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Yellow journalism

Yellow journalism and the yellow press are American terms for journalism and associated newspapers that present little or no legitimate well-researched news while instead using eye-catching headlines for increased sales. Techniques may include exaggerations of scandal-mongering, or sensationalism. By extension, the term yellow journalism is used today as a pejorative to decry any journalism that treats news in an unprofessional or unethical fashion. In English, the term is chiefly used in the US. In the UK, a equivalent term is tabloid journalism, meaning journalism characteristic of tabloid newspapers if found elsewhere. Other languages, e.g. Russian, sometimes have terms derived from the American term. A common source of such writing is called checkbook journalism, the controversial practice of news reporters paying sources for their information without verifying its truth or accuracy. In the U. S. it is considered unethical, with most mainstream newspapers and news shows having a policy forbidding it.

In contrast, tabloid newspapers and tabloid television shows, which rely more on sensationalism engage in the practice. Joseph Campbell describes yellow press newspapers as having daily multi-column front-page headlines covering a variety of topics, such as sports and scandal, using bold layouts, heavy reliance on unnamed sources, unabashed self-promotion; the term was extensively used to describe certain major New York City newspapers around 1900 as they battled for circulation. Frank Luther Mott identifies yellow journalism based on five characteristics: scare headlines in huge print of minor news lavish use of pictures, or imaginary drawings use of faked interviews, misleading headlines, a parade of false learning from so-called experts emphasis on full-color Sunday supplements with comic strips dramatic sympathy with the "underdog" against the system; the term was coined in the mid-1890s to characterize the sensational journalism in the circulation war between Joseph Pulitzer's New York World and William Randolph Hearst's New York Journal.

The battle peaked from 1895 to about 1898, historical usage refers to this period. Both papers were accused by critics of sensationalizing the news in order to drive up circulation, although the newspapers did serious reporting as well. An English magazine in 1898 noted, "All American journalism is not'yellow', though all strictly'up-to-date' yellow journalism is American!"The term was coined by Erwin Wardman, the editor of the New York Press. Wardman was the first to publish the term but there is evidence that expressions such as "yellow journalism" and "school of yellow kid journalism" were used by newsmen of that time. Wardman never defined the term exactly, it was a mutation from earlier slander where Wardman twisted "new journalism" into "nude journalism". Wardman had used the expression "yellow kid journalism" referring to the then-popular comic strip, published by both Pulitzer and Hearst during a circulation war. In 1898 the paper elaborated: "We called them Yellow because they are Yellow."

Joseph Pulitzer purchased the New York World in 1883 after making the St. Louis Post-Dispatch the dominant daily in that city. Pulitzer strove to make the New York World an entertaining read, filled his paper with pictures and contests that drew in new readers. Crime stories filled many of the pages, with headlines like "Was He a Suicide?" and "Screaming for Mercy." In addition, Pulitzer only charged readers two cents per issue but gave readers eight and sometimes 12 pages of information. While there were many sensational stories in the New York World, they were by no means the only pieces, or the dominant ones. Pulitzer believed that newspapers were public institutions with a duty to improve society, he put the World in the service of social reform. Just two years after Pulitzer took it over, the World became the highest-circulation newspaper in New York, aided in part by its strong ties to the Democratic Party. Older publishers, envious of Pulitzer's success, began criticizing the World, harping on its crime stories and stunts while ignoring its more serious reporting — trends which influenced the popular perception of yellow journalism.

Charles Dana, editor of the New York Sun, attacked The World and said Pulitzer was "deficient in judgment and in staying power."Pulitzer's approach made an impression on William Randolph Hearst, a mining heir who acquired the San Francisco Examiner from his father in 1887. Hearst read the World while studying at Harvard University and resolved to make the Examiner as bright as Pulitzer's paper. Under his leadership, the Examiner devoted 24 percent of its space to crime, presenting the stories as morality plays, sprinkled adultery and "nudity" on the front page. A month after Hearst took over the paper, the Examiner ran this headline about a hotel fire: HUNGRY, FRANTIC FLAMES, they Leap Madly Upon the Splendid Pleasure Palace by the Bay of Monterey, Encircling Del Monte in Their Ravenous Embrace From Pinnacle to Foundation. Leaping Higher, Higher, With Desperate Desire. Running Madly Riotous Through Cornice and Facade. Rushing in Upon the Trembling Guests with Savage Fury. Appalled and Panic-Stricken the Breathless Fugitives Gaze Upon the Scene of Terror.

