanthropus Erectus, the title song of which contained one section that was freely improvised in a style unrelated to the song's melody or chordal structure. His contributions were primarily in his efforts to bring back the importance of collective improvisation in a music scene that had become dominated by solo improvisation (as a result of the development of the big band). His music did reflect the ideas of freedom, but also looked back, drawing upon bop and even swing styles.[9]

Since the mid-1950s, saxophonist Jackie McLean had been exploring a concept he called "The Big Room", where the often strict rules of bebop could be loosened or abandoned at will. Similarly, Cecil Taylor, the most prominent free jazz pianist, began stretching the bop boundaries as early as 1956.

The Jimmy Giuffre Trio (with Paul Bley and Steve Swallow) received little attention during their original incarnation from 1960 to 1962, but afterwards were regarded as one of the most innovative free jazz ensembles.

Eric Dolphy's work with Charles Mingus, John Coltrane, and Chico Hamilton, along with his solo work, helped to set the stage for free jazz in the music community.

In Chicago, many of the musicians in AACM and its ensemble the Art Ensemble of Chicago worked seriously in the 'free jazz' forms, including Muhal Richard Abrams, Malachi Favors, and Famoudou Don Moye

In Europe, free jazz first flowered through the experiments of expatriate Jamaican alto saxophonist Joe Harriott. Beginning in the late 1950s, he worked on his own distinctive concept of what he termed free form. These explorations were parallel to Coleman's in many respects but Harriott's work was barely known outside England.

Beginning in the mid-1960s, players such as guitarist Derek Bailey, saxophonists Peter Brötzmann and Evan Parker and drummer John Stevens developed an idiom that came to be called "free improvisation". It drew sustenance from free jazz while moving much further from jazz tradition (often drawing equally on contemporary composers such as Anton Webern and John Cage for inspiration). Also based in Europe, Steve Lacy worked with free improvisation, but had greater connections to the New York musical scene.

Free jazz also strove to incorporate the sounds and intents of music from other cultures. Coltrane experimented with the music of India, while Archie Shepp, Clifford Thornton, and Pharoah Sanders were heavily influenced by musics of North and West Africa. During the 1960s and 1970s, the musicians were heavily influenced by the political ideas of Malcolm X, Bobby Seale, Angela Davis, and other black community leaders.

Free jazz has primarily been an instrumental genre. However, Jeanne Lee was a notable free jazz vocalist; others such as Jayne Cortez, Sheila Jordan, Linda Sharrock, and Patty Waters also made notable contributions to the genre.

Much of the multi-instrumentalist Anthony Braxton's music could be classified as free jazz. His Ghost Trance Music, which introduces a steady pulse to his music, also allows the simultaneous performance of any piece by the performers. Braxton has recorded with many of the free jazz musicians, including Ornette Coleman and European free improvisers such as Derek Bailey, Evan Parker, and the Globe Unity Orchestra.

The 1960s lay the foundation for free jazz, but by the 1970s, the setting for the jazz avant-garde was shifting. There was a large migration of avant-garde and free jazz musicians to New York City, seeking new venues and audiences for their music. These new arrivals, including musicians such as Arthur Blythe, James Newton, and Mark Dresser, marked the beginning of the Loft Era. As the name may imply, musicians during this time would often perform in private homes and other unconventional spaces. During this time, the status of free jazz became more complex, as many musicians sought to bring in various different genres into their works. Free jazz no longer necessarily indicated the rejection of tonal melody, overarching harmonic structure, or metrical divide, as laid out by Coleman, Coltrane, and Taylor. Instead, the free jazz techniques and aesthetic developed in the 1960s became just one of many influences, including popular and world music, in this new strain of loft jazz.[29]

By the 1980s the "downtown" scene replaced the previous decades's loft jazz scene as the center of activity for New York City avant-garde and free jazz artists (especially as rents increased in what had been largely low-rent or undesirable neighborhoods), being associated with places such as the Knitting Factory, which opened in 1987. A younger generation of players including David S. Ware, Matthew Shipp, William Parker and Joe Morris continued to play free jazz inspired by the ground-breaking work of the 1960s "New Thing" era. Like other styles of jazz, free jazz also adopted elements of contemporary rock, funk, and pop music: Ornette Coleman was a leader in this vein, embracing electric music with his 1970s band Prime Time, and a number of other players including James Blood Ulmer, Sonny Sharrock, and Ronald Shannon Jackson forged styles combining elements of free jazz and fusion.

George Russell, hailed as “the great pathbreaker” for encouraging the use of modes by free jazz composers and performers, was a faculty member at the New England Conservatory. David Baker received two degrees from and later taught at Indiana University in Bloomington, and also performed actively.[9] In many cases, musicians with these appointments were able to bring other artists onto campus as instructors and performers; Thornton secured positions at Wesleyan University for Jimmy Garrison, Sam Rivers, and Ed Blackwell, and brought Marion Brown to perform and - eventually - to study.

The 1981 documentary film Imagine the Sound explores free jazz through interviews with and performances by Archie Shepp, Paul Bley, Cecil Taylor and Bill Dixon.

Many musicians are keeping the free jazz style alive in the 21st century. Two major scenes are based in New York and Chicago. In New York, players include Charles Gayle, William Parker, Matana Roberts, Chad Taylor, John Zorn, Assif Tsahar, Tom Abbs, Kenny Werner, and Chris Speed. In Chicago, notable performers are Fred Anderson (deceased 2010), Nicole Mitchell, Ernest Dawkins, Ken Vandermark, and Hamid Drake. There are also many free-jazz musicians in Europe.

Writers Paul Tanner, Maurice Gerow, and David Megill have suggested that

the freer aspects of jazz, at least, have reduced the freedom acquired in the sixties. Most successful recording artists today construct their works in this way: beginning with a strain with which listeners can relate, following with an entirely free portion, and then returning to the recognizable strain. The pattern may occur several times in a long selection, giving listeners pivotal points to cling to. At this time, listeners accept this â€“ they can recognize the selection while also appreciating the freedom of the player in other portions. Players, meanwhile, are tending toward retaining a key center for the seemingly free parts. It is as if the musician has learned that entire freedom is not an answer to expression, that the player needs boundaries, bases, from which to explore.[30]

Tanner, Gerow and Megill name Miles Davis, Cecil Taylor, John Klemmer, Keith Jarrett, Chick Corea, Pharoah Sanders, McCoy Tyner, Alice Coltrane, Wayne Shorter, Anthony Braxton, Don Cherry, and Sun Ra as musicians who have employed this approach.[30]

Canadian artist Stan Douglas uses free jazz as a direct response to complex attitudes towards African-American music. Exhibited at documenta 9 in 1992, his video installation Hors-champs (meaning "off-screen") addresses the political context of free jazz in the 1960s, as an extension of black consciousness[31] and is one of his few works to directly address race.[32] Four American musicians, George Lewis (trombone), Douglas Ewart (saxophone), Kent Carter (bass) and Oliver Johnson (drums) who lived in France during the free jazz period in the 1960s, improvise Albert Ayler's 1965 composition "Spirits Rejoice."[33]

