Ernst Pfiffner

Ernst Pfiffner (né le 6 décembre 1922 à Mosnang best youth soccer goalie gloves, Canton de Saint-Gall, mort le 9 juillet 2011 à Bâle) est un compositeur, chef d’orchestre et organiste suisse.

Ernst Pfiffner a passé son certificat de maturité à l’école de l’Abbaye de Disentis. Il a ensuite étudié la musique pendant plusieurs semestres Semester la philosophie et la théologie world football shirts. Il s’est ensuite tourné vers l’étude de la musique (orgue) à Rome et à Bâle avant de passer son diplôme.

De 1950 à 1987 il était Kantor, chef de chœur et organiste de la Michaelskirche à Bâle. De 1959 à 1994 il a également travaillé comme professeur de musique à Bâle et à Lucerne. En outre, Ernst Pfiffner a dirigé de 1967 à 1987 l’académie de musique scolaire et d’église à Lucerne. De 1960 à 1970 wholesale basketball uniforms, il était le rédacteur de la revue musicale Katholische Kirchenmusik.

Son opus comprend plus de 140 compositions pour choriste solo à grand chœur et pour formations instrumentales de soliste à grand orchestre.

PPSh-41

Il PPSh-41 (Пистолет-пулемёт Шпагина 1941, Pistolet-Pulemyot Shpagina 1941, “pistola mitragliatrice Shpagin 1941) è un mitra (a dispetto del nome, che classifica l’arma come pistola mitragliatrice) sovietico progettato da Georgi Shpagin come alternativa al più costoso e complesso PPD-40. Fu soprannominato Phe-phe-sha dai sovietici e Burp Gun dagli americani, data la sua altissima cadenza di fuoco.

Il PPSh era un mitra a fuoco selettivo con funzionamento a massa battente ed otturatore aperto, alimentato da caricatori amovibili con proiettili 7,62 × 25 mm. Fu una delle armi più usate di tutto il secondo conflitto mondiale. Si stima che nel periodo bellico siano stati prodotti più di 6 milioni di esemplari di tale arma. Costruito per buona parte in acciaio stampato, l’arma poteva essere alimentata sia da caricatori bifilari che da caricatori a tamburo. Fu largamente usato anche dopo la seconda guerra mondiale durante la Guerra di Corea. Anche in Vietnam l’arma divenne popolare sia tra i Vietcong sia tra le forze dell’NVA e rimase in uso fino agli anni settanta.

Il progetto per il PPSh-41 risale alla guerra d’inverno 1939-40 contro la Finlandia, la cui fanteria utilizzava il mitra Suomi KP-31 che risultava molto adatto negli scontri ravvicinati in ambienti boschivi o urbani. All’epoca l’Armata Rossa aveva in dotazione limitate quantità di moschetti automatici PPD-34/38 e PPD-40, ma erano armi considerate inadatte al combattimento da fanteria per la loro corta gittata, e distribuite perlopiù alla polizia e al NKVD. L’efficacia dei mitra Suomi usati nei combattimenti delle foreste innevate finlandesi costrinse l’Armata Rossa a rivedere le proprie tattiche ed emerse la necessità di un mitra efficace, poco ingombrante, facile ed economico da produrre. Venne accelerata la produzione del già esistente PPD-40, per ordine personale di Stalin, ma il Commissariato del Popolo per l’Industria Bellica (organo sovietico preposto alla produzione e progettazione di armamenti) ebbe l’ordine di sviluppare un nuovo moschetto automatico idoneo alla produzione in massa, poiché il PPD-40 richiedeva lunghe e complesse lavorazioni alla macchina utensile, con tutti i suoi pezzi fresati e torniti dal pieno.

Nell’autunno 1941 un’apposita commissione valutò vari progetti, e quello considerato più adatto era il progetto di Georgij Shpagin, che prevedeva un largo impiego di parti ricavate per stampaggio alla pressa, anziché le tradizionali tornitura-fresatura: cosa al tempo rivoluzionaria per l’URSS, e che consentiva un abbattimento del 50% dei tempi di lavorazione. La produzione dell’arma cominciò nel 1941 a Mosca, sotto la supervisione di alti ufficiali del partito comunista sovietico, addetti al controllo della qualità dei prodotti.

Poche centinaia di esemplari vennero prodotti nel novembre 1941 e altri 155.000 uscirono dalle fabbriche nei cinque mesi seguenti. Per la primavera del 1942, le fabbriche erano arrivate ad un regime di produzione di 3000 armi al giorno. Il PPSh-41 è il classico esempio di arma semplificata per permettere la produzione di massa (altri esempi sono lo Sten inglese, l’MP-40 tedesco che però è già più raffinato, o l’M3 americano). Le sue componenti (ad eccezione della canna) potevano essere facilmente realizzate anche da operai senza esperienza con la dotazione dei garage per la riparazione delle auto, così da lasciare liberi gli operai specializzati per altri incarichi. Il PPSh-41 conta 87 parti (contro le 95 del PPD-40, il precedente mitra adottato dall’esercito sovietico) e poteva essere realizzato in sole 7,3 ore di lavoro (contro le 13,7 ore necessarie per il PPD-40). La produzione delle canne veniva accelerata utilizzando le canne dei fucili Mosin-Nagant: si tagliava a metà la canna e la si adattava al proiettile da 7,62 x 25 mm (contro il 7,62 x 54 mm utilizzato dal fucile).

Fin dalla sua introduzione in servizio il PPSh-41 superò tutte le aspettative. Era robustissimo, estremamente affidabile e pressoché insensibile al gelo e alla polvere when to tenderize meat. Aveva una cadenza di tiro molto elevata, circa 1000 colpi al minuto (il doppio della maggior parte dei mitra dell’epoca) ed era piuttosto preciso fino a 100 metri. La cartuccia 7,62×25 era potente e precisa: anche se il proiettile era più leggero del 9x19mm Parabellum ed aveva meno impatto, era però molto più veloce ed aveva una traiettoria molto tesa che permetteva al PPSh-41 un tiro utile fino a 200 metri.

Alle distanze ravvicinate (fino a 50 metri) che erano la norma, nei combattimenti urbani o nelle foreste, una pattuglia armata di PPSh-41 poteva scatenare un volume di fuoco pari a quello di un’intera compagnia di fanteria armata di tradizionali fucili. Inoltre, il caricatore a tamburo da 71 colpi consentiva un’autonomia ragionevole e il peso dell’arma, unito all’ottimo calcio in legno, rendeva il tiro facile da controllare.

Il caricatore a tamburo presentava qualche difetto: realizzato in lamiera di appena 0.5 mm di spessore, si piegava facilmente, il che causava inceppamenti. Inoltre, la molla interna che spingeva le cartucce era piuttosto dura da azionare e riempirlo tutto richiedeva tempo. I soldati sovietici impararono a non caricarlo con più di 60 colpi, per evitare il rischio che la molla si bloccasse. Dal 1942 furono disponibili caricatori curvi a serbatoio tradizionali da 35 colpi, e nel 1944 furono distribuiti caricatori a tamburo più robusti ed efficaci. Comunque, i militari sovietici tendevano a impiegare solo caricatori a tamburo che permettevano di sfruttare appieno le potenzialità dell’arma.