The Magnificent Hotel and Its Rich Adornments Now a Smoldering heap of Ashes. The Examiner Sends a Special Train to Monterey to Gather Full Details of the Terrible Disaster. Arrival of the Unfortunate Victims on the Morning's Train — A History of Hotel del Monte — The Plans for Rebuilding the Celebrated Hostelry — Part

Kirk Muyres

Kirk Lyle Muyres is a Canadian curler from Saskatoon. He is a former Canadian junior champion; as a youth, Muyres was a member of the Saskatchewan team at the 2007 Canada Winter Games, where he played 5th. For much of his junior career, Muyres played third for the Josh Heidt rink; the team played in their first provincial men's championship in 2010 when Muyres was just 19. The team won one game in the event. After the season, Muyres left the team to play for the Braeden Moskowy rink at third; the team won the Saskatchewan Junior championships that year, earning the rink the right to represent Saskatchewan at the 2011 Canadian Junior Curling Championships. At the Canadian Juniors, the team - which included Colton Flasch and Matt Lang - went undefeated through the round robin, proceeded to win the event by defeating Ontario's Mathew Camm in the final; the team would go on to represent Canada at the 2011 World Junior Curling Championships where they would find less success. The team found themselves in 4th place after the round robin with a 6-3 record.

The team beat Norway in their first playoff match, but in the semi-final they lost to Switzerland, lost to Norway again in the bronze medal game. After the World Juniors, the team played in their first Grand Slam event, the 2011 Players' Championship where they surprised many by making into the quarterfinals. After juniors and Moskowy stuck together as a team, adding D. J. Kidby and Dustin Kidby to their front-end; the team competed in many events on the World Curling Tour over the 2011-12 season, winning one event, the 2011 DEKALB Superspiel. The team played in the 2012 provincial men's championship, where they won just one game. After the season, the team broke up, Muyres joined the Steve Laycock rink. In his first season with the Laycock rink, the team would play in all four Grand Slam events, making it to the semi-finals of the 2012 Masters of Curling. At the 2013 provincial men's championship, the team finished 4th. Following the season, the team had accumulated enough CTRS points to qualify for the "Road to the Roar" 2013 Canadian Olympic pre-qualifying event.

At "the Roar" the following season, the team placed fourth, not good enough to qualify for the 2013 Canadian Olympic Curling Trials. The Laycock rink would win the 2014 SaskTel Tankard men's provincial championship, sending the team to the 2014 Tim Hortons Brier, Muyers' first. At the Brier, the team narrowly missed the playoffs, after finishing the round robin with a 6-5 record. At the 2014 Brier, Muyers won the Ford Hot Shots competition; that season, the team played in three slams, making it as far as the semifinals at the 2014 The National. In the 2014-15 curling season, the team had much more success on the tour; the team won the Weatherford Curling Classic and the US Open of Curling. They played in five slams, making to the quarterfinals in two, all the way to the final at the 2014 Canadian Open of Curling; the team would win the 2015 SaskTel Tankard and represented Saskatchewan at the 2015 Tim Hortons Brier. There, the team would make it into the playoffs, would go on to win the bronze medal.