New York Eye and Ear Control is Canadian artist Michael Snow's 1964 film with a soundtrack of group improvisations recorded by an augmented version of Albert Ayler's group and released as the album New York Eye and Ear Control.[34] Critics have compared the album with the key free jazz recordings: Ornette Coleman's Free Jazz: A Collective Improvisation and John Coltrane's Ascension. John Litweiler regards it favourably in comparison because of its "free motion of tempo (often slow, usually fast); of ensemble density (players enter and depart at will); of linear movement".[35] Ekkehard Jost places it in the same company and comments on "extraordinarily intensive give-and-take by the musicians" and "a breadth of variation and differentiation on all musical levels".[36]

French artist Jean-Max Albert, as trumpet player[37][38] of Henri Texier’s first quintet, participated in the 60s in one of the very first expressions of free jazz in France. As a painter, he then experimented plastic transpositions of Ornette Coleman’s approach. Free jazz, painted in 1973, used architectural structures in correspondence to the classical chords of standard harmonies confronted with an unrestrained all over painted improvisation.[39] Jean-Max Albert still explores the free jazz lessons, collaborating with pianist François Tusques in experimental films : Birth of Free Jazz, Don Cherry… these topics considered through a pleasant and poetic way.[40]

Outside of North America, free jazz scenes have become established in Europe and Japan. Alongside the aforementioned Joe Harriott, saxophonists Peter Brötzmann, Evan Parker, trombonist Conny Bauer, guitarist Derek Bailey, pianist Fred Van Hove, drummer Han Bennink, saxophonist and bass clarinetist Willem Breuker, and pianist Misha Mengelberg were among the most well-known early European free jazz performers. European free jazz can generally be seen as approaching free improvisation, with an ever more distant relationship to jazz tradition. Specifically Brötzmann has had a significant impact on the free jazz players of the United States.

A relatively active free jazz scene behind the iron curtain produced musicians like Tomasz Stańko, Zbigniew Seifert, Vladimir Chekasin, Vyacheslav Ganelin and Vladimir Tarasov. Japanese guitarist Masayuki Takayanagi and saxophonist Kaoru Abe, among others, took free jazz in another direction, approaching the energy levels of noise. Some international jazz musicians have come to North America and become immersed in free jazz, most notably Ivo Perelman from Brazil and Gato Barbieri of Argentina (this influence is more evident in Barbieri's early work).

South African artists, including early Dollar Brand, Zim Ngqawana, Carlo Mombelli, Chris McGregor, Louis Moholo, and Dudu Pukwana experimented with a form of free jazz (and often big-band free jazz) that fused experimental improvisation with African rhythms and melodies. American musicians like Don Cherry, John Coltrane, Milford Graves, and Pharoah Sanders integrated elements of the music of Africa, India, and the Middle East for a sort of World music-influenced free jazz.


where is vina del mar located in chile

Viña del Mar (Spanish pronunciation: [ˈbiɲa ðel maɾ] meaning "Vineyard of the Sea"), is a city and commune on central Chile's Pacific coast. Often referred as "La Ciudad Jardín" ("The Garden City"), Viña del Mar is located within the Valparaíso Region, and it is Chile's fourth largest city with a population of 324,836 (according to the 2012 census). Viña del Mar is also part of the Greater Valparaíso area, the country's third largest metropolitan area (pop. 803,683, 2002 census), after the Metropolitan areas of Santiago and Concepción. The Greater Valparaíso Area is home to 5 municipalities: Valparaíso, Viña del Mar, Concon, Quilpue, and Villa Alemana.[5]

Viña del Mar

Nickname(s): Ciudad JardÃn (Garden City)

ViÃ±a del Mar is known for its placid resorts, malls, extensive coastal high buildings, hotels and various entertainment venues. The city attracts an important influx of national as well as international visitors throughout the year.

The valley where Viña del Mar was founded was known as the valley of Peuco by the Changos, native inhabitants of the area dedicated to fishing.[citation needed] With the arrival of the Spanish conquistadores the valley was divided into two large haciendas. North of the Marga Marga creek up to the current location of Reñaca, Viña del Mar, and to the south up to the current Cerro Barón (Baron Hill), the Hacienda Las Siete Hermanas (The Seven Sisters).

Francisco Javier Alvares authorized the construction of a railroad through his lands to join Santiago and the port of Valparaíso. The arrival of the railroad brought a young engineer Jose Francisco Vergara who married Francisco Javier Alvares’s granddaughter, Mercedes Alvares. It was José Francisco Vergara who instigated the idea of the creation of a new city independent of Valparaíso.[citation needed]

The establishment of Refinadora de Azúcar de Viña del Mar (Sugar Refining Company), CRAV in 1873 and the arrival of the British company of Lever & Murphy in 1883 gave the necessary economic push to transform the young city into one of the most important cities of Chile. The building of a military installation, Regimiento Coraceros in 1917, naval facilities in Las Salinas, and the housing of military and naval personnel furthered the city's growth. That year, also, a seaside villa was rebuilt as what is known today as Wulff Castle.[6]

In 1925, the Teatro Municipal was opened in its current location in the eastern front of the city's downtown square, Plaza de Viña del Mar. In 1928 president Carlos Ibáñez del Campo authorized the creation of a casino, securing the future and the touristy character of the city. The Casino Municipal de Viña del Mar was opened on December 31, 1930.[7] On January 31, 1931, the Presidential Palace was inaugurated in Cerro Castillo (Castle Hill) as a summer residence for the Chilean President. The touristy character of the city was furthered with the inauguration of the O'Higgins Hotel in 1936 and the inauguration of the Miramar Hotel by Caleta Abarca Beach in 1945. For a few years in the early 1960s, a trolleybus line connected the city with Valparaíso, and the electric route network included three branches within Viña.[8]

Viña del Mar was one of the four host cities of the 1962 football (soccer) World Cup. It is now home to CD Everton, a soccer team in the Chilean Premier division, which took its name from the English team.

According to the 1982 movie, Missing and other sources, Vina Del Mar was focal point for the plotters of the 1973 Chilean coup d'état.[9]

Vi単a del Mar was declared a sister city of Sausalito, California (a city north of San Francisco), in 1971. To demonstrate the sister city relationship, you can find a square (plaza) called "Vi単a del Mar" in downtown Sausalito, and a "Sausalito" stadium and "Sausalito" lagoon in Vi単a del Mar. Vi単a del Mar is also a sister city of Mar del Plata, Argentina since 1993.[citation needed]

During the 1980s, a global economic downturn seriously affected the city, a number of small and medium-sized factories went bankrupt, including the stationery manufacturer Coda, and most importantly, CRAV, and Textiles ViÃ±a, two of the biggest employers in the city. Unemployment rose to alarmingly high rates. Many factories started to consolidate their operations in Santiago making the situation even worse. The city has failed to fully recover from the blows inflicted by the economic downturn of 1982, but an increase in the number of international tourists visiting the city, and the recent high prices of copper in world markets have promoted an economic recovery.[citation needed]

Extensive commercial redevelopment in the 15 Norte Avenue area, previously an abandoned industrial area, has seen most of the large Chilean retail chains settling in the area, which is now covered with large shopping malls, like Marina Arauco, cinemas, fast food stores, and supermarkets.

