Lawrence Donald Casey is a former professional and collegiate basketball coach. He has coached two National Basketball Association teams, the Los Angeles Clippers and the New Jersey Nets—each for a season and a half, he had coached the Temple Owls from 1973 to 1982. He worked as an assistant coach with the Chicago Bulls and Boston Celtics. Casey attended Camden Catholic High School; as a young man in the 1960s, Casey coached at Bishop Eustace Preparatory School in Pennsauken Township, New Jersey, where he was recommended for a job as a JV coach by a friend and took over the varsity squad after the coach left the job. His coaching led to two state championships. Casey coached Bill Melchionni, a high school and college great who played in the pros in the late 1960s with the ABA New York Nets and Philadelphia 76ers. In his first season as Temple head coach, Don Casey had his team stall with the basketball in the finals of the Volunteer Classic against Tennessee; the final score of the game was Tennessee 11, Temple 6, the lowest scoring major college basketball game since 1938.

As of February 2006, Casey is the vice-chairman of the President's Council on Physical Fitness and Sports, As of October 24, 2006, Casey is the head coach of the Hollywood Fame of the American Basketball Association's 21st century incarnation. BasketballReference.com: Don Casey

Völklingen station is the main railway station in the city of Völklingen in the German state of Saarland. It is now only served by passenger trains on the Saar line between Saarbrücken; the station is located south-west of central Völklingens on the southern ring road. To the west lies the World Heritage Site of the former Völklingen Ironworks, connected by sidings to the station’s yard; the station was built during the construction of the Saar line, opened from Saarbrücken to Merzig on 16 December 1858. In 1860, the first station building was built, located to the east of the present building. In the Franco-Prussian War, the station was a target of French artillery fire, which led to the closure of rail operations. In 1872, a branch line was built to the Grube Viktoria in Püttlingen branching off the Saar line to the east of the station; the Völklingen–Thionville railway was opened in 1880. In 1893 the station had become too small and the current Alten Bahnhof was built; the line to Püttlingen was extended to Lebach in 1911.

This line was closed in 1985 and today the section in Völklingen is used as a bike path. In the heyday of the nearby Völklingen Ironworks, the station served as an important transportation hub for steel workers and raw materials. From the mid-1960s the Saar line was electrified; the new station building adjacent to the existing building was opened in 1992 after a new building had been under discussion since 1975. The old station was heritage listed; until 2002, Völklingen was served by InterRegio trains. From 1909 to 1959, the Völklingen Tramway ran to the station; the station has three platform tracks and some freight tracks for trains running to the Völklingen steel mill. Barrier-free access existed only to platform 1. Platforms tracks 3 are only accessible via a pedestrian tunnel with stairs. Völklingen has a push-button interlocking, which went into service in 1964, it controls signals and points in Luisenthal and Ensdorf remotely. The old station building, built in 1893–94, is equipped with a pedestrian tunnel under the tracks and facilities and an entrance hall built in the 1950s.

The tripartite building was built of brick faced masonry on large sandstone plinths. In 1997, the Saarland State Development Corporation, acquired the 1600 square-metre station building and modernised it for € 2.9 million funded by the state, the Federal Republic of Germany and the European Union. It is intended to host a multimedia exhibition called Eingangstor leading to the Völklingen Ironworks World Heritage Site; the ceiling beams and medallions with territorial coats of arms mounted on the wall in 1893 have been restored. Since 1998, it has housed a theatre and a cinema, a tourist information centre for the city of Völklingen and a restaurant. Since 2002, it has housed an IT training centre of the community college of Völklingen; the passenger station is located in the middle of extensive railway tracks, used by freight traffic for the nearby iron and steel plants. In 1970, Völklingen was the destination of the heaviest freight trains operated by Deutsche Bundesbahn. South-west of the tracks is a building of the freight yard with a hipped roof with gables on both sides of a side projection.

