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Vaughn Shoemaker

Vaughn Richard Shoemaker was an American editorial cartoonist. He won the 1938 and 1947 Pulitzer Prize for Editorial Cartooning and created the character John Q. Public. Shoemaker spent 22 years there, his 1938 Pulitzer cartoon for the paper was "The Road Back", featuring a World War I soldier marching back to war. The 1947 winning cartoon for the paper was "Still Racing His Shadow", featuring "new wage demands" of workers trying to outrun his shadow "cost of living", he went on to work for the New York Herald Tribune, the Chicago American, Chicago Today. By his 1972 retirement he had drawn over 14,000 cartoons, he lived in Carol Stream and died of cancer at the age of 89. "Vaughn Shoemaker. Public". New York Times. August 22, 1991. Retrieved April 5, 2011

Matt Scannell

Matthew B. Scannell is an American singer, songwriter and multi-instrumentalist. Scannell is the lead vocalist, lead guitarist, primary songwriter, founding member of the alternative rock band Vertical Horizon. Scannell is a native of Massachusetts, he was given his first guitar. Scannell attended high school at Deerfield Academy in Massachusetts, he enrolled at Georgetown University in Washington D. C. after graduation from high school. In 1990, Scannell and another Georgetown student, Keith Kane, formed Vertical Horizon; the two began performing in Washington clubs in October 1991. Scannell received a bachelor's degree in psychology from Georgetown University in 1992; the duo released their first album and Back Again, in 1992 after graduation from Georgetown. Scannell has since appeared as the lead vocalist of all of Vertical Horizon's albums. Singer Richard Marx and Scannell collaborated to release the albums Duo in 2008 and Duo Live in 2010. On June 8, 2011, Scannell appeared at the Arcada Theatre in St. Charles, with actor Hugh Jackman.

Scannell and Jackman were invited to perform as guests of Marx. Songfacts: Interview with Matt Scannell

The Spell (Alphabeat album)

The Spell is the second studio album by Danish band Alphabeat. It was released on 26 October 2009 by Copenhagen Records. Alphabeat stated their second album would be a departure from the pop roots of their debut studio album, Alphabeat, in favour of dance acts from the 1990s such as Snap! and Black Box, with band member Anders SG saying the title track was inspired by Black Box's 1990 song "I Don't Know Anybody Else". The album was set to be released in the United Kingdom one week after the original Danish release, but was released on 1 March 2010, followed by the second single, "Hole in My Heart". For its international release, the album was retitled The Beat Is... and includes the bonus track "Till I Get Round". In November 2010, the album earned Alphabeat the Danish Music Award for Danish Group of the Year. "The Spell" was released in Denmark on 21 September 2009. It topped the Danish Singles Chart for four non-consecutive weeks, while reaching number six in Belgium, number 11 in the Netherlands and number 20 in the United Kingdom.

"Hole in My Heart" was released on 21 February 2010 as the album's second UK single and third single overall, peaking at 29 on the UK Singles Chart. "DJ", released on 9 January 2010 as the album's second single in Denmark, peaked at number six on the Danish chart. When released as the third UK single on 31 May 2010, the track was remixed by Biffco and issued as "DJ", but failed to chart within the UK top 100, instead reaching number 116."Heat Wave" was released in Denmark on 21 June 2010 as the album's fourth and final single overall. It charted at number four in Denmark, the group's second highest-peaking single in their home country; the Beat Is... received mixed reviews from music critics. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream publications, the album received an average score of 58, based on seven reviews. K. Ross Hoffman of AllMusic viewed the album as "an glossier, more unabashedly poptastic affair than their first album", adding that it "takes its cues from turn of the'90s club music: Hi-NRG, Euro-beat, hip-house, the Scandinavian synth-reggae of Ace of Base."

Hugh Montgomery wrote for The Observer that the album finds the group "appropriating the handbag house sound, the cornerstone of provincial clubs circa 1995. Thus jittery piano riffs and hands-in-the-air breakdowns abound, while singer Stine hollers dancefloor doggerel." Simon Gage of the Daily Express described the songs as "chirpy and silly with witty lyrics", while calling the music itself "Euro-nonsense at its finest". Stephen Kelly of NME commented that Alphabeat "have bravely stripped away all the bubblegum that made them popular in favour of the Euro-dance years of the late-'80s/early-'90s; the result is stronger than you might think, but too inconsistent and devoid of depth to stand out on a battlefield where Gaga rules all."The Times critic Peter Paphides opined that the album "varies the tempo and tone without sacrificing the joyful execution. The ultra-catchy single,'The Spell', is an apt microcosm of a whole that peaks with the Italo-house urgency of'365 Degrees'. But, if'Chess" resemblance to Ace of Base strikes you as a bad thing, the rest may not appeal to you either."