The city has benefitted from major investments in infrastructure that have greatly improved the traffic flow in the downtown area,[citation needed] especially in routes connecting Viña del Mar with Santiago, Valparaíso and Quilpué. A modern and efficient subway (Merval) connects Viña del Mar with the cities of Limache and Valparaíso, following the original railroad tracks between Valparaíso and Santiago.

The city was affected by the February 27, 2010 earthquake.[10]

Visitors and locals enjoy the parks and water fountains of the city, including a large flower clock (Reloj de Flores) with its numbers made up of flowering plants, near Caleta Abarca beach. The Valparaiso Sporting Club horse racing track is another major landmark. Jardín Botánico or Parque del Salitre, a rather large botanical garden on the outskirts of the city, was originally designed and built by an entrepreneur who got rich from exploiting saltpeter resources in northern Chile.

A few buildings from the 19th century still remain after multiple earthquakes that have destroyed most of the old areas of the city. Most of the older buildings that remain are located along Avenida Libertad (Liberty Avenue), Quillota Street and Quinta Vergara, a rather large park in the middle of the city. The presidential summer residence, Castillo Presidencial (Presidential Castle) is located on Cerro Castillo (Castle Hill).

The city's casino was designed with art deco style and is surrounded by well-tended gardens (hence the city's nickname). In 2002 a hotel (Hotel del Mar) was added to the 1930s building, resembling the architectural features of the original building.

Palacio Rioja, a mansion built by Fernando Rioja in 1907, located on Quillota Street, houses an environmental museum. The Fonck Museum, located in Cuatro Norte Street, has a large exhibition of pre-Columbian articles, and a large moai (Easter Island statue made of volcanic rock), the only one in mainland Chile, is also on display. Palacio Carrasco, built by Emilio Carrasco in 1912, now houses the Municipal Library and also is used for arts exhibitions. The building is also surrounded by nice gardens adorned with fine sculptures including a Rodin. Palacio Vergara located in Quinta Vergara was built by Blanca Vergara (daughter of JosÃ© Francisco) in 1906 and it is now owned by the municipality. It currently houses the School of Fine Arts and has produced important Chilean artists like the painter Giancarlo Bertini.

Brunet Castle (also known as "Castillo Yarur") was built in 1923 by Adolfo Brunet on Cerro Castillo, close to the presidential mansion. Currently it is owned by Carabineros de Chile (Chilean police) and is used as a reception center for important visitors. It was declared a national monument in 2005.

Palacio Carrasco and its surrounding park, located on Liberty Avenue #250, between 3 and 4 Norte, was completed in 1923. For years it was a private residence until it moved to the Municipality of Viña del Mar. After moving it to its current location in Arlegui street, the Palacio Carrasco became a Library Benjamín Vicuña Mackenna, public library of the commune, while working as center for events, art exhibitions, and cultural workshops. It is very important to stress that the building is totally unsuitable for use as a public library and the community needs to build a new recint for this purpose. Outside the entrance to the Palacio Carrasco there a sculpture by Auguste Rodin called "La Defensa". It was declared a National Historic Monument on September 8, 1986 under Supreme Decree No. 791.

Castillo Wulff, iconic building of the commune, of neo-Tudor style, built in 1906. Strategically located in the coastal border between the mouth of Marga Marga and Caleta Abarca (Avenida Marina N° 37). Was built by Don Gustavo Wulff Mowle (1862–1946) businessman and philanthropist of Valparaíso. The building was designed in two floors connected to a torreón through a medieval-style bridge. In 1995 it was declared a national monument, but today houses the offices of the headquarters of the Heritage Unit of the Municipality of Viña del Mar and the distinguish club unión Árabe Castillo del Mar (Arabic union club)on Av. Marina

Panoramic view of Reñaca, Viña del Mar

Beach in Viña Del Mar

Beach near ReÃ±aca

Beach near ReÃ±aca

Beach near ReÃ±aca

Numerous bars and restaurants have recently opened in the area around Plaza México and Avenida San Martín, offering Chilean and international cuisine. Seafood restaurants are located on the Camino Costero (Coast Roadway) that joins Viña del Mar and Concón, a coastal town to the north.

The Yacht Club de Chile is a yacht club located in Caleta Higuerillas. This club was established in Viña del Mar in 1955, though it is now part of the Concón municipality.

The VTR Open was a professional men's tennis tournament played yearly on outdoor red clay courts at the Club Naval de Campo Las Salinas.

The Viña del Mar International Film Festival is considered among the most important film festivals in Chile and Latin America.[citation needed]

Another important event is the Viña del Mar International Song Festival, held at the amphitheater located in the Quinta Vergara, one of the largest green areas of the city. The amphitheater of the Quinta Vergara was built in the 1960s.[citation needed]

There is also the Palacio Vergara, home to ViÃ±a's fine arts museum.

The Municipal Theatre of Viña del Mar, located in front of Plaza de Viña, is a center of cultural and artistic events of first importance in Chile. In the neighboring block is also the traditional and elegant Club de Viña, with its classical facade.

The Museum of Naval Canons is an outdoor museum, located on the road Jorge Montt (connecting Viña del Mar with the beaches of Las Salinas and Reñaca), whose beach exhibits several pieces of artillery, in front of the facilities of the Chilean Navy.

The Fonk Museum founded in 1937, is a varied and complete museum that shows objects from native villages from cultures such as Rapanui, atacameños, Diaguitas and Mapuches, in addition to a wide collection of Peruvian pre-Columbian jars. In the area of natural sciences there is a complete sample of arthropods and animals of different zones of the country.

Viña del Mar has a warm-summer Mediterranean climate with coastal influence of the Humboldt Current. As in any mediterranean climate, the city experiences a dry, warm summer but temperatures rarely exceed 30 °C (86 °F) due to the influence of the maritime current offshore. Summer nights are cool with temperatures around 16 °C (61 °F). Winters are damp, and cool with daily high temperatures ranging from 13 to 17 °C (55 to 63 °F) and from 5 to 9 °C (41 to 48 °F) at night, rarely falling below freezing. Spring and autumn can vary from mild to cool. The rain falls mainly in autumn and winter, with July being the rainiest (107 mm). The average annual rainfall totals 480 mm.

Several superior educational institutions (universities), both public and private, are located in ViÃ±a del Mar:

The Chilean Navy also operates several technical schools and a planetarium in Las Salinas at the northwest edge of the city.[citation needed]

International schools:

According to the 2002 census of the National Statistics Institute, Viña del Mar had 286,931 inhabitants (136,318 men and 150,613 women), making the commune an entirely urban area. The population grew by 0.5% (1,477 persons) between the 1992 and 2002 censuses. Viña del Mar accounts for 18.63% of the regional population.[2]

The city is the birthplace of Alberto Hurtado, the second Chilean Catholic saint and founder of the Hogar de Cristo (Home of Christ) foundation, writer María Luisa Bombal (author of La Ultima Niebla (The Last Fog)), former Chilean president Patricio Aylwin, Environment minister María Ignacia Benítez, handball player Marco Oneto, tennis player Nicolás Massú, world champion boxer Patricia Demick and Slayer vocalist/bassist Tom Araya. It was also the home for Philips CEO and wealthy businessman Cor Dillen.

As a municipality, Viña del Mar is a third-level administrative division of Chile governed by a municipal council, headed by an alcalde (mayor) who is elected every four years. For the period of 2008–2012 the Mayor is Virginia Reginato Bozzo of right-wing (UDI).

