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Kingston is a municipality in Luzerne County, Pennsylvania, on the Susquehanna River, opposite Wilkes Barre. Kingston was incorporated as a borough in 1858. It is part of the greater metropolitan area of the city of Wilkes-Barre. In 1900: 3,846 people lived here; in 1910: 6,449; and in 1940: 20,679 people lived here. In the census of 2000, the borough of Kingston had a population of 13,855 people.

History

Near Kingston stood Forty Fort, prominent in the Pennamite-Yankee War and in the Revolution. In the vicinity of this fort occurred, in 1778, the famous Wyoming Massacre, which resulted from a dispute between settlers from Connecticut and other settlers from Pennsylvania.

Transportation

• The Wilkes-Barre Wyoming Valley Airport is located in the adjacent boroughs of Forty Fort and Wyoming.
• Kingston is connected to downtown Wilkes-Barre by the famous Market Street bridge.
• The lengthy, famous U.S. Route 11, which stretches out to the southern United States, runs across Kingston on Wyoming Avenue, which is the longest non-highway road in all of northeastern Pennsylvania.

Geography

Kingston is located at 41°15?59?N 75°53?22?W? / ?41.26639, -75.88944 (41.266481, -75.889478).

According to the United States Census Bureau, the borough has a total area of 2.2 square miles (5.7 km²), of which, 2.1 square miles (5.5 km²) of it is land and 0.1 square miles (0.2 km²) of it (2.71%) is water.

Government

Kingston operates under a home rule charter with seven part-time councilors, a part-time mayor, and an administrator, the chief appointed official.

Demographics

As of the census of 2000, there were 13,855 people, 6,065 households, and 3,372 families residing in the borough. The population density was 6,461.6 people per square mile (2,499.7/km²). There were 6,555 housing units at an average density of 3,057.1/sq mi (1,182.7/km²). The racial makeup of the borough was 96.84% White, 0.77% African American, 0.07% Native American, 1.53% Asian, 0.01% Pacific Islander, 0.29% from other races, and 0.50% from two or more races. Hispanic or Latino of any race were 0.80% of the population.

There were 6,065 households out of which 23.1% had children under the age of 18 living with them, 40.7% were married couples living together, 11.3% had a female householder with no husband present, and 44.4% were non-families. 40.1% of all households were made up of individuals and 20.5% had someone living alone who was 65 years of age or older. The average household size was 2.16 and the average family size was 2.94.

In the borough the population was spread out with 19.7% under the age of 18, 7.5% from 18 to 24, 25.6% from 25 to 44, 22.8% from 45 to 64, and 24.4% who were 65 years of age or older. The median age was 43 years. For every 100 females there were 83.9 males. For every 100 females age 18 and over, there were 78.9 males.

The median income for a household in the borough was $33,611, and the median income for a family was $45,578. Males had a median income of $34,069 versus $24,482 for females. The per capita income for the borough was $20,568. About 8.2% of families and 11.3% of the population were below the poverty line, including 11.7% of those under age 18 and 10.3% of those age 65 or over.

Notable natives and residents

• Frank Zane, legendary bodybuilder was born in Kingston. He graduated from Wilkes University and went on to win the Mr. Olympia title an impressive three years in a row (1977-1979).
• Edie Adams, singer and light comedienne (It’s a Mad, Mad, Mad, Mad World), began her career with and later married Ernie Kovacs. Did TV commercials in the 1960’s for Muriel Cigars, with the somewhat racy line at the time “Why don’t you pick me up and smoke me some time?”.
• Kingston has produced one Major League Baseball player, Pittsburgh Pirates center fielder Steamer Flanagan. (b. April 20, 1881)
• Dan Harris, Hollywood Director (Imaginary Heroes) and Screenwriter (X2 and Superman Returns), was born and raised in Kingston. He attended high school at Wyoming Seminary, before going to Columbia University for college.

References

1. ^ “US Gazetteer files: 2000 and 1990″. United States Census Bureau (2005-05-03). Retrieved on 2008-01-31.
2. ^ “American FactFinder”. United States Census Bureau. Retrieved on 2008-01-31.

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Opening credits, in a television program, motion picture or videogame, are shown at the beginning and list the most important members of the production. They are now usually shown as text superimposed on a blank screen or static pictures, or sometimes on top of action in the show. There may or may not be accompanying music. Where opening credits are built into a separate sequence of their own, the correct term is title sequence (such as the familiar James Bond title sequences).