The train controller’s building of Völklingen station, built in 1900, is part of the ensemble of the Völklingen pig iron production facilities that form the World Heritage Site. The station is classified by Deutsche Bahn as a category 4 station and its fares are regulated by the Saarländischen Verkehrsverbund; the station is in German fare zone 191. The station is now only served by regional trains: Outside the station, there is a bus station with bus connections to all parts of Völklingen, to France and to Lebach, Püttlingen and Überherrn. Barbara Neu M. A. "Völklingen". Bahnhöfe im Saarland. Retrieved 10 June 2012 "Track plan of Völklingen station". Deutsche Bahn. Retrieved 10 June 2012

Martin Luther King Jr. was an American Christian minister and activist who became the most visible spokesperson and leader in the Civil Rights Movement from 1955 until his assassination in 1968. King is best known for advancing civil rights through nonviolence and civil disobedience, inspired by his Christian beliefs and the nonviolent activism of Mahatma Gandhi. King led the 1955 Montgomery bus boycott and became the first president of the Southern Christian Leadership Conference; as president of the SCLC, he led an unsuccessful 1962 struggle against segregation in Albany and helped organize the nonviolent 1963 protests in Birmingham, Alabama. He helped organize the 1963 March on Washington, where he delivered his famous "I Have a Dream" speech on the steps of the Lincoln Memorial. On October 14, 1964, King won the Nobel Peace Prize for combating racial inequality through nonviolent resistance. In 1965, he helped organize the Selma to Montgomery marches. In his final years, he expanded his focus to include opposition towards the Vietnam War.

FBI Director J. Edgar Hoover considered him a radical and made him an object of the FBI's COINTELPRO from 1963 on. FBI agents investigated him for possible communist ties, recorded his extramarital liaisons and reported on them to government officials, and, in 1964, mailed King a threatening anonymous letter, which he interpreted as an attempt to make him commit suicide. Before his death, King was planning a national occupation of Washington, D. C. to be called the Poor People's Campaign, when he was assassinated on April 4 in Memphis, Tennessee. His death was followed by riots in many U. S. cities. Allegations that James Earl Ray, the man convicted of killing King, had been framed or acted in concert with government agents persisted for decades after the shooting. King was posthumously awarded the Presidential Medal of the Congressional Gold Medal. Martin Luther King Jr. Day was established as a holiday in cities and states throughout the United States beginning in 1971. Hundreds of streets in the U.

S. have been renamed in his honor, a county in Washington was rededicated for him. The Martin Luther King Jr. Memorial on the National Mall in Washington, D. C. was dedicated in 2011. King was born Michael King Jr. on January 15, 1929, in Atlanta, the second of three children to the Reverend Michael King Sr. and Alberta King. King's mother named him Michael, entered onto the birth certificate by the attending physician. Although, King Sr. would state that "Michael" was a mistake by the physician. King's older sister is Christine King Farris and his younger brother was A. D. King. King's maternal grandfather Adam Daniel Williams, a minister in rural Georgia, moved to Atlanta in 1893, became pastor of the Ebenezer Baptist Church in the following year. Williams was of African-Irish descent. Williams married Jennie Celeste Parks, they gave birth to King's mother, Alberta. King's father was born to James Albert and Delia King of Stockbridge, Georgia. In his adolescent years, King Sr. left his parents' farm and walked to Atlanta where he attained a high school education.

King Sr. enrolled in Morehouse College and studied to enter the ministry. King Sr. and Alberta began dating in 1920, married on November 25, 1926. Until Jennie's death in 1941, they lived together on the second floor of her parent's two story Victorian house, where King was born. Shortly after marrying Alberta, King Sr. became assistant pastor of the Ebenezer Baptist Church. Adam Daniel Williams died of a stroke in the spring of 1931; that fall, King's father took over the role of pastor at the church, where he would in time raise the attendance from six hundred to several thousand. In 1934, the church sent King Sr. on a multinational trip to Italy, Egypt, Israel Germany for the meeting of the Baptist World Alliance. The trip ended with visits to sites in Berlin associated with the Protestant reformation leader, Martin Luther. While there, Michael King Sr. witnessed the rise of Nazism. In reaction, the BWA conference issued a resolution which stated, "This Congress deplores and condemns as a violation of the law of God the Heavenly Father, all racial animosity, every form of oppression or unfair discrimination toward the Jews, toward coloured people, or toward subject races in any part of the world."

He returned home in August of 1934, in that same year began referring to himself as Martin Luther King Sr. and his son as Martin Luther King Jr. King's birth certificate was altered to read "Martin Luther King Jr." on July 23, 1957, when he was 28 years old. At his childhood home and his two siblings would read aloud Biblical scripture as instructed by their father. After dinners there, King's grandmother Jennie, who he affectionately referred to as "Mama", would tell lively stories from the Bible to her grandchildren. King's father would use whippings to discipline his children. At times, King Sr. would have his children whip each other. King's father remarked, " was the most peculiar child whenever you whipped him. He'd stand there, the tears would run down, he'd never cry." Once when King witnessed his brother A. D. upset his sister Christine, he took a telephone and knocked out A. D. with it. When he and his brother were playing at their home, A. D. slid from a banister and hit into their grandmother, causing her to fall down unresponsive.