The regional intendant, appointed by the president, is RaÃºl Celis Montt.[12]

In Congress, Viña del Mar in the Chamber of Deputies belongs to the 14th electoral district, while for the Senate it is part of the 6th Senatorial Valparaíso Coast District. In the Chamber of Deputies it is represented for the 2010–2014 period by Mr. Edmundo Eluchans of far-right (UDI) and Mr. Rodrigo González of centre-left (PPD). In the Senate the elected Senators representing Viña del Mar for an 8-year term (2010–2018) are Francisco Chahuán Chahuán of rightist (RN) and Ricardo Lagos Weber centre-left (PPD).

Currently in ViÃ±a del Mar are 6 shopping centers and one under construction:

Viña del Mar, along with the rest of the coastal municipalities of Greater Valparaíso, is part of the tourist area of the country, which has resulted in large dividends paid by this industry each year to the community. Viña del Mar has a wide range of hotels and embellished in order to improve its tourist appeal.

An important place is the Casino de Viña del Mar, which opened in 1930 and for years one of the few casinos in Chile. Today also owns the Hotel del Mar at the mercy of an expansion that, as an uncommon thing in the Chilean architecture, classic profile remained unaltered Casino. However, with the entry into force of the new Act Casinos, which resulted in increased competition, viñamarino enclosure has suffered great economic losses, thus affecting the municipal coffers.

The industrial district of ViÃ±a del Mar is called El Salto. It is located in the place where the Estero Marga Marga Delta begins to appear. They give access to the metro and the South Trunk Highway.

Viña del Mar has the largest number of businesses in the city of Valparaíso, which, along with other areas of Santiago, is becoming a favorite for the business to make their investment locations. Forbes also considered one of the most exclusive resorts in Latin America, the level of Punta del Este in Uruguay, Pucón in southern Chile and Mar del Plata in Argentina.

Currently performed one of the most important events in Hispanic America haute couture, together with those of Buenos Aires, Santiago, Sao Paulo, and Rio de Janeiro.

The route used to get from Santiago to Vina del Mar is the Route CH-68 or Pacific Highway, which connects the capital to the city of Valparaiso.

The main routes connecting the city with other municipalities of Gran ValparaÃso are:

The busiest avenues of Viña del Mar, and virtually the entire Gran Valparaíso, are the main arteries in the community plan and the Población Vergara: Avenida San Martín, Avenida Libertad Quillota street, Viana-Alvares Avenue, Avenida 1 Norte, Avenida Benidorm (former Av. 15 Norte), Avenida Agua Santa, Avenida La Marina, Avenida Borgoño and Av. Jorge Montt (Las Salinas Rect). This because they absorb all the traffic of workers and students moving from other municipalities to their work and study sites located in the plan from Valparaiso.

As of January 6, 2007 has been implemented Metropolitan Transportation Plan Greater Valparaíso which allows the communes of Valparaíso, Viña del Mar, Concon, Quilpué and Villa Alemana have an organized transportation system, which has the preferably provide order, security to users. And over all, speed of travel, for which the same routes of the previous system are made, but in an orderly manner, through the implementation of a GPS system, enabling the companies concerned to each business unit overseeing the entire course, speed and low frequency.

Metro Valparaíso, also called "Merval" is the rapid transit heavy rail system serving the urban conglomeration of Gran Valparaíso, Chile. It consists of one line, 43 kilometres (27 mi) long, serving 20 stations,[1] connecting the cities of Valparaíso, Viña del Mar, Quilpué, Villa Alemana, ( and Limache[1] (outside the Valparaíso conurbation)

The development of sports in the city began with the founding of Valparaíso Sporting Club, also known as Sporting, in 1882. It is a Club whose function is to house as many sports as possible, but from the beginning, it mostly identified with horseback riding. Since 1885, the club has hosted the horse race known as The Derby,[13] one of the most classic races of Chilean equestrianism, being part of the national Triple Crown. Its facilities have also hosted clubs of cricket, soccer, golf, tennis – and if we include the nearby Viña del Mar Lawn Tennis Club, rugby, paper chase, and polo. It is also worth mentioning that Sporting was the site of the first international soccer game played in the country. The game was between the national team and the Argentine national team. Sporting also was the only venue for the South American Championship in 1920.[14]

For rugby fans, each summer in January, The Mackay School offers two Rugby sevens, one for youth and one for adults. The tournament is usually 2 days long for the youth, and 3 days for the adults, with teams coming from Chile, Argentina, and Uruguay to participate.

Soccer is represented in the city by the Everton Club of Viña del Mar, which was founded in 1909 on Alegre Hill in Valparaíso.[15] The club was later moved to Viña del Mar in the 1940’s. The Everton team owns 4 First Division national titles and plays locally at the Sausalito Stadium (Estadio Suasalito in Spanish), home of the 1962 FIFA World Cup,[16] Copa America 1991, and Copa America 2015. The first team created in the city independent of the clubs of Valparaiso was the Sporting Club de Viña which is said to have played and tied the first international soccer match in Chile.


what is the name of a mathematician who does research today

To develop accurate models for describing the real world, many applied mathematicians draw on tools and techniques that are often considered to be "pure" mathematics. On the other hand, many pure mathematicians draw on natural and social phenomena as inspiration for their abstract research.

Mathematician

A mathematician is someone who uses an extensive knowledge of mathematics in his or her work, typically to solve mathematical problems.

Mathematics is concerned with numbers, data, quantity, structure, space, models, and change.

One of the earliest known mathematicians was Thales of Miletus (c. 624â€“c.546 BC); he has been hailed as the first true mathematician and the first known individual to whom a mathematical discovery has been attributed.[1] He is credited with the first use of deductive reasoning applied to geometry, by deriving four corollaries to Thales' Theorem.

The number of known mathematicians grew when Pythagoras of Samos (c. 582â€“c. 507 BC) established the Pythagorean School, whose doctrine it was that mathematics ruled the universe and whose motto was "All is number".[2] It was the Pythagoreans who coined the term "mathematics", and with whom the study of mathematics for its own sake begins.

The first woman mathematician recorded by history was Hypatia of Alexandria (AD 350 - 415). She succeeded her father as Librarian at the Great Library and wrote many works on applied mathematics. Because of a political dispute, the Christian community in Alexandria punished her, presuming she was involved, by stripping her naked and scraping off her skin with clamshells (some say roofing tiles).[3]

Science and mathematics in the Islamic world during the Middle Ages followed various models and modes of funding varied based primarily on scholars. It was extensive patronage and strong intellectual policies implemented by specific rulers that allowed scientific knowledge to develop in many areas. Funding for translation of scientific texts in other languages was ongoing throughout the reign of certain caliphs,[4] and it turned out that certain scholars became experts in the works they translated and in turn received further support for continuing to develop certain sciences. As these sciences received wider attention from the elite, more scholars were invited and funded to study particular sciences. An example of a translator and mathematician who benefited from this type of support was al-Khawarizmi. A notable feature of many scholars working under Muslim rule in medieval times is that they were often polymaths. Examples include the work on optics, maths and astronomy of Ibn al-Haytham.