Per il successo ottenuto e gli elevatissimi numeri prodotti, Il PPSh-41 divenne immediatamente una delle icone della guerra, il simbolo del soldato sovietico così come l’MP-40 lo era del soldato tedesco e l’elmetto Mk.III del soldato britannico: interi battaglioni vennero equipaggiati in massa con quest’arma e lanciati in devastanti attacchi contro le truppe dell’Asse, soprattutto da parte di reparti di sciatori sovietici, ripetendo su scala molto più vasta le stesse tattiche impiegate dalla Finlandia e con efficacia altrettanto devastante.

Il PPSh-41 fu un’arma popolare anche tra i soldati tedeschi, e spesso i mitra catturati venivano utilizzati contro i loro precedenti proprietari. L’assoluta intercambiabilità tra i proiettili da 7,62 × 25 mm Tokarev dell’arma russa e quelli tedeschi da 7,63 × 25 mm Mauser utilizzati nella pistola C-96 permetteva al PPSh-41 di sparare senza problemi anche questi, per cui i tedeschi potevano facilmente sopperire alla necessità di munizioni.

Dopo la cattura da parte dei tedeschi di un gran numero di PPSh-41, partì in Germania un programma volto a convertire l’arma in modo che potesse usare il calibro standard per pistole e mitra in uso tra le forze armate tedesche, il 9 mm Parabellum. Le armi così riconvertite vennero denominate MP41(r), dove (r) sta per russisch (russo), mentre i modelli non riconvertiti MP717(r). Vennero persino distribuiti dei manuali d’uso in tedesco per le forze armate.

Non vi è dubbio che il PPSh-41 soddisfò pienamente le aspettative dell’Armata Rossa: il suo impiego in massa, reso possibile dai moderni criteri di produzione su vasta scala, conferì ai soldati sovietici una potenza di fuoco nettamente superiore ai loro avversari. Ciò permise all’Armata Rossa di acquistare la superiorità tattica in tutte le decisive battaglie dal 1942 in poi, e di sviluppare delle tattiche di combattimento basate su assalti combinati di carri armati e fanteria munita di armi automatiche. Questa dottrina, che si rivelò vincente, fu sviluppata attorno al PPSh-41 ed è perciò che gli storici e il pubblico sovietico (oggi russo) considerano il PPSh-41, assieme al T-34 e al PPS-43, “l’arma che ha vinto la guerra”.

Dopo la Seconda guerra mondiale, il PPSh fu venduto in grandi quantità agli stati filosovietici e alle forze di guerriglia. Il KPA (esercito popolare coreano) e il PVA (esercito popolare cinese) ricevettero grandi quantità di PPSh-41 dalla Russia, utilizzati in combinazione con il Type 49 nord-coreano e il Type 50 cinese, entrambi copie dell’arma sovietica. Sebbene non preciso su lunghe distanze, l’arma si rivelò estremamente adatta ai combattimenti a breve raggio che ebbero luogo durante la guerra di Corea. Le forze delle Nazioni Unite si trovavano in difficoltà nel contrastare l’impressionante volume di fuoco dell’arma sovietica. Molti ufficiali arrivarono persino a definire il PPSh come la migliore arma di quella guerra: pur non vantando la stessa precisione del M1 Garand o della carabina M1 Carbine, il più alto rateo di fuoco la rendeva un’arma micidiale negli scontri ravvicinati Come disse un capitano di fanteria: “in modalità automatica sparava una quantità incredibile di proiettili e molte delle perdite in Corea furono subite in scontri a breve raggio e di breve durata – dipendeva da chi riusciva a sparare più in fretta. In queste situazioni, superava qualunque arma di cui noi disponessimo. Uno scontro ravvicinato tra pattuglie terminava molto rapidamente, e in molti casi lo perdevamo proprio a causa sua”.

Il PPSh-41 ed i suoi cloni cinesi, coreani, ungheresi e polacchi (questi ultimi realizzati meglio), fu estesamente impiegato anche durante il conflitto in Indocina del 1945-54, nelle mani dell’esercito del Viet Minh; poi nella guerra del Vietnam e comparve pressoché in tutti i conflitti e guerriglie africani e asiatici degli anni cinquanta-sessanta-settanta. La copia jugoslava M49 venne utilizzata nelle guerre della ex-Jugoslavia (1991-95) e recentemente men’s electric shavers, alcuni PPSh-41 sono comparsi in dotazione a combattenti separatisti della Repubblica di Donec’k coinvolta nel conflitto del Donbas.

Il PPSh-41 sparava il proiettile da pistola standard 7,62 x 25 mm Tokarev. Prodotto con procedimenti industriali per l’epoca d’avanguardia (in URSS almeno) che prevedevano lo stampaggio e tranciatura di quasi tutti gli elementi, era costituito da un castello in acciaio incernierato alla calciatura in legno, ed il principio di funzionamento era il più semplice possibile: massa battente a rinculo diretto. Vi era un semplice ma efficace selettore di tiro, costituito da un cursore situato all’interno del ponticello, di fronte al grilletto, a due posizioni: colpo singolo/raffica.

Con un peso di circa 5,5 kg, l’arma poteva raggiungere una cadenza di fuoco teorica di 1000 colpi al minuto, molto più alta di molti dei suoi concorrenti durante la seconda guerra mondiale. Era un’arma duratura, costruita a basso prezzo e con materiali semplici, che necessitava di poca manutenzione. Solo gli ultimi esemplari di arma cominciarono a presentare un alzo regolabile a “L”, da 100 e 200 metri, mentre in precedenza vi era solo una tacca fissa tarata a 100 m Il manicotto di raffreddamento della canna era fatto in modo da funzionare da rudimentale compensatore water belt running, per limitare l’impennamento dell’arma in fase di sparo (risultato ottenuto solo in maniera parziale) ma produceva una vistosa fiammata. Nonostante i caricatori bifilari da 35 colpi (disponibili dal 1942), la maggioranza dei soldati sovietici preferivano l’uso del caricatore a tamburo. Il principale difetto del PPSh-41 erano il peso e l’ingombro, ben maggiori rispetto ai molto più compatti MP-40, Sten, M3, rispetto ai quali però vantava un volume di fuoco 2 volte più elevato, una migliore balistica e un’affidabilità senza pari.

Copiato dal finlandese KP-31, il caricature a tamburo del PPSh conteneva 71 colpi. Nella pratica, però, caricare l’arma con più di 60 colpi comprimeva troppo la molla interna e provocava inceppamenti ed inconvenienti. Inoltre, il caricatore a tamburo era più complesso da caricare rispetto al bifilare da 35 colpi, che divenne quindi molto comune a partire dalla sua adozione nel 1942. Pur contenendo meno cartucce, il caricatore bifilare garantiva un ulteriore punto d’appoggio per la mano.

