The Carolina Hurricanes are a professional ice hockey team based in Raleigh, North Carolina. They compete in the National Hockey League as a member of the Metropolitan Division of the Eastern Conference; the Hurricanes play their home games at the 18,680-seat PNC Arena. The franchise was formed in 1971 as the New England Whalers of the World Hockey Association; the Whalers saw success winning the Eastern Division in the WHA's first three seasons, as well as becoming the inaugural Avco World Trophy Champions to cap off the 1972-73 season. The Whalers again competed for the World Trophy in 1978, this time falling short to the Winnipeg Jets in a rematch of the 1973 Finals; the franchise joined the NHL in 1979 as part of the NHL–WHA merger, renaming themselves the Hartford Whalers. The team relocated to North Carolina in 1997. Carolina advanced to the Stanley Cup Finals for the first time in 2002, where they were defeated by the Detroit Red Wings, 4-1; the Hurricanes won the 2006 Stanley Cup over the Edmonton Oilers in seven games, giving the state of North Carolina its first major professional sports championship.
On February 15, 2020, it was announced that the Hurricanes would host a Stadium Series game at Carter-Finley Stadium on February 20, 2021. The New England Whalers were established in November 1971 when the World Hockey Association awarded a franchise to begin play in Boston, Massachusetts. For the first two years of their existence, the club played their home games at the Boston Arena and Boston Garden. With the increasing difficulty of scheduling games at Boston Garden, the owners decided to move the team to Hartford, beginning with the 1974–75 season. While waiting for the completion of a new arena in Hartford, the Whalers played the first part of the season at The Big E Coliseum in West Springfield, Massachusetts. On January 11, 1975, the team played its first game in front of a sellout crowd at the Hartford Civic Center Coliseum, would maintain its home there through 1997; as one of the most stable WHA teams, the Whalers, along with the Edmonton Oilers, Quebec Nordiques and Winnipeg Jets, were admitted to the NHL when the rival leagues merged in 1979.
However, under pressure from the extant NHL team in the New England area, the Boston Bruins, the Whalers were compelled to rename the team the Hartford Whalers. The Whalers were never as successful in the NHL as they had been in the WHA, recording only three winning seasons, they peaked in the mid-to-late 1980s, winning their only playoff series in 1986 over the Nordiques before bowing out in the second round to the Montreal Canadiens, taking the Habs to overtime of Game 7 in the process. The next year, the club secured the regular-season Adams Division title, only to fall to the Nordiques in six games in the first round of the playoffs. In 1992, the Whalers made the playoffs for the final time, but were bounced in the first round in seven games by the Canadiens. Two years the team hired Jim Rutherford as general manager, a position that he would hold within the franchise for twenty years; the organization retains many Whalers connections among its off-ice personnel. The old goal horn from the Hartford Civic Center remains in use at PNC Arena.
The Whalers were plagued for most of their existence by limited marketability. Hartford was the smallest American market in the league and was located on the traditional dividing line between the home territories for New York City and Boston teams, it did not help matters that the Hartford Civic Center was one of the smallest arenas in the league, seating under 16,000 spectators for hockey. The Whalers' off-ice problems were magnified when the start of the 1990s triggered a spike in player salaries. Despite assurances made when he purchased the team in 1994 that the Whalers would remain in Hartford at least through 1998, in March 1997, owner Peter Karmanos announced that the team would move elsewhere after the 1996–97 season because of the team's inability to negotiate a satisfactory construction and lease package for a new arena in Hartford. On May 6, 1997, Karmanos announced that the Whalers would move to the Research Triangle area of North Carolina and the new Entertainment and Sports Arena in Raleigh.
Due to the short time frame for the move, Karmanos himself thought of and decided upon the new name for the club, the Carolina Hurricanes, rather than holding a contest as is sometimes done. That summer, the team dropped the Whalers' colors of blue and silver for a new black-and-red scheme, matching the colors of the North Carolina State University Wolfpack, with whose men's basketball team they would share the arena in Raleigh; the Hurricanes inherited the Whalers' place in the Northeast Division. For the team, the ESA would not be complete for two more years; the only arena in the Triangle area with an ice plant was 45-year-old Dorton Arena. The Hurricanes were thus forced to play home games in Greensboro, 90 minutes west of Raleigh, for their first two seasons after the move. However, the team would be based in Raleigh and practice in nearby Hillsborough—effectively saddling the Hurricanes with 82 road games for the next two years; this choice was disastrous for the franchise's reputation.