The Renaissance brought an increased emphasis on mathematics and science to Europe. During this period of transition from a mainly feudal and ecclesiastical culture to a predominantly secular one, many notable mathematicians had other occupations: Luca Pacioli (founder of accounting); Niccolò Fontana Tartaglia (notable engineer and bookkeeper); Gerolamo Cardano (earliest founder of probability and binomial expansion); Robert Recorde (physician) and François Viète (lawyer).

As time passed, many mathematicians gravitated towards universities. An emphasis on free thinking and experimentation had begun in Britain's oldest universities beginning in the seventeenth century at Oxford with the scientists Robert Hooke and Robert Boyle, and at Cambridge where Isaac Newton was Lucasian Professor of Mathematics & Physics. Moving into the 19th century, the objective of universities all across Europe evolved from teaching the “regurgitation of knowledge” to “encourag[ing] productive thinking.”[5] In 1810, Humboldt convinced the King of Prussia to build a university in Berlin based on Friedrich Schleiermacher’s liberal ideas; the goal was to demonstrate the process of the discovery of knowledge and to teach students to “take account of fundamental laws of science in all their thinking.” Thus, seminars and laboratories started to evolve.[6]

British universities of this period adopted some approaches familiar to the Italian and German universities, but as they already enjoyed substantial freedoms and autonomy the changes there had begun with the Age of Enlightenment, the same influences that inspired Humboldt. The Universities of Oxford and Cambridge emphasized the importance of research, arguably more authentically implementing Humboldt’s idea of a university than even German universities, which were subject to state authority.[7] Overall, science (including mathematics) became the focus of universities in the 19th and 20th centuries. Students could conduct research in seminars or laboratories and began to produce doctoral theses with more scientific content.[8] According to Humboldt, the mission of the University of Berlin was to pursue scientific knowledge.[9] The German university system fostered professional, bureaucratically regulated scientific research performed in well-equipped laboratories, instead of the kind of research done by private and individual scholars in Great Britain and France.[10] In fact, Rüegg asserts that the German system is responsible for the development of the modern research university because it focused on the idea of “freedom of scientific research, teaching and study.”[11]

Mathematicians usually cover a breadth of topics within mathematics in their undergraduate education, and then proceed to specialize in topics of their own choice at the graduate level. In some universities, a qualifying exam serves to test both the breadth and depth of a student's understanding of mathematics; the students, who pass, are permitted to work on a doctoral dissertation.

Mathematicians involved with solving problems with applications in real life are called applied mathematicians. Applied mathematicians are mathematical scientists who, with their specialized knowledge and professional methodology, approach many of the imposing problems presented in related scientific fields. With professional focus on a wide variety of problems, theoretical systems, and localized constructs, applied mathematicians work regularly in the study and formulation of mathematical models. Mathematicians and applied mathematicians are considered to be two of the STEM (science, technology, engineering, and mathematics) careers.[citation needed]

The discipline of applied mathematics concerns itself with mathematical methods that are typically used in science, engineering, business, and industry; thus, "applied mathematics" is a mathematical science with specialized knowledge. The term "applied mathematics" also describes the professional specialty in which mathematicians work on problems, often concrete but sometimes abstract. As professionals focused on problem solving, applied mathematicians look into the formulation, study, and use of mathematical models in science, engineering, business, and other areas of mathematical practice.

Pure mathematics is mathematics that studies entirely abstract concepts. From the eighteenth century onwards, this was a recognized category of mathematical activity, sometimes characterized as speculative mathematics,[12] and at variance with the trend towards meeting the needs of navigation, astronomy, physics, economics, engineering, and other applications.

Another insightful view put forth is that pure mathematics is not necessarily applied mathematics: it is possible to study abstract entities with respect to their intrinsic nature, and not be concerned with how they manifest in the real world.[13] Even though the pure and applied viewpoints are distinct philosophical positions, in practice there is much overlap in the activity of pure and applied mathematicians.

Many professional mathematicians also engage in the teaching of mathematics. Duties may include:

Many careers in mathematics outside of universities involve consulting. For instance, actuaries assemble and analyze data to estimate the probability and likely cost of the occurrence of an event such as death, sickness, injury, disability, or loss of property. Actuaries also address financial questions, including those involving the level of pension contributions required to produce a certain retirement income and the way in which a company should invest resources to maximize its return on investments in light of potential risk. Using their broad knowledge, actuaries help design and price insurance policies, pension plans, and other financial strategies in a manner which will help ensure that the plans are maintained on a sound financial basis.

As another example, mathematical finance will derive and extend the mathematical or numerical models without necessarily establishing a link to financial theory, taking observed market prices as input. Mathematical consistency is required, not compatibility with economic theory. Thus, for example, while a financial economist might study the structural reasons why a company may have a certain share price, a financial mathematician may take the share price as a given, and attempt to use stochastic calculus to obtain the corresponding value of derivatives of the stock (see: Valuation of options; Financial modeling).

According to the Dictionary of Occupational Titles occupations in mathematics include the following.[14]

The following are quotations about mathematicians, or by mathematicians.

There is no Nobel Prize in mathematics, though sometimes mathematicians have won the Nobel Prize in a different field, such as economics. Prominent prizes in mathematics include the Abel Prize, the Chern Medal, the Fields Medal, the Gauss Prize, the Nemmers Prize, the Balzan Prize, the Crafoord Prize, the Shaw Prize, the Steele Prize, the Wolf Prize, the Schock Prize, and the Nevanlinna Prize.

The American Mathematical Society, Association for Women in Mathematics, and other mathematical societies offer several prizes aimed at increasing the representation of women and minorities in the future of mathematics.

Several well known mathematicians have written autobiographies in part to explain to a general audience what it is about mathematics that has made them want to devote their lives to its study. These provide some of the best glimpses into what it means to be a mathematician. The following list contains some works that are not autobiographies, but rather essays on mathematics and mathematicians with strong autobiographical elements.


who sings don't hand me no lines and keep your hands to yourself

"Keep Your Hands to Yourself" is a song by the American southern rock group The Georgia Satellites. The song was written by the group's lead singer, Dan Baird, and was released in 1986 as their debut single. The single reached #2 on the Billboard Hot 100 during the week of February 21, 1987, kept off the top spot by "Livin' on a Prayer" by Bon Jovi.

Keep Your Hands to Yourself

The song is in the key of A major with a moderate tempo of about 112 beats per minute. It follows the chord pattern A-D-A-E-A, with vocals ranging from D4 to A5.[1]

The lyrics tell the story of a woman who refuses to become more intimate with her boyfriend until he marries her.

