A guitarist is a person who plays the guitar. Guitarists may play a variety of guitar family instruments such as classical guitars, acoustic guitars, electric guitars, bass guitars; some guitarists accompany themselves on the guitar by playing the harmonica. The guitarist may employ any of several methods for sounding the guitar, including finger picking, depending on the type of strings used, including strumming with the fingers, or a guitar pick made of bone, plastic, felt, leather, or paper, melodic flatpicking and finger-picking; the guitarist may employ various methods for selecting notes and chords, including fingering, the barre, and'bottleneck' or steel-guitar slides made of glass or metal. These left- and right-hand techniques may be intermixed in performance. Several magazines and websites have compiled what they intend as lists of the greatest guitarists—for example The 100 Greatest Guitarists of All Time by Rolling Stone magazine, or 100 Greatest Guitarists of All Time by Guitar World magazine.

Rolling Stone In 2003, Rolling Stone magazine published a list called The 100 Greatest Guitarists of All Time. This list included 100 guitarists whom the magazine editor David Fricke considered the best, with a brief introduction for each of them; the first in this list is the American guitarist Jimi Hendrix introduced by Pete Townshend, guitarist for The Who, who was, in his turn, ranked at #10 in the list. In describing the list to readers, Paul MacInnes from British newspaper The Guardian wrote, "Surprisingly enough for an American magazine, the top 10 is fair jam-packed with Yanks," though he noted three exceptions in the top 10; the online magazine Blogcritics criticized the list for introducing some undeserving guitarists while forgetting some artists the writer considered more worthy, such as Johnny Marr, Al Di Meola, Phil Keaggy or John Petrucci. In 2011, Rolling Stone updated the list, which this time was chosen by a panel of guitarists and other experts with the top 5 consisting of Jimi Hendrix, Eric Clapton, Jimmy Page, Keith Richards and Jeff Beck.

Artists who had not been included in the previous list were added. Rory Gallagher, for example, was ranked in 57th place; the 100 Greatest Guitarists of All Time is mentioned in many biographies about artists who appear in the list. Guitar World Guitar World, a monthly music magazine devoted to the guitar published their list of 100 greatest guitarists in the book Guitar World Presents the 100 Greatest Guitarists of All Time from the Pages of Guitar World Magazine. Different from the Rolling Stone list, which listed guitarists in descending order, Guitar World divided guitarists by music genre—such as "Lords of Hard Rock" for hard rock artists or "Jazzmen" for jazz players. Despite the appearance in other magazines like Billboard, this publication by Guitar World was criticized for including no female musicians within its selection. However, Guitar World published a list of "Eight Amazing Female Acoustic Players," including Kaki King, Muriel Anderson and Sharon Isbin. TIME and others Following the death of Les Paul, TIME website presented their list of 10 greatest artists in electric guitar.

As in Rolling Stone magazine's list, Jimi Hendrix was chosen as the greatest guitarist followed by Slash from Guns'N' Roses, B. B. King, Keith Richards, Jimmy Page, Eric Clapton., an online music magazine ranks Jimi Hendrix as the greatest guitarist followed by Jimmy Page, B. B. King, Keith Richards and Kirk Hammett. There are many classical guitarists listed as notable in their respective epochs. In recent decades, the most "notable classical and cross genre" guitarist was Paco de Lucía, one of the first flamenco guitarists to have crossed over into other genres of music such as classical and jazz. Richard Chapman and Eric Clapton, authors of Guitar: Music, Players, describe de Lucía as a "titanic figure in the world of flamenco guitar", Dennis Koster, author of Guitar Atlas, has referred to de Lucía as "one of history's greatest guitarists.". Another classical guitarist who has enjoyed great success is Tommy Emmanuel. Media related to Guitarists at Wikimedia Commons

Eloise (1955 book)

Eloise is the first of the Eloise book series of written and drawn by Kay Thompson and Hilary Knight, respectively. It was published in 1955. In 1969, the adult-oriented book was re-released as a children's book. An audiobook version of Eloise, narrated by Bernadette Peters, was released in October 2015 to coincide with the 60th anniversary of the series. Again, the book was meant for "child at heart" adults looking for a good read. After the book and story were bought by Disney and turned into a children's movie, it skyrocketed to success for both audiences; this was a major marketing point and strategy for children books and learning on independence and recreational activities to do with parents. On, there were two additional movies made by Disney and Co; the first movie entitled Eloise at the Plaza was released on April 27th, 2003 as a spin off from the original book. Afterwards, Eloise at Christmastime was released on November 22, 2003. Although this film did not do as well in ratings comparatively to its predecessor, audiences still enjoyed the film, but admitted was geared towards children more than a general audience.