King, believing her dead, blamed himself and attempted suicide by jumping from a second-story window. Upon hearing that his grandmother was alive, King rose and left the ground where

Giuditta Angiola Maria Costanza Pasta was an Italian soprano opera singer. She has been compared to the 20th-century soprano Maria Callas. Pasta was born Giuditta Angiola Maria Costanza Negri in Saronno, near Milan, on 26 October 1797, she was born of the Negri family. Her father, Carlo Antonio Negri, was a supporter of the Napoleonic Army, she studied in Milan with Giuseppe Scappa and Davide Banderali, with Girolamo Crescentini and Ferdinando Paer among others. In 1816, she took his surname as her own, she made her professional opera début in the world première of Scappa's Le tre Eleonore in Milan that same year. That year she performed at the Théâtre Italien in Paris as Donna Elvira in Don Giovanni, Giulietta in Niccolò Antonio Zingarelli's Giulietta e Romeo, in two operas by Paer. Pasta's first appearance in London in 1817 was a failure. Further studies with Scappa were followed by a successful debut in Venice in 1819, she caused a sensation in Paris in 1821–22, in the role of Desdemona in Gioachino Rossini's opera Otello.

She sang in London, Paris and Naples between 1824 and 1837. In Milan she created three roles, they were the title role of Donizetti's Anna Bolena given at the Teatro Carcano in 1830, the Amina in Bellini's La sonnambula and the protagonist's part of his Norma, which became three of her major successes. Stendhal had argued persuasively in 1824 for the necessity of a score composed expressly for Pasta. Pasta retired from the stage in 1835 and performed only infrequently after that date Pasta taught singing in Italy. Among her notable pupils were contralto Emma Albertazzi and soprano Marianna Barbieri-Nini and the English soprano Adelaide Kemble. Another pupil was Carolina Ferni, herself a noted Norma, who in her turn taught the soprano Eugenia Burzio whose recordings are known for their passionate expression. Pasta died in Blevio, a town in the province of Como on 1 April 1865, at the age of 67. Giuditta Pasta's voice was described by a New Monthly Magazine reviewer in 1824 as follows: It is a mezzo-soprano, somewhat similar to that of Madame Vestris, but clearer, more powerful, of greater compass.

She commands two octaves, but two or three of the highest notes of this range are forced, not agreeable. Her middle tones are full-bodied. In point of cultivation and science, she possesses, first of all, the rare merit of a pure intonation. We have not heard her once out of tune, her voice type was. It was described by Stendhal as follows: She can achieve perfect resonance on a note as low as bottom A, can rise as high as C♯, or to a sharpened D. I would suggest... that the true designation of her voice is mezzo-soprano, any composer who writes for her should use the mezzo-soprano range for the thematic material of his music, while still exploiting, as it were incidentally and from time to time, notes which lie within the more peripheral areas of this remarkably rich voice. Many notes of this last category are not only fine in themselves, but have the ability to produce a kind of resonant and magnetic vibration, through some still unexplained combination of physical phenomena, exercises an instantaneous and hypnotic effect upon the soul of the spectator.

This leads to the consideration of one of the most uncommon features of Madame Pasta's voice: it is not all moulded from the same metallo, as it is said in Italy. In 1829 named cantante delle passioni by Carlo Ritorni, one of the most erudite critics of the period, he described her as such because her voice was directed "towards expressing the most intense passions, accompanying it with expressions of physical action, unknown before her in the lyric theatre". In modern times Susan Rutherford has made a specific comparison with Callas: For the impact of corporeality on vocal timbre and delivery, in the absence of Pasta's own explanations of its effect, we might turn to another distinctive attrice cantante from a quite different period, Maria Callas, she argued that gesture and facial expression must precede word in order to create the appropriate vehicle. It isn't fame that makes Pasta interesting:... Pasta's singularity is measured rather by the tone and extent of the debates her celebrity provoked, by her influence on the operatic stage, by the timing of her career at the transition from Rossinian opera to the works of Bellini and Donizetti.