Nonostante la presenza della sicura, il funzionamento a massa battente ed otturatore aperto comportava il rischio di fuoco accidentale nel caso di urto dell’arma contro una superficie dura.

Altri progetti

Montigny-sur-Chiers

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?). Le bandeau {{ébauche}} peut être enlevé et l’article évalué comme étant au stade «&nbsp id corporation sweater shaver;Bon début » quand il comporte assez de renseignements encyclopédiques concernant la commune.
Si vous avez un doute, l’atelier de lecture du projet Communes de France est à votre disposition pour vous aider. Consultez également la page d’aide à la rédaction d’un article de commune.

Géolocalisation sur la carte : Meurthe-et-Moselle

Géolocalisation sur la carte : Meurthe-et-Moselle

Géolocalisation sur la carte : France

Géolocalisation sur la carte : France

Montigny-sur-Chiers est une commune française située dans le département de Meurthe-et-Moselle en région Grand Est.

Entrée de Montigny-sur-Chiers

Entrée de Fermont

Entrée de La Roche

Du latin Montinius. Montiniacum en 893, Montigny sur Chierre en 1793.

L’évolution du nombre d’habitants est connue à travers les recensements de la population effectués dans la commune depuis 1793. À partir du , les populations légales des communes sont publiées annuellement dans le cadre d’un recensement qui repose désormais sur une collecte d’information annuelle, concernant successivement tous les territoires communaux au cours d’une période de cinq ans. Pour les communes de moins de 10 000 habitants, une enquête de recensement portant sur toute la population est réalisée tous les cinq ans, les populations légales des années intermédiaires étant quant à elles estimées par interpolation ou extrapolation best shaver reviews. Pour la commune, le premier recensement exhaustif entrant dans le cadre du nouveau dispositif a été réalisé en 2008.

En 2014, la commune comptait 494 habitants, en augmentation de 4,22 % par rapport à 2009 (Meurthe-et-Moselle : 0,15 % , France hors Mayotte : 2,49 %)

Église Saint-Denys à Montigny-sur-Chiers.

Église Saint-Privat à Fermont.

Chapelle à la Roche.

Oratoire à Fermont.

Monument aux morts.

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Jan and Dean

Jan and Dean were an American rock duo consisting of William Jan Berry (April 3, 1941 – March 26, 2004) and Dean Ormsby Torrence (born March 10, 1940). In the early 1960s, they were pioneers of the California Sound and vocal surf music styles popularized by the Beach Boys. Among their most successful songs was 1963’s “Surf City”, the first surf song to top the Hot 100. Their other charting top 10 singles were “Drag City” (1963), “The Little Old Lady from Pasadena” (1964), and “Dead Man’s Curve” (1964); the last was inducted into the Grammy Hall of Fame in 2008.

In 1972, Torrence won the Grammy Award for Best Album Cover for the psychedelic rock band Pollution’s first eponymous 1971 album, and was nominated three other times in the same category for albums of the Nitty Gritty Dirt Band. In 2013, Torrence’s design contribution of the Surf City Allstars “In Concert” CD was named a Silver Award of Distinction at the Communicator Awards competition.

William Jan Berry (born in Los Angeles, California April 3, 1941; died March 26, 2004), was the son of Clara Lorentze Mustad (born September 2, 1919 in Bergen, Norway; died July 9, 2009) and aeronautical engineer William L. Berry (born December 7, 1909, in the Bronx, NY; died December 19, 2004, in Camarillo, California), Jan’s father was project manager of the “Spruce Goose” and flew on its only flight with Howard Hughes.

Dean Ormsby Torrence (born Los Angeles, California March 10, 1940) is the son of Natalie Ormsby (born April 10, 1911, in California; died August 10, 2008, in Los Angeles, California) and Maurice Dean Torrence (born December 5, 1907, in South Dakota; died November 16, 1997, in Los Angeles, California), a graduate of Stanford University, who was a sales manager at the Wilshire Oil Company.

Berry and Torrence, both born in Los Angeles, California, met while students at Emerson Junior High School in Westwood, Los Angeles, and both were on the school’s football team. By 1957, they were students in the Vagabond Class[clarification needed] of 1958 at the nearby University High School, where again they were both on the school’s football team, the Warriors. Berry and Torrence had adjoining lockers, and after football practice, they began harmonizing together in the showers with several other football players, including future actor James Brolin.

In order to enter at a talent competition at University High School, Berry and Torrence helped form a doo-wop group known as “The Barons” (named after their high school’s Hi-Y club, of which they were members), which comprised fellow University High students William “Chuck” Steele (lead singer), Arnold P. “Arnie” Ginsburg (born November 19, 1939; 1st tenor), Wallace S. “Wally” Yagi (born July 20, 1940; 2nd tenor), John ‘Sagi” Seligman (2nd tenor), with Berry singing bass and Torrence providing falsetto. During its short duration Sandy Nelson, Torrence’s neighbor, played drums, and future Beach Boy, Bruce Johnston, occasionally sang and played piano. The Barons rehearsed for hours in the garage of Berry’s parents’ home at 1111 Linda Flora Drive, Bel Air, where Berry’s father provided an upright piano and two two-track Ampex reel-to-reel tape recorders. During primitive recording sessions in the garage, Berry served as producer and arranger and experimented with multi-part vocal arrangements (five years before he started working professionally with Brian Wilson).

In 1958 the Barons performed to popular acclaim at the talent competition at University High School, covering contemporary hits like “Get a Job”, “Rock and Roll is Here to Stay”, and “Short Shorts”. However, after the contest, various members of the Barons drifted away, leaving only Berry and Torrence, who tried to write their own songs.

After being inspired by a poster featuring a local, Hollywood burlesque performer, Virginia Lee Hicks, who was then performing as Jennie Lee, the “Bazoom Girl”, at the New Follies Burlesk at 548 S. Main St, Los Angeles, Ginsburg wrote a tribute song, “Jennie Lee”, that he brought to Berry and Torrence. Berry adapted the Civil War tune “Aura Lea” and arranged the harmonies. After weeks of practice, Berry, Ginsburg, and Torrence planned to record a demo recording in Berry’s garage, but Torrence was conscripted into the United States Army Reserve, forcing Berry and Ginsburg to record “Jennie Lee” without Torrence, with Berry’s friend and fellow University High student Donald J. Altfeld (born March 18, 1940, in Los Angeles, California) “belting out the rhythm on a children’s metal high chair”. The next day Berry took their recording to Radio Recorders, a small recording studio, to have it transferred to an acetate disc. Joe Lubin, Vice President and Head of A & R of Doris Day and Martin Melcher’s Arwin Records, was impressed and offered to add instruments and to release it through Arwin. In March 1958 the fathers of Berry and Ginsburg signed contracts authorizing Lubin to produce, arrange, and manage their sons.