The next season, the team would win the Canad Inns Men's Classic, played in all seven slams in the expanded Grand Slam tour, making it to the semifinals in two events. The team played in the 2015 Canada Cup of Curling; the won the 2016 SaskTel Tankard and would once again represent Saskatchewan at the 2016 Tim Hortons Brier. There, they missed the playoffs, going 5-6. In the 2016-17 curling season, the team again won one tour event, the Direct Horizontal Drilling Fall Classic, they played in all seven slams. The team did not return to the Brier that season, as they would lose in the final of the 2017 SaskTel Tankard, they did play in the 2016 Canada Cup of Curling. The next season, the team played in just two slams, making the quarterfinals at the 2017 GSOC Tour Challenge, they would play in the 2017 Canadian Olympic Curling Trials. They did win the 2018 SaskTel Tankard however, but missed the playoffs at the 2018 Tim Hortons Brier, after a 6-5 record. Following the Brier, it was announced. For the 2018-19 season, Muyres will be skipping a team with Kevin Marsh, Dan Marsh and brother Dallan Muyres.

Muyres played with Laura Crocker at the 2018 Canadian Mixed Doubles Curling Championship, filling in for her fiancé Geoff Walker, playing at that year's World Championships. The pair was an ultimate success, would end up winning the event, defeating Colton Lott and Kadriana Sahaidak in the final; the pair represented Canada at the 2018 World Mixed Doubles Curling Championship, where they won a bronze medal. They represented Canada in the first leg of the 2018 Curling World Cup in Suzhou, which they would end up winning, defeating the United States in the final. Muyres grew up in Saskatchewan, he is the son of 1986 Saskatchewan champion Lyle Muyres, the team's coach. His brother Dallan plays lead for his team, he is of German descent. He is a graduate of the University of Saskatchewan, attended Muenster High School, he is a mortgage broker for Kirk Muyres Mortgages. Kirk Muyres on the World Curling Federation database Kirk Muyres on the World Curling Tour database Kirk Muyres on the CurlingZone database

Apocalypso (The Presets album)

Apocalypso is the second studio album by Australian electronic dance music duo The Presets. The album was released by record label Modular on 12 April 2008 in Australia, on 13 May in the United States, 2 June in the United Kingdom; the album features the singles "My People", "This Boy's in Love", "Talk Like That", "Yippiyo-Ay", "If I Know You" and "Kicking and Screaming". After two years of non-stop touring, The Presets began production of Apocalypso in early 2007 by going to a farm in Byron Bay for two weeks; the duo had any idea what the album would sound like before hitting the farm. Basing themselves in Berlin, the band continued work on the album while touring in Europe; the majority of the album was recorded by the band themselves at their own individual home studios. The songs were finished at a friend's studio and the album was mixed at BJB Studios in Sydney and at Seedy Underbelly in Los Angeles; the album was mastered at The Exchange in London. Kim Moyes, describing the album, said "There is a few songs on Apocalypso that have been informed by our live shows in terms of their energy, after two-and-a-bit years of touring we found out what we liked playing and what works well live, but the album as a whole however is not all bangers, there are some delicate moments too."

The group wanted Apocalypso to be far more song-focused. Moyes told Rolling Stone Australia: "With Beams, we didn't think too much about it; the more fucked up it was, the better. But now the vision’s been refined and instead of instrumentals, now we're like'fuck, let’s just have killer songs.'"In an interview with Australian national radio station Triple J, the band members discussed how they came up with the album's title, stating that it evolved from "Apocalypse Wow", a suggestion by Hamilton. "Y' know the idea of a calypso together. Something dark intense, you can't get much worse than an apocalypse, and a calypso, just super fun, like mojitos, steel drums." Apocalypso was the album. The album debuted at number one on the ARIA charts, achieved gold certification within two weeks; the album has since gone platinum. In October 2008, the album won the 2008 ARIA Awards for Best Dance Album of the Year. By winning the ARIA for Album of the Year, Apocalypso became the first dance album to win the award.

It won the Artisan Awards for Best Cover Art and Producer of the Year, missing out on the award for Engineer of the Year. In December, the album won the J Award. In October 2010, it was listed in the book 100 Best Australian Albums. "My People" The first single released in late 2007. The song continued to climb the ARIA Singles Chart after successful performances, heavy radio airplay, it peaked at number 14 on the ARIA Singles Chart, certified Platinum despite never reaching the top 10. "This Boy's in Love" Released as the second single in early 2008, it peaked at number 23 early on, continuous climbing and falling the single maintained sales. After the band's win at the 2008 ARIA Awards the song re-entered the top 50, was certified Gold. "Talk Like That" Released as the official third single in September 2008, the song was a club hit, spending several weeks outside the top 20. When the band won at the ARIAs the song re-entered and climbed the charts to a new peak of number 19. A few weeks before falling out of the singles chart it was certified Gold.