Opening credits since the early 1980s, if present at all, identify the major actors and crew, while the closing credits list an extensive cast and production crew. Historically, however, opening credits have been the only source of crew credits and, largely, the cast, although over time the tendency to repeat the cast, and perhaps add a few players, with their roles identified (as was not always the case in the opening credits), evolved. The ascendancy of television movies after 1964 and the increasingly short “shelf-life” of films in theaters has largely contributed to the credits convention which came with television programs from the beginning, of holding the vast majority of cast and crew information for display at the end of the show.

In movies and television, the title and opening credits may be preceded by a “cold open”, or brief scene, that helps to set the stage for the episode.

History

Up until the 1970s, closing credits for films usually listed only a reprise of the cast members with their roles identified, or even simply just said “The End”, requiring opening credits to normally contain the details. For instance, the title sequence of the 1968 film Oliver! runs for about three-and-a-half minutes, and while not listing the complete cast, does list nearly all of its technical credits at the beginning of the film, all set against a background of what appear to be, but in fact are not, authentic nineteenth century engravings of typical London life. The only credit at film’s end is a listing of most of the cast, including cast members not listed at the beginning. These are set against a replay of the chorus singing “‘Consider Yourself”.

Some opening credits are designed to run concurrently with a film’s first sequence; in fact, this is one practice even more commonly followed today. The opening credits for the 1993 film The Fugitive continued for fifteen minutes into the film. The opening credits for the 1968 film Once Upon a Time in the West lasted for fourteen minutes. This was because they were not presented in title sequences. Instead they are intermittently superimposed over the entire opening sequences of the two films.

The first sound film to begin without any opening credits was Walt Disney’s Fantasia, released in 1940. In the film’s general release, a title card and the credit “Color by Technicolor” were spliced onto the beginning of the film, but otherwise there were no credits. This general release version has been the one most often seen by audiences, and the one issued on videocassette. In the roadshow version of the film, unseen by most audiences until its DVD release, the title card is seen only at the halfway point of the film, as a cue that the intermission is about to begin. The intermission was omitted in the general release version.

Orson Welles’ Citizen Kane begins with only a title credit. This practice was extremely uncommon during that era.

Most Soviet films presented all film-related information in the opening credits, rather than at the closing which consist of just a “THE END” (Russian: ????? ??????, Konyets Fily-ma) title, nothing else. A typical Soviet opening credits sequence starts with a film company’s logo (Mosfilm, Lenfilm, etc.), the film’s title, followed by the scenarist (the Soviet Union considered the scriptwriter the principal “auteur” of its films), followed by the director, usually on separate screens, then continuing with screens showing other credits, of varying number, and finally, the film’s chief administrator-in-charge, the production director (Russian: ???????? ???????, Direktor kartiny). Following this came the cast, usually in actor-and-role format for all principal and major featured players, and perhaps then a screen just naming, in an alphabetical cluster, some additional character players. The final credit screen identified the studio corresponding to the logo at the beginning, and the year of the film’s production. It could also contain the frame with the technical information about the cinematographic film manufacturer (e.g., Svema).

This basic method was also followed in most American films from the 1930s through the late 1980s, though, obviously, in American films there was no censoring of the director’s name, except in cases of blacklisting. American films also tended to list the names of the actors before the names of the directors, screenwriters, etc. Exceptions were made in the films of director Frank Capra, whose name was usually billed before the film’s title. Director Victor Fleming’s name was also billed before those of the actors in films such as The Wizard of Oz, Dr. Jekyll and Mr. Hyde, and Joan of Arc. Caora and Fleming were two of the few directors who received the credit “A (insert director’s name here) Production” even though they did not produce their films.)

Francois Truffaut’s 1966 film Fahrenheit 451′ uses spoken opening credits instead of written ones to provide a taste of what life is like in a non-literate culture.

Recent trends

Many major American motion pictures have done away with opening credits, with many films, such as Van Helsing, Batman Begins, Hostel, Cloverfield, The Mummy Returns and Teacher’s Pet not even displaying the film title until the closing credits begin. George Lucas is credited (or blamed) with popularizing this with his Star Wars films which display only the film’s title at the start. His decision to omit opening credits in his films Star Wars Episode IV: A New Hope (1977) and Star Wars Episode V: The Empire Strikes Back led him to resign from the Directors Guild of America after paying a fine that the Guild imposed on him. However, Hollywood had been releasing films without opening credits for many years before Lucas came along, most notably Citizen Kane, West Side Story, and The Godfather. However, it was with the release of Lethal Weapon 2 in 1989 that the “title only” opening became an established form for summer blockbusters. Clint Eastwood has done away with opening credits (except for the title) in every film that he has directed since approximately 1982.