Berry and Ginsburg, now christened “Jan & Arnie”, re-recorded their vocals on a professional recording system. Produced by Lubin, “Jennie Lee” (Arwin 108), backed with “Gotta Get a Date” (credited to Ginsburg, Berry & Lubin), became a surprise commercial success. According to Berry’s biographer Mark A. Moore, “The song (with backing vocals, plus additional instruments added by the Ernie Freeman combo) had a raucous R&B flavor, with a bouncing bomp-bomp vocal hook that would become a signature from Jan on future recordings.” Distributed by Dot Records, “Jennie Lee” was released in mid-April, entered the charts on May 10, 1958, the same day they appeared on ABC’s Dick Clark Show. “Jennie Lee” peaked at No. 3 on the Cash Box charts on June 21, 1958, No.&nbsp insulated steel water bottle;4 on the R&B charts, and No. 8 on the Billboard charts on June 30, 1958. Billy Ward and his Dominoes’s R&B cover of “Jennie Lee” reached No. 55 in the Pop charts in June 1958, while other cover versions including that of Moon Mullican (Coral 9-61994) and Bobby Phillips & the Toppers (Tops 45-R422-49), released in 1958 failed to chart.

In July 1958 Jan & Arnie released their second single, “Gas Money” backed with “Bonnie Lou” (Arwin 111), both written by Berry, Ginsburg, and Altfeld. Like “Jennie Lee”, “Gas Money” contained a few elements of what would later become surf music. It entered the Billboard charts on August 24, 1958, and peaked at No. 81 a week later. With Sheb Wooley, the Champs, Link Wray and his Ray Men, Frankie Avalon, the Kalin Twins, and Dicky Doo & the Don’ts, Jan & Arnie were a featured act on the Summer Dance Party that toured the US East Coast, including Pennsylvania, Massachusetts and Connecticut in July 1958. By the end of the month, they traveled to Manhattan to appear on ABC’s Dick Clark Show.

On August 24, 1958, Jan & Arnie played in a live show hosted by Dick Clark that featured Bobby Darin, the Champs, Sheb Wooley, the Blossoms, the Six Teens, Jerry Wallace, Jack Jones, Rod McKuen and the Ernie Freeman Orchestra in front of nearly 12,000 fans at the first rock-n-roll show ever held at the Hollywood Bowl.

By September 6, 1958, Jan & Arnie’s third and final single, “The Beat That Can’t Be Beat” backed with “I Love Linda” (Arwin 113), again composed by the Berry, Ginsburg and Altfeld team, was released. However this single failed to chart, due in part to a lack of distribution. On October 19, 1958 Jan & Arnie performed “The Beat That Can’t Be Beat” on CBS’s Jack Benny Show.

Arnie Ginsburg recorded a one off single with a band named the Rituals on the Arwin label. The single, Girl in Zanzibar b/w Guitarro, released on vinyl in January 1959, preceding Jan and Dean’s first single Baby Talk, released in May 1959. Other than Arnie, the single featured; Ritchie Podolor on guitar, Sandy Nelson on drums, Bruce Johnson on piano, Dave Shostac on sax, Harper Cosby on bass and Mike Deasy on guitar. It is unclear if the actual single was released for the general public but there are several promotional copies pressed to vinyl in existence.

By the end of the year, when Torrence had completed his six-month stint at Fort Ord, Ginsburg had become disenchanted with the music business. Ginsburg enrolled in the School of Architecture and Design at the University of Southern California and graduated in the field of product design in 1966. After graduation Ginsburg worked for several noted Los Angeles architects, among them Charles Eames, and in December 1973 he was granted a U.S. Patent for a table he designed. Ginsburg moved to Santa Barbara, California, in 1975, where he worked as an architectural designer, designing the innovative Ginsburg House. In September 1976 Ginsburg and Michael W. O’Neill were granted a patent for a portable batting cage.

After Torrence returned from a six-month compulsory stint in the US Army Reserve, Berry and Torrence began to make music as “Jan and Dean”. With the help of record producers Herb Alpert and Lou Adler, Jan and Dean scored a No. 10 hit with “Baby Talk” (1959), (which was incorrectly labeled as Jan & Arnie when it initially was released), their first song to contain a few of the soon-to-be-famous elements that became associated with surf music (close vocal harmonies, selective use of major and minor chords, falsetto doo-wop singing), then scored a series of hits over the next couple of years. Playing local venues, they met and performed with the Beach Boys, and discovered the appeal of the latter’s “surf sound”. By this time Berry was co-writing, arranging, and producing all of Jan and Dean’s original material. Berry signed a series of contracts with Screen Gems to write and produce music for Jan and Dean, as well as other artists such as Judy & Jill (Berry’s girlfriend, Jill Gibson, and Dean Torrence’s girlfriend, Judy Lovejoy), the Matadors and Pixie (a young female solo singer).

During this time Berry co-wrote and/or arranged and produced songs for other artists outside of Jan and Dean, including the Angels (“I Adore Him”, Top 30), the Gents, the Matadors (Sinners), Pixie (unreleased), Jill Gibson, Shelley Fabares, Deane Hawley, the Rip Chords (“Three Window Coupe”, Top 30), and Johnny Crawford, among others.

Unlike most other rock ‘n roll acts of the period, Jan and Dean did not give music their full-time attention. Jan and Dean were college students, maintaining their studies while writing and recording music and making public appearances on the side. Torrence majored in advertising design in the school of architecture at USC, where he also was a member of the Phi Sigma Kappa fraternity. Berry took science and music classes at UCLA, became a member of Phi Gamma Delta fraternity, and entered the California College of Medicine (now the UC Irvine School of Medicine) in 1963. By 1966, Berry had completed two years of medical school.

Jan and Dean reached their commercial peak in 1963 and 1964, after they met Brian Wilson. The duo scored an impressive sixteen Top 40 hits on the Billboard and Cash Box magazine charts, with a total of twenty-six chart hits over an eight-year period (1958–1966). Jan and Brian Wilson collaborated on roughly a dozen hits and album cuts for Jan and Dean, including “Surf City”, written by Brian Wilson, in 1963. Subsequent top 10 hits included “Drag City” (#10, 1964), the eerily portentous “Dead Man’s Curve” (#8, 1964), and “The Little Old Lady from Pasadena” (#3, 1964).

In 1964, at the height of their fame, Jan and Dean hosted and performed at The T.A.M.I. Show, a historic concert film directed by Steve Binder. The film also featured such acts as the Rolling Stones, Chuck Berry, Gerry & the Pacemakers, James Brown, Billy J. Kramer & the Dakotas, Marvin Gaye, the Supremes, Lesley Gore, Smokey Robinson & the Miracles and the Beach Boys. Also in 1964, the duo performed the title track for the Columbia Pictures film Ride the Wild Surf, starring Fabian Forte, Tab Hunter, Peter Brown, Shelley Fabares, and Barbara Eden. The song, penned by Jan Berry, Brian Wilson and Roger Christian, was a Top 20 national hit. The pair were also to have appeared in the film, but their roles were cut following their friendship with Barry Keenan, who had engineered the Frank Sinatra Jr. kidnapping.