Michael Cragg of musicOMH noted that "hings start promisingly, with the first four songs zipping by in a blaze of joyfully cheesy beats,'90s rave piano and neat vocal interplay between singers Anders SG and Stine Bramsen", but felt that the remainder of the album "lacks any sparkle or panache, with the band falling foul of a current musical disease. Lauren Murphy of entertainment.ie concluded that the group "may have lost some of their magic, but they admittedly make reparations with the damned catchy'Heat Wave' and'The Right Thing', two of the peppiest tunes on offer here. It's not quite enough to prevent this album from being something of an anticlimax. A stylised one, sure—but a disappointment, nonetheless." The Guardian's Michael Hann expressed, "The glee that infused that first album has been swamped by endless staccato synth or piano riffs, all of which sound like a score of minor hits from a generation ago." Aaron Lavery of Drowned in Sound panned the album as "an absolute abomination of a record" and stated, "Gone is any sense of personality or charm that Alphabeat once had, to be replaced by masses of Autotuned vocals, processed beats and batteries of keyboard sounds that haven't been aired since Ace Of Base and 2Unlimited ruled the waves."

Credits adapted from the liner notes of The Beat Is... Alphabeat Anders B – production Troels Hansen – production Rasmus Nagel – production Anders SG – production Additional personnel

The Secret Life of an American Wife

The Secret Life of an American Wife is a 1968 comedy film written and directed by George Axelrod. The film was released by 20th Century Fox in 1968, was considered a box-office failure, it features a music score by Billy May. Edy Williams has a supporting role in the film as the Laytons' blonde bombshell neighbor. Victoria Layton is a suburban housewife, dissatisfied with her marriage and fears that her sex appeal is fading, her husband works as a press agent, his only client is a movie star, known as an international sex symbol. Upon hearing that The Movie Star indulges in the services of prostitutes, Victoria decides to pose surreptitiously as one in order to prove to herself that she is still sexually attractive. Walter Matthau as The Movie Star Anne Jackson as Victoria Layton Patrick O'Neal as Tom Layton Edy Williams as Susie Steinberg Richard Bull as Howard Paul Napier as Herb Steinberg Gary Brown as Jimmy Albert Carrier as Jean-Claude According to Fox records the film required $4,300,000 in rentals to break and by 11 December 1970 had made $3,725,000 so made a loss to the studio.

The Secret Life of an American Wife on IMDb The Secret Life of an American Wife at Rotten Tomatoes

Four kingdoms of Daniel

The four kingdoms of Daniel are four kingdoms which, according to the Book of Daniel, precede the "end-time" and the "Kingdom of God". Daniel was one of many Hebrew young men in particular taken captive by the Babylonians, he had been well educated in his native Israel, why he as well as others were chosen to be trained for service in the Babylonian king's household. This was a dark time for the people of Israel, the Babylonian Captivity was a judgment by God upon them for forsaking His Commandments and instructions. God had forewarned Israel many times prior to this. "Belteshazzar" was the Babylonian name given to Daniel, which undoubtedly referred to a Chaldean deity. Daniel's writings cover the Israeli Captivity under Babylon and the Mede-Persian Empires, he was always favored for his wisdom, which he attributed to God. In chapter 2, Nebuchadnezzar dreams of a statue made of four different materials, identified as four kingdoms: Head of gold. Explicitly identified as King Nebuchadnezzar. Chest and arms of silver.

Identified as an "inferior" kingdom to follow Nebuchadnezzar. Belly and thighs of bronze. A third kingdom which shall rule over all the earth. Legs of iron with feet of mingled iron and clay. Interpreted as a fourth kingdom, strong as iron, but the feet and toes of clay and of iron show it shall be a divided kingdom. In chapter 7, Daniel has a vision of four beasts coming up out of the sea, is told that they represent four kingdoms: A beast like a lion with eagle's wings. A beast like a bear, raised up on one side, with three ribs between its teeth. A beast like a leopard with four wings of fowl and four heads. A fourth beast, with large iron teeth and ten horns; this is explained as a fourth kingdom, different from all the other kingdoms. The ten horns are ten kings. A further horn appears and uproots three of the previous horns: this is explained as a future king. In chapter 8 Daniel sees a ram with two horns destroyed by a he-goat with a single horn. Rashi, a medieval rabbi, interpreted the four kingdoms as Nebuchadnezzar, Alexander of Macedon, the Roman Empire.