Both films feature actress and performer Julie Andrews. On April 23, 2003, Eloise was adapted into a live-action made-for-TV film, titled Eloise at the Plaza, produced by DiNovi Pictures and Handmade Films for Walt Disney Television with distribution handled by ABC Television Network, it was released on both DVD in the same year by Buena Vista Home Entertainment. After the release of the first movie, Eloise at Christmastime was released on November 22, 2003 on VHS and DVD in the same year. Eloise Book Review

Northumberland Apartments

The Northumberland Apartments is a historic apartment building at 2039 New Hampshire Avenue NW in the U Street Corridor of Washington, D. C; the Classical Revival building was constructed in 1909-10 by local real estate developer Harry Wardman and Albert H. Beers. In 1980, the building was placed on the National Register of Historic Places; the Northumberland Apartments occupies a significant lot on New Hampshire Avenue, N. W; the irregular shape of the lot, created by the intersection of this major diagonal avenue and the grid of L'Enfant's 1791 plan for the Federal City, dictated the shape of the building. The Northumberland's eclectic, classical facade blends harmoniously with the buildings in the area and contributes to the visual variety and richness of the New Hampshire Avenue streetscape between Sixteenth Street and Florida Avenue; the building remains an unaltered element in a neighborhood identity created by Victorian rowhouses, large apartment buildings, churches and institutional buildings.

The variety of building types and styles, the unusual spatial configuration of the short blocks and irregularly-shaped lots, creates a richness of streetscape found so intact in the city today. Beers designed the Northumberland in an eclectic early-twentieth century adaptation of eighteenth-century classicism, its design and conception were French in origin, illustrating Beers' familiarity with the current fashion in apartment design. The quality of construction and craftsmanship found in the building is exceptionally high; the Northumberland stands in its original state. The Northumberland is the only such example of an early-twentieth century luxury apartment building left intact in Washington; the Northumberland is approached by a semi-circular driveway. The building is red and white brick and dressed limestone and features an eclectic collection of classical architectural elements; the facade is divided into three horizontal bands. The upper and lower bands are each two stories high; the configuration of the fenestration is the same on both levels, although the scale is smaller in the upper band.

The windows are paired vertically - an arched window above a square one - and contained within a quoined Gibbsian surround that encompasses the windows and the spandrel between. Similar limestone quoins are found at the corners of the two bands; the middle band of three floors is rough red brick. The rectangular windows are unusually large and are capped by pressed brick jack arches with stone console keystones. An elaborate metal bracketed cornice forms a projecting cap for the building and eloquently defines the roofline; the variety and richness of the materials and textures contribute to the impressive dignity of the Northumberland. Other detailing, including limestone ledges and quoins, add a decorative element; the most distinctive feature of the facade is the Palladian-inspired recessed entry. The curved space, framed by two pairs of Ionic columns and pilasters, is 16 feet high and over 22 feet wide. Above is a 4-foot high entablature capped by two classical stone urns; the wide door, with its elliptical fanlight and sidelights, is set in a deep niche.

The fenestration plays a major role in determining the feeling of the facade. The windows are unusually large for some measuring over 6 feet 6 inches square; the variety of sash types, including 16/1, add to the richness of the design. Consoles and metal ornamentation provide additional embellishment; the consoles are two types - metal under the projecting limestone above the windows. The Former are decorated with chased acanthus leaves; the latter serve as the keystones in the jack arches above the windows. Other decorative metal details include four types of molding, a large floral frieze, chamfered metal panels; the exterior of the Northumberland, in spite of its variety of materials and architectural elements, hardly prepares one for the explosion of decorative features and materials in the main public space of the building. The lobby has been described as unique among Wardman's many buildings; some connoisseurs of architectural history consider it the most distinctive lobby in the city. Eclectic in design and decoration, it reflects the taste in vogue in New York City luxury apartments at the turn of the 20th century.

It boasts four columns with ornamental capitals. The staircase and lighting fixtures exhibit fine handwrought iron work; the central staircase, with white-grey marble steps, branches at the landing with separate marbleized staircases leading to each wing of the building. The three stairways are well related visually. Facing the entrance at the first landing are three original curved stained glass windows with heraldic monograms; the two fireplaces, which face one another, are 6 feet 2 inches high, 9 feet wide, 1 1⁄2 feet deep. The construction is wood, marbleized to match the color of the walls; the two marbleized staircases curve and extend 6 feet 2 inches from the lobby to the first floor. Each is headed by a finial in the form of an obelisk 5 feet 7 inches tall, containing six marble steps, six unusually shaped balusters. Quasi columns form the end of the staircases, complete with eclectic capitals and elements of decoration that form part of the over-all lobby pattern. An elegant arch highlights the entrance to the corridors.

The main staircase to the first landing has thirteen marble steps. The lobby floor consists of the same ceramic tile and decorative pattern as is found in the corridors; the transom over the door is in the for