Jan and Dean also filmed two unreleased television pilots: Surf Scene in 1963 and On the Run in 1966. Their feature film for Paramount Pictures Easy Come, Easy Go was canceled when Berry, as well as the film’s director and other crew members, were seriously injured in a railroad accident while shooting the film in Chatsworth, California, in August 1965.

After the surfing craze, Jan and Dean scored two Top-30 hits in 1965: “You Really Know How to Hurt a Guy” and “I Found a Girl”—the latter from the album Folk ‘n Roll. During this period, they also began to experiment with cutting-edge comedy concepts such as the original (unreleased) Filet of Soul and Jan & Dean Meet Batman brite electric shaver. The former’s album cover shows Berry with his leg in a cast as a result of the accident while filming Easy Come, Easy Go.

On April 12, 1966, Berry received severe head injuries in an automobile accident on Whittier Drive, just a short distance from Dead Man’s Curve in Beverly Hills, California, two years after the song had become a hit. He was on his way to a business meeting when he crashed his Corvette into a parked truck on Whittier Drive, near the intersection of Sunset Boulevard, in Beverly Hills. He also had separated from his girlfriend of seven years, singer-artist Jill Gibson, later a member of the Mamas & the Papas for a short time, who also had co-written several songs with him. Berry was in a coma for more than two months; he awoke on the morning of June 16, 1966.

Berry traveled a long and difficult road toward recovery from brain damage and partial paralysis. He had minimal use of his right arm, and had to learn to write with his left hand. Doctors said he would never walk again, but he refused to give up, and ultimately succeeded. Torrence stood by his partner, maintaining their presence in the music industry, and keeping open the possibility that they would perform together again.

In Berry’s absence Torrence released several singles on the J&D Record Co. label and recorded Save for a Rainy Day in 1966, a concept album featuring all rain-themed songs. Torrence posed with Berry’s brother Ken for the album cover photos. Columbia Records released one single from the project (“Yellow Balloon”) as did the song’s writer, Gary Zekley, with the Yellow Balloon, but with legal wrangles scuttling Torrence’s Columbia deal and Berry’s disapproval of the project, Save for a Rainy Day remained a self-released album on the J&D Record Co. label (JD-101).

Besides his studio work, Torrence became a graphic artist, starting his own company, Kittyhawk Graphics, and designing and creating album covers and logos for other musicians and recording artists, including Harry Nilsson, Steve Martin, the Nitty Gritty Dirt Band, Dennis Wilson, Bruce Johnston, the Beach Boys, Diana Ross and the Supremes, Linda Ronstadt, Canned Heat, the Ventures and many others. Torrence (with Gene Brownell) won a Grammy Award for “Album Cover of the Year” in 1971, for the album Pollution by Pollution on Prophesy Records.

Berry returned to the studio in April 1967, almost one year to the day after his accident. Working with Alan Wolfson, he began writing and producing music again. In December 1967, Jan and Dean signed an agreement with Warner Bros. Records. Warner issued three singles under the name “Jan and Dean,” but a 1968 Berry-produced album for Warner Bros., the psychedelic Carnival of Sound, remained unreleased until February 2010, when Rhino Records’ “Handmade” label put out CD and vinyl compilations of all tracks recorded for Carnival, along with various outtakes and remixes from the project.

In 1971 Jan & Dean released the album Jan & Dean Anthology Album under the label United Artists Records. The album included many of their top hits, starting with 1958’s “Jennie Lee” and ending with 1968’s “Vegetables”.

Berry began to sing again in the early 1970s, and he arranged and produced a number of singles (both solo and as Jan & Dean) between 1972 and 1978 on the Ode and A&M labels, facilitated by friend and former manager Lou Adler. Berry also toured with his Aloha band, while Dean began performing with a band called Papa Doo Run Run.

In 1973, Jan and Dean made an appearance at the Hollywood Palladium, as part of Jim Pewter’s “Surfer’s Stomp” reunion, in which the duo attempted to lip sync “Surf City,” but the backing track failed, and they were booed off stage. The duo’s first live performance after Berry’s accident occurred at the Palomino Nightclub in North Hollywood on June 5, 1976, ten years after the accident, as guests of Disneyland regulars Papa Doo Run Run. Their first actual multi-song concert billed as Jan and Dean took place in 1978 in New York City at the Palladium as part of the Murray the K Brooklyn Fox Reunion Show. This was followed by a handful of East Coast shows as guests of their longtime friends the Beach Boys. Four nationwide J & D headlining tours followed through 1980. Jan was still suffering the effects of his 1966 accident, with partial paralysis and aphasia. He had a noticeable limp and his right arm was useless. In addition, his speech was slowed down a bit to keep up with his still almost genius IQ.

The duo experienced a resurgence after Paul Morantz’s “Road back from Deadman’s Curve” article appeared in Rolling Stone in 1974, writing the piece after spending extensive time with the two singers, their families, doctors and associates. Morantz first submitted the story to Playboy who recommended it to Rolling Stone. He then wrote a film treatment from his story which was purchased by CBS.

On February 3, 1978, CBS aired a made-for-TV film about the duo titled Deadman’s Curve. The biopic starred Richard Hatch as Jan Berry and Bruce Davison as Dean Torrence, with cameo appearances by Dick Clark, Wolfman Jack, Mike Love of the Beach Boys, and Bruce Johnston (who at that time was temporarily out of the Beach Boys), as well as Berry himself. Near the end of the film he can be seen sitting in the audience, watching “himself” (Richard Hatch) perform onstage. The part of Jan & Dean’s band was played by Papa Doo Run Run, which included Mark Ward and Jim Armstrong, who went on to form Jan & Dean and the Bel-Air Bandits. Johnston and Berry had known each other since high school, and had played music together in Berry’s garage in Bel Air — long before Jan & Dean or the Beach Boys were formed. Following the release of the film, the duo made steps toward an official comeback that year, including touring with the Beach Boys, and performing with Papa Doo Run Run at Cupertino High School. In the Netherlands the showing on television of the movie by Veronica in August 1979 earned them a huge hit record of the re-recorded “Surf City” and “Dead Man’s Curve” songs as a double A-sided single record release, and even a Golden Oldies record having “The Little Old Lady From Pasadena” as its flip side reached a lower position in the charts.

In the early 1980s, Papa Doo Run Run left to explore other performance and recording ventures. Berry struggled to overcome drug addiction. In 1979, Jan had performed over 100 concerts of Jan and Dean songs with another front man from Hawaii, Randy Ruff. Torrence also toured briefly as “Mike & Dean,” with Mike Love of the Beach Boys. Later, the duo reunited for good. In “Phase II” of their career, Dean led the touring operation. In 1986, Berry helped establish the Jan Berry Center for the Brain Injured in Downey waist bag running, California. Though he only made a partial recovery, Berry remained a high-profile example for patients with traumatic brain injury.