Stephen Thomas Erlewine of Allmusic wrote that the song "rocked as hard as an old Chuck Berry song, as well as being almost as clever."[2] In the book 99 Red Balloons: And 100 All-Time One-Hit Wonders, Brent Mann wrote that "it's just a timeless, kick-out-the-jams rock 'n' roll number. Dan Baird digs into the song's vocals with a no-holds-barred zest straight out of a Texas honky-tonk."[3]

Several cover versions of the song exist. A year after its release, Hank Williams, Jr. covered it on his album Born to Boogie.[6] John Anderson covered the song in 1994 for his album Country 'til I Die,[7] and released it as the B-side to that album's single "Bend It Until It Breaks". Sawyer Brown released a version from their 2005 album Mission Temple Fireworks Stand. Tom Petty and the Heartbreakers performed a version of the song during their 1989 tour. Garth Brooks performed a version on the This is Garth DVD. The Charlie Daniels Band covered the song on their Tailgate Party album. The song has been a favorite of bar-bands for many years because of its simplicity and popularity.


when does the next episode of superstore air

As of May 3, 2018,[update] 55 episodes of Superstore have aired, including one special, concluding the third season. On February 21, 2018, NBC renewed the series for a 22-episode fourth season, which is set to premiere on October 4, 2018.[4][5]

List of Superstore episodes

Superstore is an American comedy television series created by Justin Spitzer, which premiered on NBC on November 30, 2015.[1] The series stars America Ferrera, Ben Feldman, Lauren Ash, Colton Dunn, Nico Santos, Nichole Bloom and Mark McKinney as a group of employees working at a fictional big-box store called "Cloud 9" set in St. Louis, Missouri. On February 14, 2017, NBC renewed the series for a 22-episode third season, which premiered on September 28, 2017.[2][3]


where is the little league softball world series held

The Little League Softball World Series is a softball tournament for girls aged 11 to 12 years old. It was first held in 1974 and is held every August in Portland, Oregon, in the United States.

Little League Softball World Series

The six regional tournament winners which compete in the Little League Softball World Series, as well as the states those regional champions could possibly hail from are as follows:

The four divisions which compete in the Little League Softball World Series are as follows:


when does runner's world magazine come out

Runner's World is a globally circulated monthly magazine for runners of all skills sets, published by Rodale Inc. in Emmaus, Pennsylvania, in the United States.

Runner's World

Runner's World was originally launched in 1966 by Bob Anderson[2] as Distance Running News,  and Anderson published the magazine by himself for several years from his home in Manhattan, Kansas. Runner and writer Hal Higdon had been writing for the magazine since the beginning (2nd edition). In 1969, Anderson changed the name of the magazine to Runner's World.[3] He brought on Joe Henderson as chief editor and moved the editorial offices, now named World Publications, to Mountain View, California. Runner's World thrived during the 1970s "running boom", even in the face of competition from the New York-based magazine, The Runner.

In the early 1980s, Bob Anderson sold a good portion of his publications, including Runner's World. Some of Anderson's books went out of print while others were distributed by Macmillan Publishing.[citation needed] Robert Rodale of Rodale Inc., purchased Runner's World in 1985[4] and the editorial offices moved to Rodale's base in Emmaus, Pennsylvania. Joe Henderson did not move to Emmaus, and stepped down as editor, though he remained associated with the magazine until 2003. Random House bought the running log, which was published under the Runner's World name for decades after the sale.

In 1986 Rodale bought The Runner,[5] and merged the two magazines,[4] keeping the Runner's World name and some writers, including  Amby Burfoot who became the editor (a post he held until 2003).

Runner's World remained strong through the so-called "second running boom" in the late 1990s. In 2004, the magazine had a full redesign. Since then, the magazine has won several awards including being ranked #1 on Adweek's Hot List,[citation needed] #6 on Advertising Age's "A-List";[citation needed] been recognized for having the "Creative Team of the Year",[citation needed] and most notably has been nominated three times for National Magazine Awards.[citation needed] Also, since the redesign, the magazine's circulation has increased from 525,000 to 650,000[citation needed] at a time when most consumer magazines' circulations have declined,[citation needed] and advertising pages and revenue remain at an all time high.[citation needed] The publisher of Runner's World's United States' edition is Molly O'Keefe and its editor is David Willey.[citation needed]

In February 2007, Rodale acquired Running Times magazine with the objective of getting the magazine back on its original mission to serve the front of the pack.[citation needed]

Since the early 1990s, Runner's World has expanded outside the United States, currently with 18 international editions. The first was a United Kingdom edition wholly owned by NatMag Rodale, a joint venture between Rodale Inc. and The Hearst Corporation in the UK. Editions in Argentina, Australia/New Zealand, Belgium, Brazil, China, France, Germany, Italy, Mexico, Netherlands, Norway, Poland, South Africa, Spain, Sweden, and Turkey are published either as joint ventures or through licensing arrangements with publishers in those countries. Editors in each country have access to editorial content from the U.S. edition, but also publish their own original content with local flavor.

Runner's World published an article by Nick Symmonds in its November 2013 issue advocating that Congress should "[b]an assault rifles and handguns for everyone except police and military personnel." [6]


what kind of wood is good for a bow

In most inhabited areas, common timbers can be made into high-quality self bows. The pieces must be long enough (approximately the height of the archer), and the grain must be sufficiently straight. Denser timbers normally store energy better and can be made into narrower bows with less effort â€“ high-quality yew allows for particularly narrow self bows, such as the traditional European version of the longbow. The Eastern Woodlands tribes of North America used hickory, tribes in parts of the Midwestern United States osage orange, Native Americans of the west coast used short, wide, recurved bows made of American Pacific yew, Brazilian rainforest tribes used palm wood, and many others. In Europe and North America, common woods such as maple, ash, elm, and oak make excellent flat bows, and are far easier to obtain than good-quality yew.

Self bow

A self bow or simple bow is a bow made from a single piece of wood. Extra material such as horn nocks on the ends, or built-up handles, would normally be accepted as part of a self bow. Some modern authorities would also accept a bow spliced together in the handle from two pieces of wood.[1]

An effective self bow can be made from widely available local material in most inhabited parts of the world, with limited tools whose functions include chopping, shaving, and scraping. A day of work may be needed, starting with a seasoned stave; a composite bow requires a week's work, starting with a much greater range of materials and skills.[2] Self bows must be approximately the height of the archer if they are to allow a long draw, and they are less efficient in the specialized art of flight archery. Well-designed composite bows of high draw-weight give higher arrow velocity, and the bow itself is shorter. However, the hide glue that holds a composite bow together absorbs water and will dissolve if soaked; the wood of self bows is less sensitive to humidity.

At the weights more usual for modern amateurs, the greater density of horn and sinew compared to wood usually cancels any advantage of composite construction. For most practical non-mounted archery purposes, self bows can perform as well as composite; "the initial velocity is about the same for all types of bow... within certain limits"[3]

In many parts of the world including much of Africa, the Americas, northern Europe, and Southern Asia, the great majority of traditional bows are self bows. The first bow artifacts, the Stellmoor and Holmegaard artifacts of Northern Europe, are self bows. The Stellmoor bow was made from the heartwood of a Scots pine while the oldest Holmegaard bows were carved from small-diameter elms. In primitive flight archery competitions, bows inspired by the design of the Holmegaard bows perform very well because of their light, non-bending tips.

The fibres on the back of a self bow must be, so far as possible, continuous. This may be achieved by using the outer, under-bark surface of the tree as the back of the bow (convenient with most white woods), or by the painstaking process of removing outer growth rings (often used with yew and osage orange), or by making or following a cut or split surface which happens to have continuous grain (a usual approach if starting with commercially sawn wood).

The density of timber correlates well with its ability to store energy as it is bent. Denser timbers can make narrower bows. The same design for less dense timbers results in the bow taking excessive set-string follow, or even breaking. However, equally effective bows may be made from less dense timber by making them wider near the centre. The mass of equivalent bows is closely similar whatever the density of wood; approximately the same mass of wood is required whatever the density of the timber.