With a capacity of over 21,000 people for hockey, the Greensboro Coliseum was the highest-capacity arena in the NHL
Bruce Wilhelm is a former weightlifter and strongman from the United States. He is a two-time winner of the World's Strongest Man competition in 1977 and 1978 and the author of numerous strength-related articles and books, he was a member of the executive board of the United States Olympic Committee. He was on the Athletes Advisory Council for 8 years as well as the Substance and Drug Abuse Committee, the Sports Medicine Committee, the Games Preparation Committee. Wilhelm was a high school track and field star for Fremont High School, was the 1963 CIF California State Meet shot put champion as well as runner up in the discus competition, he won. He continued his athletic development at Stanford University, competing in shot and wrestling, he was the 1965 Pacific-8 Conference Heavyweight Wrestling Champion and finished the season undefeated with 21 victories. He finished 4th in the 1966 AAU National Freestyle Greco Roman Championships. After one year at Stanford, Wilhelm transferred to Oklahoma State University where, in addition to throwing the shot, he was a member of the varsity wrestling team.
He placed in the top 10 US Men's Shot rankings for 1967, 1969, 1970, 1971, 1972, 1973, still is #251 on the all-time world shot put records, with a mark of 20.12m set on July 8, 1972 during the Olympic trials. Wilhelm became a weightlifter, was the US National AAU Super Heavyweight Weightlifting Champion for both 1975 and 1976, he won a silver medal for the United States at the 1975 Pan-American Games in Mexico City in the +110 kg division, placed 5th at the 1976 Olympic Games in Montreal, QC, Canada. Wilhelm won the inaugural World's Strongest Man competition in 1977, returned to win again in 1978, he spent several years helping to organize and officiate further contests
Louise de La Vallière was a mistress of Louis XIV of France from 1661 to 1667. She became the Duchess of La Vallière and Duchess of Vaujours in her own right, she has no known surviving descendants. Louise was very religious and she led a religious penance for herself near the end of her life. Born on 6 August 1644 at the Hôtel de la Crouzille in Tours, Françoise Louise de La Baume Le Blanc, was the daughter of Laurent de La Baume Le Blanc, Marquis de La Vallière and officer in the royal army, by his wife Françoise Le Provost a widow of a councillor in the Parlement of Paris, she spent her early infancy in her birthplace, the Château d'Amboise and the Château de La Vallière in Reugny, a possession of her family. On the death of her father in 1651, Louise's mother married in 1655 in Blois for the third time to Jacques de Courtavel, marquis de Saint Rémy and butler of Gaston, Duke of Orléans, the uncle of King Louis XIV of France in exile in the Blésois. Louise served as a companion to the three younger daughters of the Duke of Orléans, who were about her age, was educated with them.
Although she was neither a striking beauty nor brilliant, Louise had qualities that attracted attention. Although she was afflicted with a limp, she was an accomplished and graceful rider and dancer. After the death of the Duke of Orléans, his widow moved with her daughters to the Luxembourg Palace in Paris and took the sixteen-year-old Louise with them. Through the influence of a distant kinswoman, Mme de Choisy, Louise was named Maid of honour to Princess Henrietta Anne of England, sister of King Charles II of England, about her own age and had just married Philippe I, Duke of Orléans, King Louis XIV's brother. Henrietta was attractive and joined the court at Fontainebleau in 1661, her friendly relationship with her brother-in-law the King caused some scandal and fed rumors of a romantic affair. To counter these rumors, the King and Madame decided that the King should pay court elsewhere as a front, Madame selected three young ladies to "set in his path", Louise among them; the Abbé de Choise reported that the seventeen-year-old girl "had an exquisite complexion, blond hair, blue eyes, a sweet smile... an expression once tender and modest."