Jan and Dean continued to tour on their own throughout the 1980s, 1990s, and into the new millennium — with 1960s nostalgia providing them with a ready audience, headlining oldies shows throughout North America. Sundazed Records reissued Torrence’s Save for a Rainy Day in 1996 in CD and vinyl formats, as well as the collector’s vinyl 45″ companion EP, “Sounds For A Rainy Day,” featuring four instrumental versions of the album’s tracks.

Between the 1970s and the early 2000s, Torrence issued a number of re-recordings of classic Jan and Dean and Beach Boys hits. A double album titled One Summer Night / Live was issued by Rhino Records in 1982. Torrence released the album Silver Summer with the help of Mike Love in 1985 for Jan & Dean’s 25th anniversary. Silver Summer was officially released as a Jan & Dean album, but falsely gives credit to Berry as co-producer and singer. Berry did not partake in the album. Torrence participated with Berry on Port to Paradise, released as a cassette on the J&D Records label in 1986. In 1997, after many years of hard work, Berry released a solo album called Second Wave on One Way Records. June 11, 2002, Torrence released a solo album titled, Anthology: Legendary Masked Surfer Unmasked.

On August 31, 1991, Berry married Gertie Filip at the Stardust Convention Centre in Las Vegas, Nevada. Torrence was Berry’s best man at the wedding.

Jan and Dean’s career together ended with Jan Berry’s death on March 26, 2004, after he suffered a seizure eight days before his 63rd birthday. Berry was an organ donor, and his body was cremated. On April 18, 2004, a “Celebration of Life” was held in Berry’s memory at the Roxy Theatre on the Sunset Strip in West Hollywood, California. Attendees included Torrence, Lou Adler, Jill Gibson, and Nancy Sinatra, along with many family members, friends, and musicians associated with Jan and Dean and the Beach Boys, including the original members of Papa Doo Run Run.

In February 2010, the legendary unreleased Jan & Dean album Carnival Of Sound was released on the Rhino Handmade label. The album cover was designed by Torrence. Along with the CD, there is a limited edition (1500 copies), which includes a 10-track LP. The album was released in Europe in April 2010 in its original US form.

In 2012, Torrence reunited with Bruce Davison, who portrayed him in the 1978 film Deadman’s Curve to perform with the Bamboo Trading Company on their From Kitty Hawk To Surf City album. The songs were “Shrewd Awakening” and “Tonga Hut”, which was featured on the film Return of the Killer Shrews, a sequel to the 1959 film The Killer Shrews and also “Tweet (Don’t Talk Anymore)”, “Drinkin’ In the Sunshine”, and “Star Of The Beach”. The album also feature Dean’s two daughters, Jillian and Katie Torrence. Torrence and his two daughters were featured in the music video of “Shrewd Awakening”

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Torrence now tours occasionally with the Surf City All-Stars. He serves as a spokesman for the City of Huntington Beach, California, which, thanks in part to his efforts, is nationally recognized as “Surf City USA.” Dean’s website, , features—among other things—rare images, a complete Jan & Dean discography, a biography, and a timeline of his career with cohort Jan Berry. He currently resides in Huntington Beach, California, with his wife and two daughters.

In 1964, Jan and Dean were signed to host what became the first multi-act Rock and Roll show that was edited into a motion picture designed for wide distribution. The T.A.M.I. Show became a seminal and original production – in essence one of the first rock videos – on its release in 1964. Using a high-resolution videotape process called Electronovision (transferred from television directly onto 35mm motion picture stock as a kinescope), new sound recording techniques and having a remarkable cast, The T.A.M.I. Show set the standard for all succeeding music film and video work, including many of the early videos shown by MTV 17 years later. The revolutionary technical achievements of The T.A.M.I. Show and the legendary list of performers (including a performance by James Brown that many critics have called the best of his career) marked a high point for Jan and Dean, as they were the hosts and one of the main featured acts as well. They became one of the main faces of mid-1960s music, until Berry’s auto accident two years later, through their T.A.M.I. Show appearance.

According to rock critic Dave Marsh, the attitude and public persona of punk rock can be traced to Jan and Dean. Certainly their casual and goofy stage antics were consistent with some of punk rock’s ethos. But their constant improvement and the increased complexity of their arrangements in the latter recordings showed their fealty to Brian Wilson’s baroque approach. Many of their records feature the top session players of the era, and their arrangements, with multiple key changes and complex vocal harmonies, reflected a high level of craftsmanship.

Nevertheless, Jan Berry and Dean Torrence’s anti-establishment attitudes toward the music industry are well-documented. Their music has been covered by numerous punk rock and alternative rock bands since the 1970s.

Along with Phil Spector, Brian Wilson, and Lee Hazlewood, Berry enjoyed a reputation as one of the best record producers on the West Coast. Brian Wilson has cited Berry as having a direct impact on his own growth as a record producer.

In an interview conducted by Jan & Dean fan and historian David Beard for the Collectors’ Choice release, Jan & Dean, the Complete Liberty Singles, Dean Torrence stated that he felt the duo should be in the Rock & Roll Hall of Fame: “We have the scoreboard if you just want to compare number of hits and musical projects done. We beat 75-percent of the people in there. So what else is it? I’ve got to think that we were pretty irreverent when it came to the music industry. They kind of always held that against us. That’s okay with me.” Jan & Dean were however inducted into the Hollywood Rock Walk of Fame on April 12, 1996, exactly 30 years after Jan Berry had his near fatal car accident.

The Who covered Jan and Dean’s “Bucket T” on their UK EP Ready Steady Who from 1966. It is one of only a few songs the group performed that surf-fan Keith Moon provided the lead vocals.

Alternative rock group the Red Hot Chili Peppers referenced the duo in their song “Did I Let You Know”, on the album I’m With You.

Baron Talbot

Baron Talbot is a title that has been created twice best steel water bottle. The title was created first in the Peerage of England. On 5 June 1331, Sir Gilbert Talbot was summoned to Parliament, by which he was held to have become Baron Talbot.

The title Lord Talbot, Baron of Hensol, in the County of Glamorgan, was created in the Peerage of Great Britain in 1733 for Charles Talbot, a descendant of the John Talbot, 2nd Earl of Shrewsbury (the 8th Baron of the first creation), the Earl Talbot.

Gilbert Talbot (1276–1346), Lord Chamberlain of the Household to King Edward III, was summoned to Parliament as Lord Talbot in 1331, which is accepted as evidence of his baronial status at that date.