The overall length of bending wood must be about 2.3 times the draw length. Narrow bows (known as "longbows") can bend in the handle. Wider bows (known as "flatbows") must be narrow in the handle if they are to be practical, but the handle must be made thicker so as not to bend, and the complete bow will therefore tend to be longer.

Self bows may be of any side-view profile; moderate recurving can often be achieved with heat and force.


who won the oscar for best actress in 2012

The winners were announced during the awards ceremony on February 26, 2012.[15] The Artist was the second silent feature to win Best Picture. The 1927 film Wings was the first such film to achieve this distinction at the inaugural awards ceremony in 1929.[16] Moreover, it was also the first black-and-white feature to win Best Picture since 1993's Schindler's List.[16][b] Best Actor winner Jean Dujardin became the first French actor to win an Oscar.[17] With her latest win for Best Actress, Meryl Streep became the fifth performer to win at least three acting Oscars.[17] At age 82, Best Supporting Actor winner Christopher Plummer also made Oscar history by becoming the oldest ever performer to win a competitive acting Oscar.[17][18]

84th Academy Awards

The 84th Academy Awards ceremony, presented by the Academy of Motion Picture Arts and Sciences (AMPAS), honored the best films of 2011 in the United States and took place on February 26, 2012, at the Hollywood and Highland Center Theatre[a] in Hollywood, Los Angeles beginning at 5:30 p.m. PST / 8:30 p.m. EST. During the ceremony, the Academy of Motion Picture Arts and Sciences presented Academy Awards (commonly referred to as Oscars) in 24 categories. The ceremony was televised in the United States by ABC, and produced by Brian Grazer and Don Mischer, with Mischer also serving as director. Actor Billy Crystal hosted the show for the ninth time. He first presided over the 62nd ceremony held in 1990 and had last hosted the 76th ceremony held in 2004.[6]

On June 14, 2011, Academy president Tom Sherak announced at a press conference that, in an attempt to further revitalize interest surrounding the awards, the 2012 ceremony would feature between five and ten Best Picture nominees depending on voting results, as opposed to a set number of nominees.[7] In related events, the Academy held its third annual Governors Awards ceremony at the Grand Ballroom of the Hollywood and Highland Center on November 12, 2011.[8] On February 11, 2012, in a ceremony at the Beverly Wilshire Hotel in Beverly Hills, California, the Academy Awards for Technical Achievement were presented by host Milla Jovovich.[9]

The Artist won five awards, including Best Actor for Jean Dujardin, Best Director for Michel Hazanavicius, and Best Picture, the first silent feature to win an Academy Award for Best Picture since 1927's Wings, the inaugural winner in 1929.[10][11][12] Other winners included Hugo also with five awards, The Iron Lady with two awards, and Beginners, The Descendants, The Fantastic Flying Books of Mr. Morris Lessmore, The Girl with the Dragon Tattoo, The Help, Midnight in Paris, The Muppets, Rango, Saving Face, A Separation, The Shore, and Undefeated with one. The telecast garnered more than 39 million viewers in the United States.

The nominees for the 84th Academy Awards were announced on January 24, 2012, at 5:38Â a.m. PST (13:38 UTC) at the Samuel Goldwyn Theater in Beverly Hills, California, by Tom Sherak, president of the Academy, and the actress Jennifer Lawrence.[13] Hugo led all nominees with eleven nominations; The Artist came in second with ten.[14]

Winners are listed first, highlighted in boldface, and indicated with a double dagger ().[19]

The Academy held its 3rd Annual Governors Awards ceremony on November 12, 2011, during which the following awards were presented.[8][20]

The following 18 films received multiple nominations:

The following three films received multiple awards:

The following individuals, listed in order of appearance, presented awards or performed musical numbers.[21]

Because of the declining viewership of recent Academy Awards ceremonies, the Academy sought ideas to revamp the show while renewing interest with the nominated films. In light of the previous year's telecast, whose performance by co-hosts James Franco and Anne Hathaway yielded critically negative reviews and a 9% decline in viewership, many within the Motion Picture Academy proposed new ways to give the awards a more populist appeal.[23][24] After a two-year experiment with ten Best Pictures nominees, AMPAS president Tom Sherak announced that the number of final nominees can now range from five to ten as opposed a fixed number.[7] The nomination voting process would be the same as before, through preferential balloting, but now only films that receive a minimum of 5% of total number-one votes are eligible for Best Picture nominations.[25] Academy then-executive director Bruce Davis explained, "A Best Picture nomination should be an indication of extraordinary merit. If there are only eight pictures that truly earn that honor in a given year, we shouldn't feel an obligation to round out the number."[26][27] Changes in the Best Animated Feature also were announced. In response to the growing number of animated features released per year, the Academy stated in a press release that four to five films would now be nominated per year contingent on how many animated feature films were released in that year.[28]

Originally, the Academy selected director Brett Ratner as co-producer of the ceremony with Don Mischer in August 2011.[29] Actor and comedian Eddie Murphy was hired by Ratner to preside over hosting duties.[30] However, after commenting to radio host Howard Stern during an interview promoting the film Tower Heist that "rehearsal is for fags" and disparaging remarks about actress Olivia Munn, Ratner resigned from his co-producing duties on November 8.[31][32] Murphy subsequently stepped down as host the following day.[33] Immediately, the Academy selected film producer Brian Grazer to replace Ratner as co-producer.[34] Actor and veteran Oscar emcee Billy Crystal was recruited by Grazer to take over hosting duties.[35]

Multiple others participated in the production of the ceremony. Musicians Hans Zimmer and Pharrell Williams composed new music exclusive to the Oscars ceremony, which was later released as an album via the iTunes Store.[22][36] Oscar-winning production designer John Myhre designed a new stage for the ceremony.[37] Director Bennett Miller filmed several vignettes featuring actors discussing movie memories and the business of filmmaking.[38] Cirque du Soleil, who was concurrently renting the Hollywood and Highland Center for their show Iris, performed a dance number at the ceremony inspired by their aforementioned show.[39] Unlike most Oscar ceremonies, however, Grazer and Mischer announced that neither of the two songs nominated for Best Original Song would be performed live.[40]

For the first time since 2008, only one of the nominees for Best Picture had grossed over $100 million before the nominations were announced (compared with three from the previous year).[41][42] The combined gross of the nine Best Picture nominees when the Oscars were announced was $518 million with an average gross of $57.7 million per film.[43]

None of the nine Best Picture nominees was among the top ten releases in box office during the nominations. When the nominations were announced on January 24, 2012, The Help was the highest-grossing film among the Best Picture nominees with $169.6 million in domestic box office receipts. Among the remaining eight nominees, Moneyball was the second-highest-grossing film with $75.5 million; this was followed by War Horse ($72.3 million), Midnight in Paris ($56.4 million), Hugo ($55.9 million), The Descendants ($51.3 million), The Tree of Life ($13.3 million), The Artist ($12.1 million) and Extremely Loud & Incredibly Close ($10.7 million).[44]