One of her legs was shorter than the other. Louise had been at Fontainebleau only two months before becoming the king's mistress, ignorant of being part of a ploy to cover the scandal between the King and his sister-in-law, ignored the ploy, believed in the sincerity of the monarch and was delighted. However, the king was trapped in his own game: conquered by Louise's horse riding and hunting talents, her taste for music and singing, her dancing skills, her knowledge of books and literature and without doubt her innocence and sincerity of feelings about him he fell under the spell of the young innocent girl and soon fell in love with her; the liaison, although discreetly maintained, was known and caused anger among devotees and clergymen, such as Jacques-Bénigne Bossuet, the embittered sarcasm of the Duchess of Orléans. According to Charles Augustin Sainte-Beuve, Louise symbolized the "perfect lover", the one who loves only for love, without pride or caprice, without ambition or vanity, whose sensitivity does not hide the firmness of heart.
For Louise, this was her first serious attachment and she was an innocent, religious girl who brought neither coquetry nor self-interest to their secret relationship. She was not extravagant and was not interested in money or titles that could come from her situation. Antonia Fraser writes that she was a "secret lover not a Maîtresse-en-titre like Barbara Villiers." Nicolas Fouquet's curiosity in the affair was one of the causes of his disgrace, when he bribed Louise, the king mistakenly thought that Fouquet was attempting to take her as a lover. However, the King wanted to avoid the scandal and to spare his mother, Anne of Austria a painful confrontation between them. Louise was installed in a small castle used as hunting lodge which she enjoyed, located not far from Saint-Germain-en-Laye, in the forest of the village of Versailles. In 1664 Louis XIV hosted there a splendid party called The Pleasures of the Enchanted Island, where Molière presented The Princess of Elid, The Mad and Tartuffe, or, the Impostor, with the musical arrangements of Lully.
The Queen and the Queen Mother were the official dedicators while Louise was the unofficial dedicatee. In February 1662, the couple fell into conflict. Despite being directly questioned by the king, Louise refused to tell her lover about the affair between the Duchess of Orléans and the comte de Guiche. Coinciding with this, Bossuet delivered a series of Lenten sermons in which he condemned the immoral activities of the king through the example of King David's adultery, the pious girl's conscience was troubled, she fled to the convent at Chaillot. Louis followed her there and convince
Eric Frank Penn was an English soldier and a cricketer who played first-class cricket for Cambridge University and the Marylebone Cricket Club between 1898 and 1903. He was born at Westminster and died in the fighting of the First World War near Loos, France. Eric Penn was the eldest son of William Penn, a cricketer and a businessman who ran the family engineering company of John Penn and Sons founded by his own father, John Penn, based in Greenwich, London. Eric Penn was educated at Trinity College, Cambridge. Penn played cricket as a right-handed middle-order batsman and a right-arm slow bowler while at school. At Cambridge, he played in a few first-team games in 1898 but did not consolidate his place in the side and was not picked for the University Match against Oxford University. In 1899, he played as a lower-order batsman and bowler and in the match against the MCC he took five second-innings wickets for 47 runs, the best bowling performance of his first-class cricket career, he was awarded a Blue.
There was a hiatus in Penn's university and cricket career, as he joined the 3rd battalion of the Royal Scots as a lieutenant on 30 August 1899. The battalion was embodied in December 1899 to serve in the Second Boer War, in early March 1900 left Queenstown on the SS Oriental for South Africa, he returned to both Cambridge and cricket for the 1902 season, when he had less success as a bowler but more as a batsman, scoring 51 not out in the match against Ireland, his only half-century. He again made little impact in the University Match. Penn appears to have left Cambridge University without taking a degree, he played in only one further first-class cricket match – a single game for MCC against Cambridge University in 1903. From 1899 to 1906 he played Minor Counties cricket for Norfolk, where his father had bought Taverham Hall near Norwich. On the outbreak of the First World War, Penn joined the Norfolk Yeomanry. In 1906, Penn married Gladys Eveleen Ebden, daughter of Charles Ebden of Baldslow Place near Hastings in East Sussex
Showcase is a Canadian English-language specialty channel owned by Corus Entertainment. The channel deals in scripted television series and films and was well known in its early years for featuring unconventional and risqué programming. Licensed in 1994, Showcase was a venture between Alliance Communications, the Canadian Broadcasting Corporation and a number of smaller independent Canadian producers, was intended to be a showcase for "the best of independently-produced movies, drama and mini-series from Canada and around the world", with limited content from the United States, it launched at midnight on January 1, 1995, with a short introductory montage and its first program, Monty Python's Life of Brian, shown as part of its program The Showcase Revue. When the network launched, it garnered some negative publicity due to a disclaimer that it would broadcast prior to reruns of older series; the disclaimer, which advised viewers to remember that "attitudes were not always the same as they are now" was applied to recent programs such as Seeing Things.