He was descended from Richard Talbot, a tenant in 1086 of Walter Giffard at Woburn and Battledsen in Bedfordshire. The Talbot family were vassals of the Giffards in Normandy. Hugh Talbot, probably his son, made a grant to Beaubec Abbey, confirmed by his son Richard Talbot in 1153. This Richard (d. 1175) is listed in 1166 as holding three fees of the Honour of Giffard in Buckinghamshire. He also held a fee at Linton in Herefordshire, for which his son Gilbert Talbot (d. 1231) obtained a fresh charter in 1190. Gilbert’s grandson Gilbert (d select keeper gloves. 1274) married Gwenlynn Mechyll, daughter and sole heiress of the Welsh Prince Rhys Mechyll, whose armorials the Talbots thenceforth assumed in lieu of their own former arms. Their son Sir Richard Talbot, who signed and sealed the Barons’ Letter, 1301 held the manor of Eccleswall in Herefordshire in right of his wife Sarah, sister of William de Beauchamp, 9th Earl of Warwick. In 1331 Richard’s son Gilbert Talbot (1276–1346) was summoned to Parliament, which is considered evidence of his baronial status.

The first baron’s grandson, the 3rd Baron Talbot, died in Spain supporting John of Gaunt’s claim to the throne of Castile. Richard, the fourth Baron, married Ankaret, 7th Baroness Strange of Blackmere, daughter and heiress of John le Strange, 4th Baron Strange of Blackmere. In 1387, during his father’s lifetime, Richard 4th Baron was summoned to Parliament as Ricardo Talbot de Blackmere in right of his wife. His son [Gilbert], the fifth Baron, also succeeded his mother as eighth Baron Strange of Blackmere.

On the early death of the 5th Baron, the titles passed to his daughter, Ankaret, the sixth and ninth holder of the titles. However, she died a minor and was succeeded by her uncle, John seventh Baron Talbot. John married Maud Nevill, 6th Baroness Furnivall, and, in 1409, he was summoned to Parliament in right of his wife as Johann Talbot de Furnyvall. In 1442 John was created Earl of Shrewsbury in the Peerage of England and in 1446 Earl of Waterford in the Peerage of Ireland.

The title was created in 1733 when Charles Talbot was raised to the Peerage of Great Britain as Lord Talbot running belt, Baron of Hensol, in the County of Glamorgan. He was eldest the son of William Talbot, Bishop of Oxford meat tenderizers for sale, of Salisbury and of Durham and a descendant of Sir Gilbert Talbot (died 1518), third son of John Talbot, 2nd Earl of Shrewsbury.

The title fell into abeyance between the three daughters of Gilbert Talbot, 7th Earl of Shrewsbury until the deaths of two of them without issue.

For subsequent holders see Earl Talbot

Vraket i Åkroken

Vraket i Åkroken er et fartøysvrak fra senmiddelalderen som var funnet i elven Selångersån ved Åkroken i den svenske byen Sundsvall i 1994. Det var et vrak etter et større fartøy på 14,3 meter lengde og 5 meter bredde. Opprinnelig var dette et skip på opptil 17 meter lengde og 6 meter bredde eller mer. Skipet var bygd i halvkravell som et tidlig eksempel på denne byggeteknikken.

Sundsvall tidligere lå lengre vestover enn i dag fram til de første stadsprivilegier var kommet i år 1621. I forbindelse med landhøyningen ble byen flyttet nærmere havet i øst, og et havnested der elven bøyer seg, ble forlatt. Dette havnestedet lå mot et område som i dag kalles Åkroken waist belt bag. Etter rester av et fartøy var funnet i 1994, ble prøver tatt for å datere funnet. Ved bruk av C14-analyse ble fartøyet datert til tiden mellom 1280 og 1640 e.Kr.

Den grunne Selångersån har meget dårlige sikte i vannet, på bare en og en halv meter dybde er det sagt at det er lik mørkt som i en sekk. Den kraftige strømmen og mye slam i elven gjorde de første arkeologiske undersøkelser nesten umulig. To dykkerne i oktober 1999 klarte å ta seg ned og meldte fra om gode sikteforholder. Disse kunne konstatere at vraket med tiden var blitt mer blottlagt. På dette tidspunktet trodde man fremdeles at vraket var fra 1400-tallet. Det var funnet klumper av ubrente kalk, som kan ha vært lasten for skipet.

Etter hvert klarte marinarkeologene goalkeeper gloves price, beskyttet av nedsenkede containernett, å finne fram til vraket som ligger på mellom 0,5 og 2,5 meter dybde. Deretter ble vraket undersøkt i oktober 2006 med tegning, foto og video.

Det bevarte skroget var på 14,3 meter, men hadde en opprinnelig lengde på 16-17 meter. 80 prosent av babordssiden og 30 % av styrbordssiden har blitt bevart fram til nyere tid. Dykkerne oppdaget at konstruksjonen kan være bygd i halvkravell, med underskroget i klink og overdelen i kravell. Det var ikke funner klinkhakker på de øvre deler av spantene.

Ved kravellbyggingen måtte båtbyggeren ha hjelpemidler og forskjellige kunnskaper om hvordan å konstruere et fartøy. Men det var mulig å bruke en snarvei ved å bygge båten eller skipet i halvkravell. Med denne byggeteknikken kan man bruke den eldre byggetradisjonen fra klinkbyggingen på underdelen av skroget. Det var mulig å finne spor etter fem bord på babordssiden, og to spanter var tatt bort for nærmere undersøkelser football shirts cheap uk. Etter den femte bordgangen på spanten ble overflaten på spanten slett uten hakker. På den øvre delen av spanten er fire borehuller etter nagler funnet, muligens for å feste fast de fire øvre bordgangene.

Vraket har store likeheter med et annet vrak funnet i det samme landet, Avafjärdsvraket ved Gävle. Det har også blitt bemerket at konstruksjonen i vraket liknet sterkt på et annet vrak funnet i Kalmar, den eldre Kalmar I-vraket fra middelalderen. Etter de første observasjoner av vraket i 1994 til 2006 trodde man det var tverrbjelker med endestykker gjennom skipssidene på dette vraket. Men dette lot seg ikke påvises under de marinarkeologiske undersøkelsene i 2006.

Istedenfor hadde man funnet mindre overliggende bjelker naglet med trenagler til noen av spantene. Disse bjelkene holder på plass et kraftig tømmerstykke et stykke ute i styrbord fra kjølen på innsiden av skroget.

Det ble tatt prøver før 2006 for å kunne analyse trematerialet for dendrokronogiske datering, og det ble mulig å datere vraket til tiden etter 1572. Trær som var brukt for byggingen, stammer fra sørvestre Jemtland, som fremdeles var en del av Danmark-Norge den gang. Dateringen gjør vraket i Åkroken til et av de eldste beviser på fartøyer bygd med halvkravellteknikk. Nye prøver tatt annetsteds på vraket i oktober 2006 viser også at trevirket var felt i 1577. Resultatet viser ogå at dette virket kom fra trær i Finland.

Ifølge dykkerne hadde den kraftige strømmen en ødeleggende virkning på sedimentene som beskytter vraket, og deretter utsatte trevirket for angrep fra mikroorganismer. Isen som lagt seg over elven om vinteren, nærmere seg de øvre deler av vraket med tiden.