Credit only

With regard to television series, it is now an accepted practice to credit regular cast members for every episode of a season, even if they did not appear in each episode. One example is the series Nip/Tuck, in which the appearance of all credited characters is rare. This was not the case during the second season of Lost; the complete credited cast appeared in only two episodes out of twenty-three. The series Charmed also did not credit every regular cast member if they didn’t appear in the episode. The season 2 episode “Morality Bites” is the only episode in which only the three leading actresses were credited.

See also

• Closing credits
• Title sequence
• Billing (film)
• Production logo

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Adalberon (died 989) was the archbishop of Reims, chancellor of Kings Lothair and Louis V of France.

Upon the death of Louis V, in 987, Adalberon and Gerbert of Aurillac addressed the electoral assembly at Senlis in favour of Hugh Capet, to replace the Carolingian monarch. Adalberon pleaded:

Capet was elected and crowned at Noyon, 3 July in that year by Adalberon. The part played by Adalberon in bringing down the Carolingians would not be continued by their successors, Charles, Duke of Lower Lorraine or the bastard son, Arnulf.

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In musical set theory, an interval vector (also called an interval-class vector or ic vector) is an array that expresses the intervallic content of a pitch-class set.

In 12 equal temperament it has six digits, with each digit standing for the number of times an interval class appears in the set. (Interval classes, not regular intervals, must be used, in order that the interval vector remains the same, regardless of the set’s permutation or vertical arrangement.) The interval classes represented by each digit ascend from left to right. That is:

Interval class 0 (representing unisons and octaves) is omitted.

The concept was named intervalic content by Howard Hanson in his The Harmonic Materials of Modern Music, where he introduced the monomial notation d^as^bn^cm^dp^et^f for what would now be written <a b c d e f>. The modern notation, which has considerable advantages and is extendable to any equal division of the octave was introduced by Allen Forte.

A scale whose interval vector contains six different numbers is said to have the deep scale property. Major, natural minor and modal scales have this property.

For a practical example, the interval vector for a C major chord, {C E G}, is <001110>. This means that the set has one major third or minor sixth (i.e. from C to E, or E to C), one minor third or major sixth (i.e. from E to G, or G to E), and one perfect fifth or perfect fourth (i.e. from C to G, or G to C). As the interval vector will not change with transposition or inversion, it belongs to the entire set class, and <001110> is the vector of all major (and minor) triads. It should, however, be noted that sets with the same interval vector are not always equivalent (See Z-relation).

For a set of x elements, the sum of all the numbers in the set’s interval vector equals (x*(x-1))/2.

While primarily an analytic tool, interval vectors can also be useful for composers, as they quickly show the sound qualities are created by different collections of pitch classes. That is, sets with high concentrations of conventionally dissonant intervals (i.e. seconds and sevenths) will generally be heard as more dissonant, while sets with higher numbers of conventionally consonant intervals (i.e. thirds and sixths) will be heard as more consonant. (While the actual perception of consonance and dissonance involves many contextual factors, such as register, an interval vector, nevertheless, can be a helpful tool.)

An expanded form of the interval vector is also used in transformation theory, as set out in David Lewin’s Generalized Musical Intervals and Transformations.

Z-relation

In musical set theory, a Z-relation, also called isomeric relation, is a relation between two pitch-class sets in which the two sets have the same intervallic content (i.e. they have the same interval vector), but they are of different T_n-type and T_n/T_nI-type. That is to say, one set cannot be derived from the other through transposition or inversion.

For example, the two sets {0,1,4,6} and {0,1,3,7} have the same interval vector (<1,1,1,1,1,1>) but they are not transpositionally or inversionally related.

The term originated with Allen Forte, but the notion seems to have first been considered by Howard Hanson. Hanson termed this the isomeric relationship, defining two such sets to be isomeric.

Though it is commonly observed that Z-related sets always occur in pairs, David Lewin noted that this relation is a result of twelve-tone equal temperament (12-ET). In 16-ET, Z-related sets are found as triplets. Lewin’s student Jonathan Wild continued this work for other tuning systems, finding Z-related tuplets with up to 16 members in higher ET systems.

Some argue that the “relation” is often so remote as to be imperceptible, but certain composers have exploited the Z-relation in their work. For instance, the play between {0,1,4,6} and {0,1,3,7} is clear in Elliot Carter’s second string quartet.