No other singer during that period attracted as much intellectual discussion, or was regarded as of such significance in the articulation of theories around operatic practices. For such reasons alone, Pasta is deserving of critical attention. Appoloni, Giuditta Pasta glory of Belcanto. EDA, Torino. Conway, David. Jewry in Music. Cambridge: Cambridge University Press. ISBN 9781316639603 Elson, Louis Charles, ed.. "Giuditta Pasta". University Musical Encyclopedia. Pleasants, The Great Singers, New York: Simon & Schuster, Inc. 2nd ed. 19

Eleanor Steber was an American operatic soprano. Steber is noted as one of the first major opera stars to have achieved the highest success with training and a career based in the United States. Eleanor Steber was born in Wheeling, West Virginia on July 17, 1914, she was the daughter of Sr. and Ida Amelia Steber. She had two younger siblings -- Jr. and Lucile Steber Leslie. She made her debut at the Metropolitan Opera in 1940 and was one of its leading artists through 1961, she was known for her large, flexible silvery voice in the high-lying soprano roles of Richard Strauss. She was well known for her lyrical portrayals of Mozart's heroines, many in collaboration with conductor Bruno Walter. Beyond Mozart and Strauss her repertoire was quite varied, she was noted for success in the music of Wagner, Alban Berg, Giacomo Puccini and in French opera. Steber sang the lead in the world premiere of the American opera Vanessa by Samuel Barber, she was featured in a number of Metropolitan Opera premieres, including Strauss's Arabella, Mozart's Die Entführung aus dem Serail, Berg's Wozzeck.

Outside the Metropolitan her career included a 1953 engagement at the Bayreuth Wagner Festival, where her performance as Elsa in Lohengrin was acclaimed and recorded by Decca Records. She sang with Arturo Toscanini in his 1944 NBC Symphony broadcast of Beethoven's Fidelio. In 1954 at the Florence May Festival she sang a celebrated performance of Minnie in Puccini's La fanciulla del West with conductor Dimitri Mitropoulos. With Serge Koussevitzky and the Boston Symphony Orchestra she sang the world premiere in 1948 of Samuel Barber's Knoxville, Summer of 1915, a work which she commissioned. Beyond the opera, Steber was popular with radio and television audiences in frequent appearances on The Voice of Firestone, The Bell Telephone Hour and other programs, her extensive recording output included many popular ballads and operetta tunes in addition to arias, art songs and complete operas. In 1973 she recorded a live album of arias and songs for RCA Red Seal at the Continental Baths in New York City where a young Bette Midler was a regular performer.

At the same time she was still heard in recital at Carnegie Hall and sang a noted late-career performance of Strauss's Four Last Songs with James Levine and the Cleveland Orchestra. While she was known as an artist of the highest standards, some critics observed that her tempestuous personal life took a toll on her voice. In a well-known story, following a brilliant success in 1946 as the Countess in Mozart's The Marriage of Figaro at the Edinburgh Festival, HMV Records engaged her to record some Mozart and other popular arias. By the account of Walter Susskind, the conductor of both the Edinburgh performances and the proposed recordings, she arrived at the Abbey Road Studios not feeling well, having been up most of the night, she could not sing her standard arias, saying "I don't feel like singing that." Susskind, trying to save the recording session, asked, "What do you feel like singing?". Steber thought for a moment and said, "Let's try'Depuis le jour'". Orchestra parts were found and the disc was cut in one take.

It became a famous recording of the aria, revealing a superb lyrical vocal line and an eloquent interpretation. Upon retiring from singing, she taught on the faculty of the Cleveland Institute of Music and the Juilliard School and maintained a private voice studio, she established the Eleanor Steber Vocal Foundation with an annual contest to assist young singers in launching their careers. Her many recordings are still available, as are audio and visual tapes of her radio and television broadcasts for The Voice of Firestone, her papers are held by Houghton Library at Harvard University. Steber struggled at times with alcoholism, she was married twice. Her first husband was Edwin Lee Bilby, her second husband was Colonel Gordon Andrews, whom she married in 1958, at the time she created the role of Vanessa at the Metropolitan Opera. Andrews managed her career and started the STAND record company, a joint venture that produced numerous recordings of Steber's performances, they were married for nine years, she had three step children: Marsha Andrews, an opera singer who studied with her at the Cleveland Institute of Music and in New York and sang at the Metropolitan Opera for 12 seasons.

She died on October 3, 1990, in Langhorne, following heart valve surgery and is interred at Greenwood Cemetery, West Virginia. Eleanor Steber sings Richard Strauss. Recorded: Munich, June 4, 1953,. Recorded Apr. 1960. Eleanor Steber, her first recordings; the Eleanor Steber Collection. Vol. 1, The Early Career, 1938–1951. Puccini - Madama Butterfly. Samuel Barber