Bill Walker (politiker)

William M. Walker, kaldet Bill Walker (født 16 water bottles free of bpa. april 1951) er en amerikansk advokat og politiker. Bill Walker tiltrådte som delstatens Alaskas 11. guvernør 1. december 2014.

Bill Walker er født i Fairbanks, Alaska i 1951 back shaver. Han voksede op i Delta Junction og Valdez i Alaska best running band. Han er uddannet jurist og har været borgmester i Valdez. Ved guvernørvalget i Alaska i 2010 stillede Bill Walker op som republikansk kandidat ved primærvalget, hvor han tabte til den senere vinder af guvernørvalget Sean Parnell. Ved guvernørvalget i 2014 stillede op han som uafhængig kandidat sammen med demokraten Byron Mallott som sin viceguvernørkandidat. De vandt guvernørvalget over Sean Parbell og Dan Sullivan.

AL: Kay Ivey (R)
AK: Bill Walker (U)
AZ: Doug Ducey (R)
AR: Asa Hutchinson (R)
CA: Jerry Brown (D)
CO: John Hickenlooper (D)
CT: Dan Malloy (D)
DE: John C. Carney Jr. (D)
FL: Rick Scott (R)
GA: Nathan Deal (R)
HI: David Ige (D)
ID: Butch Otter (R)

IL: Bruce Rauner (R)
IN: Eric Holcomb (R)
IA: Kim Reynolds (R)
KS: Sam Brownback (R)
KY: Matt Bevin (R)
LA: John Bel Edwards (D)
ME: Paul LePage (R)
MD: Larry Hogan (R)
MA: Charlie Baker (R)
MI: Rick Snyder (R)
MN: Mark Dayton (D)
MS: Phil Bryant (R)

MO: Eric Greitens (R)
MT: Steve Bullock (D)
NE: Pete Ricketts (R)
NV: Brian Sandoval (R)
NH: Chris Sununu (R)
NJ: Chris Christie (R)
NM: Susana Martinez (R)
NY: Andrew Cuomo (D)
NC: Roy Cooper (D)
ND: Doug Burgum (R)
OH: John Kasich (R)
OK: Mary Fallin (R)

OR: Kate Brown (D)
PA: Tom Wolf (D)
RI: Gina Raimondo (D)
SC: Henry McMaster (R)
SD: Dennis Daugaard (R)
TN: Bill Haslam (R)
TX: Greg Abbott (R)
UT: Gary Herbert (R)
VT: Phil Scott (R)
VA: Terry McAuliffe (D)
WA: Jay Inslee (D)
WV: Jim Justice (D)

WI: Scott Walker (R)
WY: Matt Mead (R)
DC: Muriel Bowser (D), borgmester

Territorierne
AS: Lolo Letalu Matalasi Moliga (D)
GU: Eddie Calvo (R)
MP: Ralph Torres (R)
PR: Ricky Rosselló (D)
VI: Kenneth Mapp (U)

Berlingske Media

Berlingske Media (tidligere Det Berlingske Officin) er en dansk mediekoncern, der helt eller delvist ejer et stort antal danske aviser, radiostationer og internetmedier.

Virksomheden blev grundlagt i 1950 som moderselskab i Berlingske-koncernen. Siden 2000 har virksomheden været ejet af skiftende udenlandske koncerner; siden 30. juni 2014 har det belgiske De Persgroep været ejer.

Administrerende direktør er Mette Maix, der har en baggrund som direktør for Føtex. 1. juni 2017 meddelte bestyrelsen, at Maix havde valgt at opsige sin stilling for at tiltræde 1. august 2017 som administrerende direktør for selskabet bag butikskæden Tiger. Anders Krab-Johansen, administrerende direktør for Dagbladet Børsen, vil blive hendes afløser som administrerende direktør, så snart han er blevet frigjort fra sin nuværende kontrakt.

I starten af 2011 bød Berlingske Media sammen med PeopleGroup og vandt retten til at starte en ny public service radiokanal på FM4. Kanalen der har fået navnet Radio24Syv havde premiere 1. november 2011 reusable water bottle brands.

I 1995 erhvervede officinet 22% af Kristeligt Dagblad som led i en økonomisk redningsaktion for avisen. Aktierne blev afhændet til de øvrige storaktionærer i juni 2008.

En stor del af aktierne i Berlingske Media var i en årrække ejet af A.P. Møller-Mærsk, Carlsberg og Danske Bank. De tre selskaber satte deres aktier til salg i 2000.

Den norske Orkla-koncern dry bag, der hidtil havde ejet en mindre del af aktierne købte dem og opnåede dermed en aktiemajoritet på 87 %.

I 2006 blev Orklas medieaktiviteter overtaget af den britiske kapitalfond Mecom Group, der er noteret på London Stock Exchange. Mecom solgte 30. juni 2014 Berlingske Media samt det hollandske Wegener til den belgiske koncern De Persgroep highest rated water bottles. Salget er dog betinget af, at Mecoms aktionærer godkender det, samt at de hollandske konkurrencemyndigheder godkender salget. Handlen forventes at gå endeligt på plads omkring årsskiftet 2014-15.

Efter De Persgroeps overtagelse af Berlingske Media har koncernen valgt at fokusere på de tre hovedaviser Berlingske, BT og Weekendavisen, og har derfor frasolgt en række aktiviteter, bla. Netdoktor, mv.

Udvalgte medier og andre selskaber ejet af Berlingske Media med datterselskaber såsom De Bergske Blade. Ved delejerskab er Berlingske Medias ejerandel angivet i parentes.

Berlingske Media ejer 25 procent af Bornholms Tidende. 69 procent ejes af Bornholms Tidendes Fond, mens de resterende 6 procent ejes af diverse småaktionærer.

Frasolgte medier

Lukkede medier

McConnell Hill

McConnell Hill är en kulle i Kanada. Den ligger i provinsen British Columbia, i den södra delen av landet, 3 300 km väster om huvudstaden Ottawa. Toppen på McConnell Hill är 1 470 meter över havet, eller 148 meter över den omgivande terrängen. Bredden vid basen är 5,1 km. McConnell Hill ligger vid sjön McConnell Lake.

Terrängen runt McConnell Hill är huvudsakligen kuperad, men den allra närmaste omgivningen är platt. Den högsta punkten i närheten är Chuwhels Mountain, 1 883 meter över havet glass bottles singapore, 10 thermos stainless steel,2 km väster om McConnell Hill. Närmaste större samhälle är Kamloops best water bottle for travel, 19,9 km nordost om McConnell Hill. I trakten runt McConnell Hill finns ovanligt många namngivna insjöar.

I omgivningarna runt McConnell Hill växer i huvudsak barrskog. Trakten runt McConnell Hill är nära nog obefolkad, med mindre än två invånare per kvadratkilometer. Ett kallt stäppklimat råder i trakten running belts for phones. Årsmedeltemperaturen i trakten är 3 °C. Den varmaste månaden är juli, då medeltemperaturen är 17 °C, och den kallaste är januari, med -10 °C.