"Yippiyo-Ay" Released as a digital-only single, the song gained airplay week-by-week. It debuted at number 94 on the singles chart based on downloads alone, re-entering several times before peaking at number 72. "If I Know You" Speculated as the album's third single when it received substantial airplay, the official third single was announced as "Talk Like That". Peaking at number 57 on the singles chart in May 2009, the song charted on downloads alone; the song became the fifth single from Apocalypso, was released on 27 March 2009. "Kicking and Screaming" Announced as the sixth single in late May 2009, a live video was released to accompany the radio release. Cover art surfaced, but a physical release did not eventuate, making it the second digital-only single from the album."Anywhere" was released in 2008 as a promotional single from the album. Weekly chartsYear-end charts Julian Hamiltonvocals, keyboards Kim Moyes – drums, keyboards Scott Horscroft – mixing John Fields – mixing Nilesh Patelmastering Lyn Balzer – photography Anthony Perkins – photography Jonathan Zawada – art direction Apocalypso at Discogs

Dean Crombie

Dean Crombie is an English former professional footballer who left his last full time job in football in 2014 and is now retired. Crombie came through the youth ranks of local side Lincoln Utd and played Sunday football for Adelaide Park playing for Lincoln City juniors and Ruston Bucyrus first team before joining Lincoln City, managed by Graham Taylor, in 1977 as a professional player, he transferred to Grimsby Town where he spent nine years as a regular player in the first team winning a promotion and a championship with Grimsby. After leaving Grimsby in 1987 he was signed by Bolton Wanderers managed by Phil Neal gaining promotion and scoring at Wembley in the Sherpa Van final with Bolton winning 4–1 he finished his career with Bolton Wanderers, in 1991 although he did have a brief spell as Assistant player manager at Lincoln City where he made one appearance before returning to Bolton to take up a coaching position. After a long playing career Crombie continued to work for several years at Bolton Wanderers taking up a number of positions within the club as youth coach before moving into a senior coaching position with the 1st team and taking on the role of chief scout.

He left Bolton to become a football agent for 2 years before returning to Bolton to recruit players for the Academy. He moved to Wigan Athletic as the Centre of Excellence Manager. Crombie returned to Bolton after 3 years at Wigan to take up the role of Head of Academy Recruitment where he spent a further 6 years before he left the role in 2014. Supporters Player of the Season: 19803rd Division Champions Football League Trophy: Winners, 1989Scoring the third goal in a 4–1 victory. Player of the year 1989 Dean Crombie's profile at Burnden Aces. Dean Crombie at Post War English & Scottish Football League A–Z Player's Database

Van Buren, Mississippi

Van Buren is a ghost town located in Itawamba County, Mississippi. Once a busy port on the Tombigbee River, Van Buren is today a rural farm community. Van Buren was located on a high bluff on the river's west bank, it was named for Martin Van Buren. North of Van Buren was Frog Level Swamp. Before Fulton was made the county seat in 1837, private homes and stores were used to conduct government business, including the store house of Elisha Thomas at Van Buren. Winfield Walker, a nephew of Winfield Scott, settled in Van Buren in 1838, became a merchant. By 1840, Van Buren was the largest town in Itawamba County, had a busy river port; the populations of both Fulton and Van Buren grew with settlers through the 1840s, both had blacksmith shops, doctor's offices and lawyer's offices. The completion of the Mobile and Ohio Railroad west of Van Buren in the late 1850s caused river traffic to diminish.