See also

• Set theory (music)

Further reading

• Rahn, John (1980). Basic Atonal Theory. ISBN 0-02-873160-3.
• Forte, Allen (1973/1977). Structure of Atonal Music. ISBN 0-300-01610-7/ISBN 0-300-02120-8.
• Hanson, Howard (1960). The Harmonic Materials of Modern Music. Appleton-Century-Crofts.
• Straus, Joseph N. (1990/2000/2005). Introduction to Post-Tonal Theory  3rd Ed. ISBN 0-13-189890-6.

Z-relation references

• Allen Forte, The Structure of Atonal Music, Yale University Press, 1977. ISBN 0-300-02120-8
• Howard Hanson, Harmonic Materials of Modern Music, Appleton-Century-Crofts, 1960

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Monomorium antarcticum is an ant of the family Formicidae, endemic to New Zealand. It is found in a wide variety of habitats, at low and high altitudes. It is probably the most common and ubiquitous ant species in New Zealand.

Monomorium antarcticum is highly variable in size, which might indicate a complex of species. Length of the worker ant is about 3 to 5 mm. They have a 12 segmented antenna including a three segmented club. Coloration is highly variable (but uniform within a colony) — orange, yellowish brown, dark brown, black, but in all colour forms, apart from black, the antennae and legs are a different shade from the body.

Nests can be small or highly populous with thousands of workers. Construction can be complex with galleries at different levels, particularly in soil under stones.

For food small seeds may be harvested, workers foraging haphazardly without pheromone trails, as well as “milking” homopterans.

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Golden Era

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The Golden Era was a nineteenth century San Francisco newspaper that featured the writing of Mark Twain, Joaquin Miller, Bret Harte, Charles Warren Stoddard and Fitz Hugh Ludlow.

This article about a Californian newspaper is a stub. You can help by expanding it.

Retrieved from “http://en.wikipedia.org/wiki/Golden_Era”
Categories: Defunct newspapers of the United States | San Francisco Bay Area newspapers | Californian newspaper stubs

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The four members of gospel group Ramiyah consisted of Stephanie Bonner, Tracy Bryant, DeLaurian Burton, and Sherise Staten. The girls were raised in Detroit, MI, and were brought together by the PAJAM production team. They have appeared on: The Stellar Awards, Showtime at the Apollo, and the Trumpet Awards.

Music career

Ramiyah

Title of their self-titled album

In 2003, Ramiyah released their self-titled album Ramiyah, which was released through Columbia. Ramiyah released their singles “Waiting” and “Turn It Out”. Waiting did well on the gospel charts, but their previous single “Turn It Out” failed to reach gospel charts and to do well as the first single “Waiting”. The album hit #8 on the Billboard Gospel charts in 2004.

Future projects

It is yet to be confirmed if the ladies will be doing another album. Matthew Knowles has confirmed that the girls are still signed to the label.

Filmography

2003: The Fighting Temptations

Discography

Albums

• 2003:Ramiyah
• 2008:Untitled

Singles

• 2003:Waiting
• 2003:Turn It Out

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Coordinates: 09°22?58?S 35°50?31?W? / ?aerial photos, and other data for -9.38278 -35.84194″>-9.38278, -35.84194 Messias is a municipality located in the Brazilian state of Alagoas. Its population is 12,883 (2005) and its area is 113 km².

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Springfield is a suburb of the Central Coast region of New South Wales, Australia, located 4 kilometres (2 mi) east of Gosford’s central business district via The Entrance Road. It is part of the City of Gosford local government area.

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The LSD Story was an episode of the Dragnet television series that appeared on the NBC network on January 12, 1967. It was produced and directed by Jack Webb, who also starred as Joe Friday. It is sometimes called “Blue Boy” after a character appearing on it.

Plot synopsis

Friday and his partner Bill Gannon are working for the Los Angeles Police Department when they are called to a disturbance in MacArthur Park. It seems a man is gnawing the bark off a tree there. When Friday and Gannon arrive they find the young man, who identifies himself as “Blue Boy” and is acting very strangely. After Friday and Gannon arrest him, it transpires that Blue Boy, whose real name is Benjy Carver (played by Michael Burns) is under the influence of LSD. However as it is not illegal at that time to possess or use LSD, the most Carver can be charged with is public intoxication, for which he gets a light sentence.

As time passes, the LAPD hear more and more about Carver and his involvement in selling and using LSD. At last they get two breaks: first LSD is made illegal, and secondly one of Carver’s disgruntled former customers gives him up.

The police raid an LSD party in progress. The participants are so stoned, no one even notices the cops entering, until Friday flips a light on. It turns out they just missed Carver.

At last, Friday and Gannon get an address for Carver and, with the landlady’s consent raid his apartment. It turns out they are too late again: Benjy Carver had died of an overdose about an hour earlier.

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