Following media scorn and accusations of political correctness and being condescending to viewers, Showcase abandoned this form of disclaimer. Showcase spawned two digital television services, the male-oriented Action and the more female-oriented Showcase Diva. On December 19, 2006 Alliance Atlantis launched a high definition simulcast of Showcase. Only one HD feed, simulcasting the East feed, launched prior to the shutdown of the West feed, it is carried on all major Canadian television service providers. After several acquisitions over the years, Alliance Atlantis gained full control of Showcase. On January 18, 2008, a joint venture between Canwest and Goldman Sachs Capital Partners known as CW Media bought Alliance Atlantis and gained AAC's interest in Showcase. Following its acquisition by Canwest, the channel's new management felt that Showcase's adult programming was alienating viewers and advertisers. In August 2009, Showcase underwent a major rebranding, introducing a new programming lineup with a greater focus on hit dramas and films.
Canwest executives hoped that the new lineup would make the channel more attractive to viewers and advertisers. While Showcase continues to air a thematically broad range of drama programming, its most recent successes in original programming, have been with science fiction and fantasy programming. In 2010, a new original series, the supernatural crime drama Lost Girl, brought the channel its highest-rated series premiere with around 400,000 viewers; this was bested less than two years by the debut of another original sci-fi series, which had an average audience of 900,000 viewers. On October 27, 2010, ownership changed again as Shaw Communications gained control of Showcase as a result of its acquisition of Canwest and Goldman Sachs' interest in CW Media. For the Fall 2013 season, Showcase unveiled a new tagline and branding campaign: "Character is Everything"; the four-week marketing campaign was highlighted by promos narrated by characters from Showcase's series in first-person. An interactive website was created by Stitch Media.
On it, viewers can create their own trailers for Showcase programming based their own character. To coincide with the campaign, Showcase tweaked some of its on-air graphics. On March 30, 2015, to commemorate the 20th anniversary of the network's launch, Showcase underwent a brand refresh, including a new logo — an updated version of the network's logo from 2000 — and a new slogan: "Beyond Ordinary". From the beginning, Showcase has aired reruns of Canadian series, with the lineup changing from year to year, along with foreign series and independent films. It's known for carrying numerous TV series from American cable channels such as Syfy. In recent years, the channel has increasingly aired second window repeats of both premium and network television series. Showcase has aired first-run Canadian series, dubbed "Showcase Originals". In the past, these have included Paradise Falls, KinK, Naked Josh. Another of these shows, the low-budget Trailer Park Boys became a bona fide national phenomenon, spawning DVDs, merchandising tie-ins, two feature films.
The success of Trailer Park Boys led to the increasing prominence of edgy and risqué programming on Showcase, including a block consisting of its eroticism-themed shows known as Fridays Without Borders. In recent years, Showcase has partaken in international co-productions; the channel was subject to a condition of licence obligating it to air 100% Canadian content between 7:00 p.m. and 10:00 p.m. in the time zone of the originating feed. While some foreign programming did air in the late afternoon prior to this window, any foreign programming subject to watershed restrictions was required to air at 10:00 p.m. EST or later. For a few years beginning in fall 2005, when the channel was drawing most of its highest ratings for programming acquired from U. S. cable networks, Showcase promoted 10:00 p.m. as its flagship timeslot hiring branded taxis in major markets to drive people home for free by 10:00 p.m. In March 2015, the CRTC announced it would no longer enforce conditions of licence related to nature of service.
The channel operated two timeshif
The Equestrian Statue of King Louis XIV is a sculpture designed and executed by the Italian artist Gian Lorenzo Bernini, brought to France to design a new facade of the Louvre, a portrait bust, an equestrian statue. Bernini first discussed the project while in France in the mid-1660s, but it did not start until in the decade, when back in Rome, it was not completed until 1684, shipped to Paris in 1685. Louis XIV of France was unhappy with the end result and had it placed in a corner of the gardens of the royal palace at Versailles. Soon after, the sculpture was modified by François Girardon and altered into an equestrian sculpture of the ancient Roman hero Marcus Curtius. For much of the 17th century Bernini was regarded as the premier artist of the era, serving as the primary source of artistic works commissioned by Pope Urban VIII; as a result, Louis XIV invited him to come to France to work in the name of the French monarchy. Bernini accepted this invitation, traveling to Paris to construct an equestrian statue and a portrait bust, as well as a new façade of the Louvre.