Johan de Ridder

Johan de Ridder was a South African architect noted for his contribution to religious and public architecture. Of the major Afrikaner church-architects, including for example Gerard Moerdijk, Wynand Louw, Hendrik Vermooten and J. Anthonie Smith, he designed and built the largest number of churches for the Reformed Churches in South Africa. In terms of public architecture, a prominent contribution is the Land Bank building in Pretoria, his inspiration, his example and his architecture, still live, Professor Schalk W le Roux wrote as follows in his obituary: During the second half of the Twentieth Century Johan de Ridder was an influential South African architect. He is best known for a fresh and personal approach to Reformed Church architecture, but this is not the only building type where his example was studied and emulated, it is because he reached beyond the simple requirement of function in his search and design, thus consciously allowing for local realities of climate, building material, building science and craftsmanship to be realistic and creative generators of structures.

The resultant buildings and places celebrated land- and cityscapes with which they were contextually interwoven and expedited the development of a South African way of architectural thought, based on and advocating a contemporary worldview. The same values, fuelled by a love of history and country, found expression in restoration work, such as at Paul Kruger’s farm house at Boekenhoutfontein, where he paid tribute to past achievements, in houses and bigger buildings, such as the Land Bank building in Pretoria, where again he was true to the present – the time in which he lived and worked. Closest to his heart was the building of churches and his pursuit was for a worthy and meaningful architecture embracing worship, his experimentation to achieve this can be traced in many of his subsequent designs. As a young architect, he was outspoken about the unchanging and "distinctive style of Gerard Moerdyk and Henry Vermooten" and inspired by the "refreshing modern work of Verhoef Smit and Viljoen who served as inspiration for me."

He takes it further when he says: “ designs reflect a quest for a new form and aesthetic to express what is essential in a church building.” His striving was for a simplicity in form and plane that derives from and reflects the basic nature of worship in the Reformed Church, its execution within the constraints of available funds. “The function of a church," he said to architecture students in 1955, shortly after the completion of his best known church in Parys, Free State, "is determined by public worship: it is the master builder. The building emerges from a plan and, in its turn, the plan is determined by the function of the building.” In addition, he argued, there was an inherent symbolism and aesthetic in his churches suggesting the Word of God moving from the pulpit, over the congregation and, through the windows, to the world beyond. Referring to the church in Parys he said: "As in many other designs, based on biblical truth, is embedded in this structure, it is the symbolism of the church as a tent trekking through the desert of this temporary existence on the journey towards eternity.”

The church is therefore a visual symbol of transience with the tent-shape a direct architectural translation of the concept of having no fixed abode. The architect's real contribution is to give form to the symbolic. De Ridder’s three principles, applied to both religious and secular buildings, were firstly that the architecture should be contemporary, secondly that form should emerge from the meaning of the function and thirdly that the structure should be economic and affordable. A faithful adherence to these principles is one of the reasons his buildings have withstood the test of time; as an architect, he had the rare experience that his designs remained appreciated and current in his lifetime, are still being studied and analysed as significant in a quest for authenticity. His work was published in South Africa and internationally in both acknowledged academic journals and more popular monthly architectural magazines where his ideas and decisions are revisited and re-evaluated, his inspiration, his example and his architecture live on.

De Ridder's innovative design philosophy is most exemplified in the "Dopper" church, summarised in the New York Museum of Modern Art collection of the photographs of David Goldblatt: Paradoxically however Dopper churches were architecturally the most radical in the great wave of church building engaged in by the Afrikaner Protestant Churches between the 1940s and the late 1980s. Several of the archetypal Dopper churches, including this one, were by Johan de Ridder. Himself a Dopper, he explained his approach to me in 1994: "The Dopper Church took the lead because of the strength of its doctrine. I could approach the design of the church as the community did, trying to incorporate our beliefs in it, it was not a style. The church was a visual symbol of aspects of our faith, while retaining the basic idea of the Reformation that all external symbols should be avoided. I couldn't accept a complicated architecture. I wanted simple wall surfaces, big roof surfaces, a plain, striking building with height and unity between interior and exterior...

The triangle is religious with a vertical and spiritual character. Preaching of the Word is not confined to four walls, it must go out through big windows at the top and front of the church, like a megaphone with the preacher at its apex." Excluding the Dutch Reformed church located in Aranos in southern Namibia, all De Ridder's designs were for bu