Jerome Isaac Friedman

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Jerome Isaac Friedman

The Columbia Encyclopedia, Sixth Edition | 2008 | The Columbia Encyclopedia, Sixth Edition. Copyright 2008 Columbia University Press. (Hide copyright information) Copyright

Jerome Isaac Friedman , 1930-, American physicist, b. Chicago, Ph.D. Univ. of Chicago, 1956. A professor at the Massachusetts Institute of Technology, Friedman won the 1990 Nobel Prize in Physics with Richard E. Taylor and Henry W. Kendall for a series of experiments (1967-73) that showed that protons and neutrons are not fundamental particles of matter but are composed of smaller particles known as quarks. This evidence allowed scientists to develop the Standard Model theory of matter, which states that all matter is made up of combinations of six quarks and six leptons that interact with five types of force particles (see elementary particles ).

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Orbach, (Jerome) Jerry

The Oxford Companion to American Theatre | 2004 | | © The Oxford Companion to American Theatre 2004, originally published by Oxford University Press 2004. (Hide copyright information) Copyright

Orbach, [Jerome] Jerry (1935–2004), actor. The swarthy, lanky performer was born in the Bronx and, after graduating from Northwestern, studied with Herbert Berghof and Lee Strasberg. He made his New York debut as a replacement in the role of Macheath in the long‐running Threepenny Opera in 1958, then called attention to himself when he created the part of El Gallo in The Fantasticks (1960). Leading musical roles followed: the crippled puppeteer Paul in Carnival (1961) and the enterprising businessman Chuck Baxter in Promises, Promises (1968). Orbach's nonmusical performances included the put‐upon Jewish husband Harold Wonder in Scuba Duba (1967) and the apartment hunter Paul Friedman in 6 Rms Riv Vu (1972). His last major Broadway roles were the slippery lawyer Billy Flynn in Chicago (1975) and the Broadway producer Julian Marsh in 42nd Street (1980). Much of his later career has been in films and television. Orbach is not a traditional leading man, yet he has an engaging stage presence. Writing in the Times of his Promises, Promises performance, Clive Barnes describes this presence, noting that he “has the kinds of wrists that look as though they are about to lose their hands, and the kind of neck that seems to be on nodding acquaintance with his head.”

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Gerald Bordman and Thomas S. Hischak. "Orbach, (Jerome) Jerry." The Oxford Companion to American Theatre. Oxford University Press. 2004. Encyclopedia.com. 10 Nov. 2009 <http://www.encyclopedia.com>.

Gerald Bordman and Thomas S. Hischak. "Orbach, (Jerome) Jerry." The Oxford Companion to American Theatre. Oxford University Press. 2004. Encyclopedia.com. (November 10, 2009). http://www.encyclopedia.com/doc/1O149-OrbachJeromeJerry.html

Gerald Bordman and Thomas S. Hischak. "Orbach, (Jerome) Jerry." The Oxford Companion to American Theatre. Oxford University Press. 2004. Retrieved November 10, 2009 from Encyclopedia.com: http://www.encyclopedia.com/doc/1O149-OrbachJeromeJerry.html

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Horse Racing

The Oxford Companion to United States History | 2001 | | © The Oxford Companion to United States History 2001, originally published by Oxford University Press 2001. (Hide copyright information) Copyright

Horse Racing. With a history extending from ancient Egypt, the Grecian Olympic Games, and Roman chariot races through medieval and early‐modern Europe, horse racing emerged in late seventeenth century America in the South, the Middle Atlantic colonies, and New York. As the sport developed in the eighteenth century, certain features stood out. In the absence of a hereditary aristocracy to support it, horse racing was intertwined with commerce. Proximity to cities was essential; city dwellers paid admissions and their betting fuelled the sport.

Horse racing flourished in the Antebellum Era. Rampant dishonesty provoked efforts to suppress or restrict it, followed by further expansion. Races were two or three miles long, with several heats. The pace was slow since horses ran on dirt tracks, not turf. Sectional tensions were mirrored in North versus South match races. One such event in 1823 at the Union Course on Long Island—New York had by now established its predominance—drew an estimated sixty thousand spectators.

When the Civil War devastated racing in the South, the North and West established preeminence. Kentucky, as a breeding center, was the major exception. U.S. horse racing's premier event, the Kentucky Derby, was first run in 1875 at the newly opened Churchill Downs in Louisville. By the 1890s, three hundred racetracks were operating. Wealthy plutocrats like Leonard Jerome, August Belmont, William Whitney, and others built larger racetracks and established stables. Stakes increased and attendance swelled. Jockeys such as “Snapper” Garrison, Isaac Murphy, and Tod Sloan became celebrities, as did the horses they rode, including Hanover, Salvador, and Sysonby. Led by Sloan, U.S. jockeys revolutionized the style of riding by adopting the forward seat, America's most important contribution to the sport. While bookmakers’ fees provided a major source of revenue for racetracks, their presence added to the pervasive sense of underhanded dealing.

Progressive Era reformers almost ended professional horse racing, but by reforming itself the sport survived and entered a golden age from 1920 to around 1970. Parimutuel machines replaced bookmakers, automatic starting gates and photo‐finish cameras removed sources of contention, and stricter supervision reduced the doping of horses and illegal gambling. Women were more often present at the track, behavior became more orderly, and handsome new racetracks offered larger purses. Brilliant jockeys such as Earl Sande, Eddie Arcaro, and Willie Shoemaker and horses like Man o’ War, Whirlaway, Citation, and Secretariat captured the nation's attention. Fans avidly followed horse racing's “Triple Crown” events: the Kentucky Derby, the Preakness at Baltimore's Pimlico track, and the Belmont Stakes in New York. Harness racing, with the rider in a sulky (a low, two‐wheeled vehicle harnessed to the horse), dating to the 1830s in America, enjoyed a considerable vogue after World War II.

Horse racing fell on hard times as a spectator event in the later twentieth century as lotteries, casinos, off‐track betting, and other professional sports usurped the track's appeal. Nevertheless, the riders’ skill, the appeal of the horses, and the beauty of the running continued to captivate.
See also Gambling and Lotteries; Sports.

Bibliography

William H.P. Robertson , The History of Thoroughbred Racing in America, 2 vols., 1964.
David Alexander , A Sound of Horses: The World of Racing, from Eclipse to Kelso, 1966.

John Dizikes

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