Of the top 50 grossing movies of the year, 36 nominations went to 15 films on the list. Only The Help (13th), Bridesmaids (14th), Kung Fu Panda 2 (15th), Puss in Boots (16th), Rango (22nd), The Girl with the Dragon Tattoo (28th), Moneyball (43rd), and War Horse (46th) were nominated for Best Picture, Best Animated Feature or any of the directing, acting or screenwriting awards.[45] The other top 50 box office hits that earned nominations were Harry Potter and the Deathly Hallows â€“ Part 2 (1st), Transformers: Dark of the Moon (2nd), Rise of the Planet of the Apes (11th), Rio (18th), The Muppets (34th), Real Steel (35th), and The Adventures of Tintin (47th).[45]

The show received a mixed reception from media publications. Some media outlets were more critical of the show. Television critic Lori Rackl of the Chicago Sun-Times criticized Crystal's performance saying that the emcee "left his A game at home Sunday. Crystal's mediocre monologue was consistent with a mediocre 84th installment of Hollywoodâ€™s biggest awards ceremony.[46] Columnist Tim Goodman of The Hollywood Reporter quipped that "Somewhere, against all odds, James Franco is buying drinks for everybody." He went on to say that the previous year's critically panned telecast was eclipsed by Crystal's dull antics and that the show itself was "poorly paced as any in recent memory."[47] Alessandra Stanley of The New York Times lamented, "The whole night looked like an AARP pep rally." She also noted that, "For a town that prides itself on tinsel and titillation, the night was pretty tame."[48]

Other media outlets received the broadcast more positively. Ken Tucker of Entertainment Weekly commented that despite the ceremony running over three hours and honoring films that had earned modest box office numbers, "it was a jolly good show." He also praised the cast and several sketches and segments from the show.[49] Film critic Roger Ebert lauded Crystal's performance saying "As probably the most popular Oscar emcee, he astonished the audience by topping himself." Of the show itself, Ebert added that it was "an unqualified improvement" over the previous year's ceremony.[50] Associated Press critic Frazier Moore pointed out that Crystal's performance "was nothing new or unexpected in his act", but he extoled him for stewarding "a sleek and entertaining Oscarcast."[51]

The American telecast on ABC drew in an average of 39.46 million people over its length, which was a 4% increase from the previous year's ceremony.[5][52] An estimated 76.56 million total viewers watched all or part of the awards.[53] The show also earned higher Nielsen ratings compared to the previous ceremony with 23.91% of households watching over a 37.64 share. However the program scored a sightly lower 18-49 demo rating with an 11.67 rating over a 32.68 share among viewers in that demographic, essentially flat with last year's numbers.[54] Many media outlets pointed out that the 54th Grammy Awards held two weeks earlier drew a larger audience with an average 39.92 million people watching.[55][56]

In July 2012, the ceremony presentation received eight nominations at the 64th Primetime Emmys.[57] Two months later, the ceremony won one of those nominations for Outstanding Sound Mixing for a Variety Series or Special (Paul Sandweiss, Tommy Vicari, Pablo Munguia, Kristian Pedregon, Bob Lamasney, Brian Riordan, Thomas Pesa, Michael Parker, Josh Morton, Patrick Baltzell, Larry Reed, and John Perez).[58]

The annual In Memoriam tribute, was presented by host Billy Crystal. Singer Esperanza Spalding performed the Louis Armstrong song "What a Wonderful World" alongside the Southern California Children's Chorus during the tribute.[59][60]


who plays the wife on last man standing

In 2011, Travis was cast in the ABC sitcom Last Man Standing opposite Tim Allen.[12][13] Travis also appeared in The CW medical drama series Hart of Dixie as Emmeline 'Mrs. H' Hattenbarger.[14]

Nancy Travis

Nancy Ann Travis (born September 21, 1961) is an American actress. She is known for her roles in the films Three Men and a Baby (1987) and its sequel, Three Men and a Little Lady (1990), Air America (1990), Internal Affairs (1990), So I Married an Axe Murderer (1993), Greedy (1994), and Fluke (1995). She also starred as Vanessa Baxter in the ABC sitcom Last Man Standing (2011-17).

Travis was born in New York City, the daughter of Theresa, a social worker, and Gordon Travis, a sales executive.[1] Travis was raised in Boston, Massachusetts, and Baltimore, Maryland.[2] She was raised Catholic.[3]

Travis' first job after graduating from high school was in a play, It's Hard to be a Jew, at The American Jewish Theatre in NYC. After that, Travis appeared in a stage version of Neil Simon's Brighton Beach Memoirs and was a founding member of the Off-Broadway theater company Naked Angels. She appeared in their Frank Pugliese play Aven U-Boys, as well as in King of Connecticut. She made her Broadway debut in I'm Not Rappaport. She starred in Athol Fugard's My Children, My Africa.

Travis has had roles in many films, including Three Men and a Baby and its sequel, Three Men and a Little Lady, plus Air America and Internal Affairs (as the wife of Andy García), So I Married an Axe Murderer as the bride of Mike Myers, thriller The Vanishing with Kiefer Sutherland, Greedy with Michael J. Fox, and in the action-comedy Destiny Turns on the Radio with Dylan McDermott. Other notable films include the 1995 box office bomb Fluke,[4] 1996 Whoopi Goldberg's comedy Bogus, political comedy/drama Running Mates with Three Men and a Baby co-star Tom Selleck, 2001 drama film Auggie Rose, 2005 comedy The Sisterhood of the Traveling Pants and 2007 ensemble cast romantic drama The Jane Austen Book Club adapted from the 2004 novel of the same name by Karen Joy Fowler. She was featured in Chaplin opposite Robert Downey, Jr., portraying Joan Barry, the woman who filed a paternity suit against Chaplin.

Travis starred with Peter Gallagher and Isabella Rossellini in the Tom Cruise-directed episode of the Showtime series Fallen Angels in 1993. From 1995â€“1997, Travis played a leading role in the CBS sitcom Almost Perfect. The show was canceled after two seasons. In 1999 she starred in the short-lived TV series Work with Me, Travis was also a producer.[5] Due to low ratings, the show was cancelled after four episodes.[6]

Travis had the leading role of psychology professor Dr. Joyce Reardon in 2002's four-hour television adaptation of Stephen King's Rose Red.[7] In 2002, Travis joined the cast of the CBS sitcom Becker as Chris Connor. She starred in the show for its final two seasons, replacing the series' original female lead, Terry Farrell. From 2007 to 2009 Travis appeared in the television sitcom The Bill Engvall Show as Bill's wife Susan. In 2009 she starred in the Hallmark Channel film Safe Harbor, about a happily married couple, Doug (Treat Williams) and Robbie Smith (Travis) about to retire and spend their days cruising the world on their sailboat.[8] In 2010, she starred in TV films The Pregnancy Pact, In My Shoes and was a guest star in two episodes of Desperate Housewives.[9] In 2011, she guest starred in the television series Grey's Anatomy[10] and How I Met Your Mother.[11]

In 1994, Travis married Robert N. Fried, the former president and CEO of Savoy Pictures and currently Founder & CEO of Feeln (formerly known as SpiritClips). They have two sons: Benjamin E. born in 1998, and Jeremy, born in 2001. She starred in the 2007 short film Sally, featuring Benjamin and written by her husband.[15]