The day after his arrival in Paris on June 3, 1665, Bernini concluded that the work, done on the Louvre by Louis Le Vau, a French Classical Baroque architect, hired by Louis XIV, was inadequate, deciding instead to create his own designs, citing his own observations of palaces throughout his career. Bernini would propose to abandon Le Vau’s ongoing project, instead insisting that he would provide the design details himself. Bernini's first concept for the planned east façade, which placed a heavy emphasis on curved wings in the Italian style, was immediately rejected. Jean-Baptiste Colbert stated that Bernini's plans to place the king's own room in the outwardly protruding central pavilion would be a noisy location due to its close proximity to the nearby street and foot traffic. Following the rejection of the first draft, Bernini sent in a second draft which too was rejected by Colbert, though unlike the first and the third drafts an image does not appear to have survived; the third and final draft, which had eliminated the curved wings that Bernini envisioned, was praised by Louis, who had held a formal ceremony to lay the cornerstone of the new facade.
However as soon as Bernini left France to return to Rome, Louis ordered the construction of the to stop. Bernini followed French tradition creating equestrian statues of French kings in their own residences, with notable examples by Francois Mansart, Charles Perrault, Pierre Cottard. Despite tradition, Bernini was the first in France to design an equestrian statue to be freestanding with a rearing horse rather than attached to building; the precedent for this was Pietro Tacca's sculpture of Philip IV in the garden of Buen Retiro in Madrid, considered to be the first equestrian monument displaying a rearing rider since antiquity. This emulation reflected the Franco-Spanish rivalry during the reign of King Louis XIV. In many images that capture the likeness of Louis XIV, the principle component was the metaphor of Louis’ reign, the sun, which conforms to the tradition of the oriens augusti, or “the rising of the august one”, a term that identifies a ruler with the sun; the sun was one of many symbols for Pope Urban VIII, Bernini’s greatest patron.
In his time serving Urban VIII, Bernini was involved in the design of a frescoed vault within the Barberini Palace in Rome in which Divine Wisdom appears with the symbol of the sun on her breast. In the fall of 1684, the statue was shipped from Italy by boat. In March of 1685, the Statue arrived in Paris; the statue was shipped to Versailles during August and September, arriving at the palace on October 1st, 1685. By the ninth, the statue was placed in one of the galleries there. On the 14th of November 1685, Louis XIV saw the statue for the first time in the orangerie, Marquis de Dangeau recorded that the king had resolved to remove the statue from the grounds and to destroy it; the statue, was not destroyed, but moved to another location on the main axis of the Orangerie, south of the pool. In September of 1686, Bernini’s statue was displaced by Domenico Guidi’s La Renommee de Louis XIV; the statue was moved to a location on the far side of the newly constructed Neptune Basin, the most northern point on the north-south axis of the Garden.
It was placed on a high pedestal. This location was not one of obscurity, but of prominence. In 1702, after the transformation from Louis XIV to Marcus Curtius, the Roman hero, the statue was moved to the end of the Lake of the Swiss Guards; the Statue was positioned near the pool, which symbolizes the abyss that Marcus Curtius throws himself into. Rather than being rejected, the statue was placed in several areas of prominence over a 16-year period, before being placed on the far side of The Lake of the Swiss Guard at the opposite end of the palace grounds from the Basin of Neptune. Upon viewing the completed equestrian statue, Louis XIV had declared it to be an abomination and ordered it to be destroyed; as a result, it was placed at the end of the Lake of the Swiss Guards separating the statue and the main palace grounds. In spite of Louis's public rejection of the equestrian statue, its form inspired future royal portraits of the king, including a marble creation by Antoine Coysevox depicting Louis XIV on horseback which sits in the Salon of War at Versailles, making corrections to facial characteristics created by Bernini which the French king interpreted as a slight against him, creating a more somber expression and raising the forehead to a more