Rashi explains. From the time of the Protestant Reformation in the 16th century, the "four monarchies" model became used by all for universal history, in parallel with eschatology, among Protestants; some continued to defend its use in universal history in the early 18th century. Christopher Cellarius, based on the distinctive nature of medieval Latin; the modern historicist interpretations and eschatological views of the Book of Daniel with the Book of Revelation resemble and continue earlier historical Protestant interpretations. There are references in classical literature and arts that predate the use of the succession of kingdoms in the Book of Daniel. One appears in an author quoted by Velleius Paterculus; this gives Assyria, Media and Macedonia as the imperial powers. The fifth empire became identified with the Romans. An interpretation that became orthodox after Swain sees the "four kingdoms" theory becoming the property of Greek and Roman writers at the beginning of the 1st century BCE, as an import from Asia Minor.

They built on a three-kingdom sequence mentioned by Herodotus and by Ctesias. Mendels contests this dating and origin, placing it in the century. Jewish Reconstructionists and Full Preterists believe that Daniel is fulfilled, that the believers are now working to establish the Kingdom of God on earth. Two main schools of thought on the four kingdoms of Daniel, are: the traditionalist view, supporting the conflation of Medo-Persia and identifying the last kingdom as the Roman Empire; the Maccabean thesis, a view that supports the separation of the Medes from the Persians and identifies the last kingdom as the Seleucid Empire. The following interpretation represents a traditional view of Jewish and Christian Historicists, Dispensationalists, Partial Preterists, other futuristic Jewish and Christian hybrids, as well as certain Messianic Jews, who identify the kingdoms in Daniel as: the Babylonian Empire the Medo-Persian Empire the Greek Empire the Roman Empire, with other implications to come laterJerome described this scheme in his Commentary on Daniel.

Within this framework there are numerous variations. Christian interpreters read the Book of Daniel along with the New Testament's Book of Revelation; the Church Fathers interpreted the beast in Revelation 13 as the empire of Rome. The majority of modern scholarly commentators understand the "city on seven hills" in Revelation as a reference to Rome. Full Preterists, certain Reconstructionists and other non-futurists typically believe in the same general sequence, but teach that Daniel's prophecies ended with the destruction of the Second Temple of Jerusalem, have few to no implications beyond that. Jewish and Christian Futurists, Dispensationalists, and, to some degree, Partial Preterists believe that the prophecies of Daniel stopped with the destruction of the Second Temple of Jerusalem.

Cornell Fine Arts Library

The Cornell Fine Arts Library is an extensive educational facility that services the College of Architecture and Planning at Cornell University. In 1871, three years into his tenure as the first president of Cornell University, Andrew Dickson White proposed to give his architectural library, the largest collection in the country at that time, to the university in return for the creation of a Department of Architecture. In the following decade, the College of Architecture grew and so did the library, collecting the working drawings of leading architects of the day; as the architecture department moved to accommodate a need for more space, between building on the Cornell Central Campus, the library moved and expanded with it. With the opening of Milstein Hall in 2011, the Fine Arts Library was moved once again: from Sibley Hall into the third floor of the adjacent building Rand Hall. In the process of moving, the library has had too reevaluate the usefulness of much of its historical materials.

In 2009, the Knight Visual Resources Facility closed in light of changing forms of information access, media technology and exchange. It had contained images to support instruction at Cornell University that included subjects in art history, landscape architecture, material culture and other documentary material. After its closure, the College of Architecture and Planning was left with hundreds of thousands of 35mm slides, as well as some lantern slides, which had served the teaching needs of the architecture and art communities at Cornell. Cornell University, among other academic institutions, has struggled with what to do with its outdated collections and whether they should continue to be preserved in archives or disposed of. "Early on, based on criteria including provenance, significance and need, the advisory group and consultants determined that the bulk of the 35mm slide collection should not be retained. Although the collection had been a rich, invaluable resource for teaching within AAP and related disciplines, many parts of the collection did not have significant original archival value.

In other words, since the images consisted of surrogates of published materials, they had limited potential research use as primary historical documents. Whereas the completeness and local availability of the collection had been important for its function as a teaching collection, at this time the collection was evaluated cross-institutionally –, common practice in special collections and common in visual resources collections, it was appraised based on the origin of the photographs and the availability of the images online or at other institutions. In addition, any slides recommended for archival retention were considered with respect to their potential research use in future image based historical scholarship" Cornell Fine Arts Library